Odradek analysis: Reflections on musical ontology

Music Analysis

Volumn 23, Issue 2-3, 2004, Pages 287-309

  Kramer, Lawrence ^a  

^a NONE

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[No Author keywords available]

Indexed keywords

EID: 60949194876     PISSN: 02625245     EISSN: None     Source Type: Journal    
DOI: 10.1111/j.0262-5245.2004.00205.x     Document Type: Article

References (31)

1. Franz Kafka, The Complete Stories, trans. Willa and Edwin Muir, ed. Nahum H. Glatzer (New York: Schocken, 1971), p. 248.
2. Carl Einstein, 'Methodological Aphorisms' and 'Notes on Cubism' (both 1929), trans. Charles W. Haxthausen, October, 107 (2004), pp. 147-50, 160-68.
3. Einstein, 'Methodological Aphorisms', p. 149.
4. Bill Brown, 'Thing Theory', Critical Inquiry, 28 (2001), pp. 1-22.
5. Martin Heidegger, What Is a Thing?, trans. W. B. Barton, Jr. and Vera Deutsch (Chicago: University of Chicago Press, 1967).
6. Bruno Latour, 'Why Has Critique Run Out of Steam? From Matters of Fact to Matters of Concern', Critical Inquiry, 30 (2004), p. 234.
7. Matthew Butterfield, 'The Musical Object Revisited', Music Analysis, 21 (2002), pp. 327-80.
8. Latour, 'Critique', p. 246.
9. Lawrence Kramer, 'Music, Historical Knowledge, and Critical Inquiry: Three Variations on the Ruins of Athens', Critical Inquiry, 32 (2005).
10. Brown, 'Thing Theory', p. 4.
11. Collected Poems (New York: Knopf, 1954), p. 76.
12. Production of Presence: What Meaning Cannot Convey (Stanford: Stanford University Press, 2004)
13. 'Music - Drastic or Gnostic?' Critical Inquiry, 30 (2004), pp. 505-36;
14. 'Music, Metaphor, and Metaphysics', Musical Times, 145 (2004), pp. 5-18.
15. Joseph Kerman, 'A Romantic Detail in Schubert's Schwanengesang', in Walter Frisch (ed.), Schubert: Critical and Analytical Studies (Lincoln, NE: University of Nebraska Press, 1985), pp. 48-64;
16. Robert Morgan, 'Dissonant Prolongation: Theoretical and Compositional Precedents', Journal of Music Theory, 20 (1976), pp. 49-91.
17. Lawrence Kramer, Franz Schubert: Sexuality, Subjectivity, Song (1998; rep. Cambridge: Cambridge University Press, 2003), p. 39.
18. Suzannah Clark, 'Schubert, Theory and Analysis', Music Analysis, 21/ii (2002), p. 227.
19. (Truth and Method (1960), 2nd rev. edn (1989), trans. Joel Weisheimer and Donald G. Marshall (New York: Continuum, 1996), p. 16).
20. Susan McClary, Conventional Wisdom: the Content of Musical Form (Berkeley, CA: University of California Press, 2000), esp. pp. 1-31.
21. Slavoj Žižek/F. W. J. von Schelling, The Abyss of Freedom/The Ages of the World (Ann Arbor: University of Michigan Press, 1997), p. 80.
22. Lawrence Kramer, Music and Poetry: the Nineteenth Century and After (Berkeley, CA: University of California Press, 1984), pp. 94-5.
23. Clark, 'Schubert', p. 228.
24. Kofi Agawu, 'Ambiguity in Tonal Music: a Preliminary Study', in Anthony Pople (ed.), Theory, Analysis and Meaning in Music (Cambridge: Cambridge University Press, 1994), pp. 86-107.
25. Kramer,' "Little Pearl Teardrops": Schubert, Schumann, and the Tremulous Body of Romantic Song', in Linda Austern (ed.), Music, Sensation, and Sensuality (New York: Garland Press, 2002), 57-74.
26. Slavoj Žižek, Enjoy Your Symptom! Jacques Lacan in Hollywood and Out (New York: Routledge, 2001), p. 117.
27. 'A Barrel of Laughs from an Improbable Joker', New York Times (Sunday 8 August 2004), sec. 2, col. 1, p. 24.
28. Žižek, The Abyss of Freedom, pp. 80-81
29. Žižek, Looking Awry: an Introduction to Jacques Lacan Through Popular Culture (Cambridge, MA: MIT Press, 1992), p. 128.
30. 'The Language of Flowers', Critical Inquiry, 30 (2003), p. 118.
31. Roger Callois, Man, Play, and Games, trans. Meyer Barash (New York: Shocken, 1979;