GRGR(20) "Young Fool"

[Michael Perez]

Jody wrote:
"Finally, if Structuralism considered Signs as autonomous- freed them
from the constraints of  etymology (cf, organic chemists playing with
their 'signs')- the antithesis of structuralism seems to be aiming to
free Signs from objectivity, or, pseudo-objectivity, if you will,
altogether, leaving no priviledged perspective or 'purchase' from which
to make any distinctions or interpretations, whatsoever: The final
synthetic step or the death of the western dialectic (off the Planck?).
Gustav/Weber is the son whose self-conscious sacrifice signals the
emergence of a new- entirely unpredictable (except for us readers)-
organizing principle."

It is interesting that you mention Saussure.  His insistance that
language should be holistically rather than atomistically is actually
similar to that of the twelve tone composers, I believe.  Both language
and music are CREATED atomistically, but one does not have to be a
composer or a writer to appreciate, understand, or even reproduce
language or music and are free to consider and encouraged the whole. 
To produce something like _GR_ or Schönberg's Wind Quintet or Webern's
Symphony, though, takes a lot of detailed consideration at the
atomistic level.  Many people feel that Gustav's non-whistleable music
is only a step by step formulaic construct rather than a polished
whole.

The freedom he speaks of is the freedom to use more of the available
pitch classes as on (or in) the piano.  The thought has not yet
occurred to him that there may be something beyond that which has been
passed down a few centuries.  The twelve tone technique of Schönberg
and Webern was very structured, especially at first, and very mindful
of the total effect of the ways the musical choices were arranged.  It
allowed for the notes to be equally considered, but the formal aspects
of the musical pieces were very traditional.  It sounded odd because
the type of melodic and harmonic structure imposed by the tonal system
only allowed for a certain small group of choices, which was widened
considerably by the time we get to Wagner, Mahler, and Strauss.  It is
difficult to discern a holistic effect comparable to tonal or modal
music, but it is there by design.


Michael

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