In this collection of previously unpublished essays Jean-Jacques Nattiez applies his theoretical foundations of musical semiotics to theorists such as Lévi-Strauss, Hanslick, and Brailoiu; novelists such as Proust; and poets such as Baudelaire. The author treats problems which musicologists and music lovers alike need to address: the artistic product in music of oral tradition, the nature of musical facts, and questions of fidelity and authenticity in performance practice.
Nattiez tackles these perennial issues with an originality born out of his focus on the status of time in the works considered. This approach allows him to take sides, sometimes in a provocative manner, in the ongoing debates which pit adherents of modernity against apologists of postmodernism.
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Considered a pioneer of musical semiology,Jean-Jacques Nattiez first gained acclaim as the author of Fondements d'une Sémiologie de la Musique (Christian Bourgois 1975) and Music and Discourse (Princeton University Press 1990). He then went on to apply his semiological concepts to the works of Wagner (Tétralogies: Wagner Androgyne, Christian Bourgois 1990); the musical thought of Pierre Boulez; the music of the Inuit (Canada), the Ainu (Japan), and the Baganda (Uganda); and the relationship between music and literature (Proust as Musician, Cambridge University Perss 1989). He is currently the general editor of a new five volume encyclopedia of music published both in Italy and in France (Einaudi).
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