This chapter focuses on the relationship between writing systems and language, which is never perfect, with the result that irregularities and idiosyncrasies arise even in writing systems that ostensibly have a one-to-one correspondence between grapheme and speech sound (or other unit of language). On the basis of a diverse assortment of examples drawn from around the world, this chapter outlines the ways in which writing systems are and are not systematic and discusses various avenues by which idiosyncrasies arise. The survey begins with a consideration of systematicity at the level of individual graphemes, where both aesthetic and functional aspects are discussed, and follows this with an exploration of the various degrees to which phonetic writing systems cover a language’s phonemic and subphonemic distinctions and where irregularities can arise. Issues of spelling and orthography, already interspersed in the first two parts, are the dedicated topic of the last section. At various points the chapter showcases the tension between desire for economy and efficiency and desire for regularity.

Part I, ‘Hearing Subjects’, turns attention to Robert Schumann, addressing the composer’s early grappling with the Romantic problematisation of subjectivity and personal identity frequently present in his music of the 1830s and early 1840s. In ‘Hearing the Self’, I trace the historical development of subjectivity in music up to Schumann’s time, before turning to an early and notable exemplification of the composer’s practice in Carnaval. This forms the starting point for a more detailed consideration of the ways in which a sense of subjectivity can be manifested in Schumann’s piano music of the 1830s, including such features as allusiveness, idiosyncrasy, interiority, a fantasy principle in connexion of moods, and the questioning of continuity and coherence. Finally, I look at the sense of subjectivity conveyed in Schumann’s concertos and the sense in which they collapse distinctions between self and world.