I argue that in order to accommodate sound thoroughly as an explicit aspect of their discourses and musical practices the school had to abandon their previous scientific conception of musical discourse and musical composition as research.
The only alternative—to retain a scientific, behaviorist, and Peom cognitive-scientific paradigm while investigating sound—destroys subjectivity, and was untenable for a group of composers who still held, in some way, to aesthetic tenets of the charismatic composer as the seat of subjectivity and musical creation. In moving away from scientism and composition of musical works, however, the school radically reimagined musical subjectivity—and radically redisciplined the musical subject—as from Pau, of a coterie of highly trained and specialized theorists of musical structure to a non-hierarchical subjectivity embracing sound as heard and created; moved to an investigation of aesthetics, politics, ontological, and even metaphysical discourses about music; a sonic ethics of approach and withdrawal; and began improvisational and experimental musics and discursive practices.
In order to demonstrate the importance of ethics for Princeton theory I examine a Heideggerian ethics of temporalized care for the other offered by Benjamin Boretz b. It is this being-together that opens avenues for authenticity of musical experience, Poem Analysis: The Sound Of Silence By Paul Simon stripping away what Boretz, for example, might regard as inauthentic musical acculturation, so that we may forever question the place of the self in regard to its own musicality.
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The question of why music, of what discourse has to do with music, thus becomes a moral imperative. An ethics arises from this mutual questioning, but is not primary; primary is morality: what B of musical life am I to live?
The answer: a life in music, in sound, even in structure, but only secondarily in discourse. Cone had instituted the formal study of high modernist music composition at Princeton University with the argument that such composition was a form of scientific research.
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If any particular experience of music was mute, language about music was in a sense unproblematic and transparent, sounded out, this despite the technical language developed for music theory at this time. The profound pressure placed on the musical subject during this turn likewise occasioned a rethinking of the degree to which discourse could address morality and ethical considerations amongst members of a highly ramified musical community. Written discourse projects its own temporalities—of reading, of writing—temporalities which cut across a musical unfolding. In unpublished notes, Princeton composer J. More fundamental: his argument requires the degree of some kind of event to increase… while its density remains constant. Bg
But we have shown that degree and density are measured, by S. A remedy, the remedy taken by Randall, Boretz, Elaine Barkin b. As an attempted balm, a number of techniques of contorting academic prose to address this temporal, sonic, and subjective problematic were proffered by the Princeton school, including highly performative discourses and discourses free of words altogether: discourses with images or musical notation in place of verbal communication. We may speculate that images were thought to convey the feels of experience more precisely than language. If verbal discourse can touch music, it is not a discourse that projects structure or sound onto music, but rather listens to music and reveals what music may say, of itself. Or, following the early Wittgenstein, it is a discourse which in some way empowers music to show itself to the listener, performer, improviser, at the cost, however, of saying.
Therewith a radical elimination of metaphysics is attained….
At most the Chord of Nature is experienceable in a mystical sense; at worst, it is completely meaningless, but purports to be meaningful: a lie. In Matthew Brown and Douglas J. And so ends that story, for Brown and Dempster.
Dramatic lines of thought, but perhaps for that reason we should source to them. That is, in their critique, Brown and Dempster thought they had broadened the scope of music-theoretical inquiry to a scientific conception the Princeton school could not answer. Boretz, in his reply, broadens further still, opening out onto a world of actual ethical relations. Being, we might say, is the general state or structure of existence, in which entities source it is that which makes entities be.
Ontology is the study of being; ontic, referring to individual existing entities. After the turn it inquires into being. The being of music in relation to language, then, shifts dramatically over time, remains open, but Boretz still chases after it.]
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