The Tonic Chord and Lacan's Object a in Selected Songs by Charles Ives

摘要

ABSTRACT A musical response to Lacan's concept of the objet petit a - the imaginary ‘object-cause’ of desire - accounts for certain songs by Charles Ives in which ‘tonic’ chords are signified by complex networks of dominant-seventh harmonies. These objects of tonal desire adopt the structure of both lack (as absent centre) and surplus (as multiple tonal centres). In each song, Ives employs individual harmonic techniques to question the ability of tonic chords to coordinate a fractured tonality. Investigating Afterglow, Serenity, At Sea and Mists from the 1922 collection of 114 Songs, I explore the Lacanian dimensions of each text and setting, bringing out the message that each song offers about the function of the tonic. An analysis of Premonitions exemplifies a distinction Slavoj Žižek proposed between a functional system in which the object a coordinates desire as absent centre, and a system in which the object is stripped of its organizational power.View full textDownload full textRelated var addthis_config = { ui_cobrand: "Taylor & Francis Online", services_compact: "citeulike,netvibes,twitter,technorati,delicious,linkedin,facebook,stumbleupon,digg,google,more", pubid: "ra-4dff56cd6bb1830b" }; Add to shortlist Link Permalink http://dx.doi.org/10.1080/02690403.2011.618726