Book contents
- Music, Subjectivity, and Schumann
- Music, Subjectivity, and Schumann
- Copyright page
- Contents
- Examples
- Acknowledgements
- Abbreviations
- Preamble
- Prosopopoeic Preliminaries
- Part I Hearing Subjects
- Part II Hearing Presence
- Part III Hearing Absence
- Part IV Hearing Others
- Epilogue
- 10 Hearing Ourselves
- Bibliography
- Index
10 - Hearing Ourselves
from Epilogue
Published online by Cambridge University Press: 07 April 2022
- Music, Subjectivity, and Schumann
- Music, Subjectivity, and Schumann
- Copyright page
- Contents
- Examples
- Acknowledgements
- Abbreviations
- Preamble
- Prosopopoeic Preliminaries
- Part I Hearing Subjects
- Part II Hearing Presence
- Part III Hearing Absence
- Part IV Hearing Others
- Epilogue
- 10 Hearing Ourselves
- Bibliography
- Index
Summary
In the Epilogue to this book, I turn away from the hypothetical subjects heard in music and to our own selves, as thinking, feeling, meaning-making subjects, as interpretants of music and our own subjectivity alike. Why are the notions of subjectivity associated with Schumann’s music still of relevance today? What is the work that music does that enables it to become one of our most cherished means for hearing ourselves, for self-recognition? And what are the attendant dangers – hermeneutic, aesthetic, but more significantly ethical – in such an endeavour?
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- Music, Subjectivity, and Schumann , pp. 335 - 347Publisher: Cambridge University PressPrint publication year: 2022