Subject
Re: query; music and Nabokov
From
Date
Body
Don Stanley [JM: How could we describe "deception" in music?] "As far as music being deceptive, I suppose you could look at it that way...."
JM: But I don't! (I only mentioned it because Nabokov wrote that "deception in chess, as in art, is...part of the combination. I think a good combination should always contain a certain element of deception.") One shouldn't confuse Nabokov's manoeuvers of "deception" in art, with "fiction", "reality" or "illusion."
Responding to A.Bouazza, you wrote that in "A Hero's Life, Strauss nominates himself as the hero. As A Bouazza notes, one movement filled with cackling woodwinds represents his critics, of whom he had plenty...the movement ... The Hero's Works of Peace quotes something like 30 of Strauss’s own compositions. If someone out there has added up the Nabokov references in LATH, it would be interesting to know who is the self-referential winner."
You had already inquired about self-referential authors, mentioning that "when Shostakovich and others encrypt notes corresponding to their initials (or a girlfriend’s initials) within the score, maybe Nabokov’s anagrams come to mind." In my opinion, it is easy to draw parallels between similar stylistic devices, rethoric tools, anagrams, satire, wit, etc., in literature, painting, music. These expressive resources are what we expect to find in Art, they are not idiosyncratic devices which we'd associate to one musician, one writer, one painter only. Bach encripted his name in his music. Legend ( at least, Hofstaedter) holds that, after moribund Bach added the last letter (note) to his name, he died.
Christimas season is here and I'd like to share with you a special magnificent link, one which Dave Haan sent to me in relation to Bach's musical parodies and contrafacta, ie: "self"- references.
One has only to read about, and listen to, Bach's variations on "Von Himmel Hoch," wonder and enjoy.
Here is the link ( MERRY CHRISTMAS AND HAPPY 2011...).
http://janus.ucc.nau.edu/tas3/bachindex.html
It would be wonderful if an ingenious scholar offered us a similar multimediatic illustration of Nabokovian "contrafacta" in LATH, and elsewhere...
Search archive with Google:
http://www.google.com/advanced_search?q=site:listserv.ucsb.edu&HL=en
Contact the Editors: mailto:nabokv-l@utk.edu,nabokv-l@holycross.edu
Visit Zembla: http://www.libraries.psu.edu/nabokov/zembla.htm
View Nabokv-L policies: http://web.utk.edu/~sblackwe/EDNote.htm
Visit "Nabokov Online Journal:" http://www.nabokovonline.com
Manage subscription options: http://listserv.ucsb.edu/
JM: But I don't! (I only mentioned it because Nabokov wrote that "deception in chess, as in art, is...part of the combination. I think a good combination should always contain a certain element of deception.") One shouldn't confuse Nabokov's manoeuvers of "deception" in art, with "fiction", "reality" or "illusion."
Responding to A.Bouazza, you wrote that in "A Hero's Life, Strauss nominates himself as the hero. As A Bouazza notes, one movement filled with cackling woodwinds represents his critics, of whom he had plenty...the movement ... The Hero's Works of Peace quotes something like 30 of Strauss’s own compositions. If someone out there has added up the Nabokov references in LATH, it would be interesting to know who is the self-referential winner."
You had already inquired about self-referential authors, mentioning that "when Shostakovich and others encrypt notes corresponding to their initials (or a girlfriend’s initials) within the score, maybe Nabokov’s anagrams come to mind." In my opinion, it is easy to draw parallels between similar stylistic devices, rethoric tools, anagrams, satire, wit, etc., in literature, painting, music. These expressive resources are what we expect to find in Art, they are not idiosyncratic devices which we'd associate to one musician, one writer, one painter only. Bach encripted his name in his music. Legend ( at least, Hofstaedter) holds that, after moribund Bach added the last letter (note) to his name, he died.
Christimas season is here and I'd like to share with you a special magnificent link, one which Dave Haan sent to me in relation to Bach's musical parodies and contrafacta, ie: "self"- references.
One has only to read about, and listen to, Bach's variations on "Von Himmel Hoch," wonder and enjoy.
Here is the link ( MERRY CHRISTMAS AND HAPPY 2011...).
http://janus.ucc.nau.edu/tas3/bachindex.html
It would be wonderful if an ingenious scholar offered us a similar multimediatic illustration of Nabokovian "contrafacta" in LATH, and elsewhere...
Search archive with Google:
http://www.google.com/advanced_search?q=site:listserv.ucsb.edu&HL=en
Contact the Editors: mailto:nabokv-l@utk.edu,nabokv-l@holycross.edu
Visit Zembla: http://www.libraries.psu.edu/nabokov/zembla.htm
View Nabokv-L policies: http://web.utk.edu/~sblackwe/EDNote.htm
Visit "Nabokov Online Journal:" http://www.nabokovonline.com
Manage subscription options: http://listserv.ucsb.edu/