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

机译:查尔斯·艾夫斯《精选歌曲》中的和弦和拉康的宾语

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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
机译:摘要对拉康的客体小提法a的音乐回应-想象中的“客体原因”的欲望-解释了查尔斯·艾夫斯的某些歌曲,其中“ tonic”和弦由占主导地位的复杂的网络组成。第七和声。这些具有色调欲望的对象采用缺乏(作为缺席中心)和剩余(作为多个色调中心)的结构。在每首歌曲中,艾夫斯都采用单独的和声技术来质疑调性和弦协调断裂声调的能力。我研究了1922年收集的114首歌曲中的余辉,宁静,海上和迷雾,我探索了每种文本和背景的拉康风格,揭示了每首歌曲提供的有关补品功能的信息。对Premonitions的分析举例说明了SlavojŽižek提出的区别,在该功能系统中,一个坐标对象希望将其作为缺席的中心,而在该系统中,该对象被剥夺了其组织能力。查看全文下载全文相关的var addthis_config = { “泰勒和弗朗西斯在线”,services_compact:“ citeulike,netvibes,twitter,technorati,delicious,linkedin,facebook,stumbleupon,digg,google,更多”,发布:“ ra-4dff56cd6bb1830b”};添加到候选列表链接永久链接http://dx.doi.org/10.1080/02690403.2011.618726

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