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n o t e s introduction Lawrence Kramer 1. For more on this subject, see the introductions to my Critical Musicology and the Responsibility of Response, Ashgate Contemporary Thinkers in Critical Musicology (Aldershot, U.K.: Ashgate, 2006), pp. ix–xvi, and to Richard Leppert ’s Sound Judgment (2007) in the same series. The disciplinary change began in the late 1980s; for a general survey through 2001, see Alastair Williams , Constructing Musicology (Aldershot, U.K.: Ashgate, 2001); and for one through 2005, David Beard and Kenneth Gloag, Musicology: The Key Concepts (London: Routledge, 2005). 2. On the capacity of music to anticipate cultural and social change, see Jacques Attali, Noise, trans. Brian Massumi (Minneapolis: University of Minnesota Press, 1985). 3. From ‘‘Gerontion,’’ in T. S. Eliot, Collected Poems: 1909–1962 (New York: Harcourt, Brace, and World, 1963), p. 30. On what I am calling nostalgic irony, see Walter Frisch, German Modernism (Berkeley: University of California Press, 2005), pp. 186–213. The term ‘‘infinite irony’’ is from Wayne C. Booth, A Rhetoric of Irony (Chicago: University of Chicago Press, 1974). 4. Judith Butler, Giving an Account of Oneself (New York: Fordham University Press, 2005), pp. 36–40. 5. See Jacques Lacan, The Four Fundamental Concepts of Psychoanalysis: The Seminar of Jacques Lacan, Book XI, ed. Jacques-Alain Miller, trans. Alan Sheridan (New York: Norton, 1998), pp. 53–64; and Slavoj Zizek, Looking Awry: An Introduction to Jacques Lacan through Popular Culture (Cambridge, Mass.: MIT Press, 1992), pp. 1–38. 6. Hans-Georg Gadamer, Truth and Method, 2nd rev. ed., trans. Joel Weisheimer and Donald G. Marshall (1960; New York: Continuum, 1989), pp. 303–4. 7. On these and other usages, see Esteban Buch, Beethoven’s Ninth: A Political History, trans. Richard Miller (Chicago: University of Chicago Press, 2004); on the European Anthem in particular, see Caryl Clark, ‘‘Forging Iden185 186 Notes tity: Beethoven’s ‘Ode’ as European Anthem,’’ Critical Inquiry 23 (1997): 789– 807. 8. Michel Foucault, ‘‘The Subject and Power,’’ Critical Inquiry 8 (1982): 777–95. 1. due rose, due volte: a study of early modern subjectivities Susan McClary 1. See in particular his most recent book, Why Classical Music Still Matters (Berkeley: University of California Press, 2007). 2. For the Italian both here and in the examples, I am using the version in Robert Durling, Petrarch’s Lyric Poems (Cambridge, Mass.: Harvard University Press, 1976), p. 407. The English translation draws on a number of available printed versions but ultimately is my own. 3. Nancy Vickers, ‘‘Diana Described: Scattered Woman and Scattered Rhyme,’’ Critical Inquiry 8 (1981): 265–70. 4. Alfred Einstein, The Italian Madrigal, 3 vols., trans. Alexander H. Krappe, Roger H. Sessions, and Oliver Strunk (Princeton, N.J.: Princeton University Press, 1949), p. 534. 5. See Marı́a Rosa Menocal, Shards of Love: Exile and the Origins of the Lyric (Durham, N.C.: Duke University Press, 1994). 6. For an extensive discussion of the theoretical framework within which these pieces operate, see my Modal Subjectivities: Self-Fashioning in the Italian Madrigal (Berkeley: University of California Press, 2004). 7. Einstein, Italian Madrigal, p. 534. 8. Ibid., p. 643. 9. For a discussion of Arcadelt’s madrigal, see McClary, Modal Subjectivities , chap. 3. 10. For more on this allusion, see Anthony Pryer, ‘‘Monteverdi, Two Sonnets , and a Letter,’’ Early Music (August 1997): 367. 11. See Carolyn Abbate, ‘‘Music—Drastic or Gnostic?’’ Critical Inquiry 30 (2004): 505–37. See also my Reading Music (London: Ashgate, 2007). 12. Giovanni Maria Artusi, L’Artusi, ovvero Delle imperfezioni della moderna musica (1600). 13. Menocal, Shards of Love. 14. See my Conventional Wisdom: The Content of Musical Form (Berkeley: University of California Press, 2000). 15. See McClary, Modal Subjectivities, especially the chapters on Arcadelt and Willaert, both of whom produced their extraordinary expressive effects within the constraints of modal propriety. 16. See Thomas K. Nelson, ‘‘The Fantasy of Absolute Music’’ (Ph.D. dissertation , University of Minnesota, 1998). [44.203.219.117] Project MUSE (2024-03-28 15:45 GMT) 187 Notes 17. Ernesto Sabato, On Heroes and Tombs, trans. Helen R. Lane (Boston: David R. Godine, 1981), pp. 22–23. 18. Here and elsewhere in my discussion of early modernity, I am influenced by the work of my recent advisee Ljubica Ilic; see her ‘‘Music and Modernity: Investigating the Boundaries’’ (Ph.D. dissertation, UCLA, 2007). 19. See Abbate, ‘‘Music—Drastic or Gnostic?’’ 20. See Artusi, L’Artusi and Vincenzo Galilei, Dialogo della musica antica e della moderna (1581). 2. sublime experience and ironic...