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- W2044080201 abstract "To present a discussion of Der Doppelgänger, the thirteenth song from Schubert's Schwanengesang, might seem a redundant enterprise. Richard Kramer comments of its sixty-three sparsely textured bars that “no other song has provoked quite as much hermeneutical exercise.”1 Yet it is precisely this status as a shibboleth of analytical literature that makes the song inexhaustible as a source for reflection, both upon the business of representing words in music and upon the business of representing music in words. The starting point for this essay is a simple fascination with the song's miraculously economical text. For two decades, it has served me as a favorite example in teaching, and (as with all pieces that become one's favorites) it has seemed more profound each time a student or a class has led me through it. Part of its appeal, pedagogically speaking, lies in its brevity and the consistency of its texture. As with other much-analyzed pieces, such as the first prelude of the Wohltemperirtes Clavier, or the first movement of Mozart's Piano Sonata K.331, it is relatively easy to talk of structural concerns, since there is so little detail at the local level. However, these contingent features are also markers of more general issues. Perhaps because of its apparent simplicity, it has been taken by many listeners (including me) to communicate something more deeply essential concerning the potential of music to carry meaning. The sense of surprise, on hearing this song, that anything so compact can yet be so powerful and intense, impels the listener toward attempting to account for this.2 It is a text that demands interpretation." @default.
- W2044080201 created "2016-06-24" @default.
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- W2044080201 date "2010-05-04" @default.
- W2044080201 modified "2023-09-27" @default.
- W2044080201 title "The Double Articulation of Schubert: Reflections on Der Doppelganger" @default.
- W2044080201 doi "https://doi.org/10.1093/musqtl/gdq008" @default.
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