Roland Barthes and the grain of Panzera's voice

Journal of the Royal Musical Association

Volumn 134, Issue 1, 2009, Pages 113-132

  Dunsby, Jonathan ^a  

^a NONE

Author keywords

[No Author keywords available]

Indexed keywords

EID: 77950442800     PISSN: 02690403     EISSN: None     Source Type: Journal    
DOI: 10.1080/14716930902756869     Document Type: Review

References (55)

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4. Jonathan Dunsby, Making Words Sing: Nineteenth- and Twentieth-Century Song (Cambridge, 2004)
5. Lawrence Kramer, 'Beyond Words and Music: An Essay in Songfulness', Musical Meaning: Toward a Critical History (Berkeley, CA, and London, 2002), 51-67
6. Julia Kristeva, 'The Semiotic and the Symbolic', Revolution in Poetic Language, trans. Margaret Waller (New York, 1984), 19-106 (p. 24)
7. The Kristeva Reader, ed. Toril Moi (Oxford, 1986), 120-3
8. Roland Barthes, 'The Grain of the Voice', Image, Music, Text, trans. and ed. Stephen Heath (London, 1977), 179-89
9. Barthes's essay 'Le grain de la voix' was first published in Musique en jeu, 9 (1972), 57-63
10. Barthes's The Responsibility of Forms (New York, 1985), at present widely available in paperback (Berkeley, CA, and London, 1991), 267-77
11. Roland Barthes, Le grain de la voix: Entretiens 1962-1980 (Paris, 1981)
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13. Michael Szekely, 'Gesture, Pulsion, Grain: Barthes's Musical Semiology', Contemporary Aesthetics, 4 (2006), online at (accessed 30 March 2008)
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25. David Headlam, 'Does the Song Remain the Same? Questions of Authorship and Identification in the Music of Led Zeppelin', Concert Music, Rock, and Jazz since 1945, ed. Elizabeth West Marvin and Richard Hermann (Rochester, NY, 1995), 313-63 (p. 322)
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29. 50 mélodies françaises: Leçons de style et d'interprétation, ed. Charles Panzéra (Brussels, 1964; parallel text in French and English)
30. Louis-Jean Calvet, Roland Barthes: A Biography (Oxford, 1994), 42-3
31. Philip Thody, Roland Barthes: A Conservative Estimate (London, 1977), 139 (my emphasis)
32. Martin Grisel, 'L'écriture de l'imaginaire: Note sur la musique selon Roland Barthes', Barthes après Barthes: Une actualité en questions, ed. Catherine Coquio and Régis Salado (Pau, 1993), 51-62
33. Steven Ungar, Roland Barthes: The Professor of Desire (Lincoln, NE, 1983), 75
34. Roland Barthes, 'La musica, la voce, il linguaggio', Nuova rivista musicale italiana, 12 (1978), 362-6 (pp. 364, 366)
35. Timothy Scheie, Performance Degree Zero: Roland Barthes and Theatre (Toronto, 2006), 129
36. Carlo Caballero, 'Charles Panzéra: Mélodies et airs ', ARSC Journal, 25 (1994), 226-33 (pp. 227-30)
37. Charles Panzéra, 'Masters of French Song', Schumann Dichterliebe, with Alfred Cortot (piano), CD0205770, BD10 Dutton Laboratories (original recording, June 1935, HMV, matrix number 2LA566-573)
38. Dietrich Fischer-Dieskau, Schumann Dichterliebe, with Jörg Demus (piano), CD0185630, originally DG4635052
39. British Library Sound Archive catalogue
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41. 'Desiring Closure, Yearning for Freedom: A Semiotic Study of Tonality in Three Symphonies by Carl Nielsen' (Ph.D. dissertation, University of Manchester, 2004)
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47. William Wimsatt in The Verbal Icon: Studies in the Meaning of Poetry (Lexington, KY, 1954), 3-18
48. Naxos Music Library,
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50. L'obvie et l'obtus (Paris, 1982)
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53. Richard Leppert's The Sight of Sound: Music Representation and the History of the Body (Berkeley, CA, 1994), 230-3
54. Michel Schneider, (La tombée du jour: Schumann (Paris, 1989))
55. Roland Barthes, 'Voice', The Pleasure of the Text (New York, 1975), 66-7 (p. 67)