Vladimir Jankelevitch left behind a remarkable ?uvre steeped as
much in philosophy as in music. His writings on moral quandaries
reflect a lifelong devotion to music and performance, and, as a
counterpoint, he wrote on music aesthetics and on modernist
composers such as Faure, Debussy, and Ravel. "Music and the
Ineffable" brings together these two threads, the philosophical and
the musical, as an extraordinary quintessence of his thought.
Jankelevitch deals with classical issues in the philosophy of
music, including metaphysics and ontology. These are a point of
departure for a sustained examination and dismantling of the idea
of musical hermeneutics in its conventional sense.
Music, Jankelevitch argues, is not a hieroglyph, not a language
or sign system; nor does it express emotions, depict landscapes or
cultures, or narrate. On the other hand, music cannot be imprisoned
within the icy, morbid notion of pure structure or autonomous
discourse. Yet if musical works are not a cipher awaiting the
decoder, music is nonetheless entwined with human experience, and
with the physical, material reality of music in performance. Music
is "ineffable," as Jankelevitch puts it, because it cannot be
pinned down, and has a capacity to engender limitless resonance in
several domains. Jankelevitch's singular work on music was central
to such figures as Roland Barthes and Catherine Clement, and the
complex textures and rhythms of his lyrical prose sound a unique
note, until recently seldom heard outside the francophone
world."
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