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Drastic Or Gnostic? Author(S): Carolyn Abbate Source: Critical Inquiry, Vol Music: Drastic or Gnostic? Author(s): Carolyn Abbate Source: Critical Inquiry, Vol. 30, No. 3 (Spring, 2004), pp. 505-536 Published by: The University of Chicago Press Stable URL: http://www.jstor.org/stable/1344397 Accessed: 12/10/2010 06:05 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/action/showPublisher?publisherCode=ucpress. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. The University of Chicago Press is collaborating with JSTOR to digitize, preserve and extend access to Critical Inquiry. http://www.jstor.org Music-Drastic or Gnostic? CarolynAbbate What does it mean to write about performed music? About an opera live and unfolding in time and not an operatic work?Shouldn't this be what we do, since we love music for its reality,for voices and sounds that linger long after they are no longer there? Love is not based on great works as unper- formed abstractions or even as subtended by an imagined or hypothetical performance. But would considering actual performances simply involve concert or record reviews? And would musicology-which generally by- passes performance, seeking meanings or formal designs in the immortal musical work itself-find itself a wallflower at the ball? More than forty years ago, Vladimir Jankelevitchmade what is still one of the most passionate philosophical arguments for performance, insisting that real music is music that exists in time, the material acoustic phenom- enon. Metaphysical mania encourages us to retreat from real music to the abstraction of the work and, furthermore, alwaysto see, as he put it, "some- thing else," something behind or beyond or next to this mental object. Yet, as he wrote, "composing music, playing it, and singing it; or even hearing it in recreating it-are these not three modes of doing, three attitudes that are drastic, not gnostic, not of the hermeneutic order of knowledge?"'Mu- sical sounds are made by labor. And it is in the irreversibleexperience of playing, singing, or listening that any meanings summoned by music come into being. Retreatingto the work displaces that experience, and dissecting the work's technical features or saying what it represents reflects the wish 1. VladimirJankdl1vitch, Music and theIneffable, trans. Carolyn Abbate (Princeton, N.J., 2003), p. 77;hereafter abbreviated MI. A similaremphasis on doing characterizesChristopher Small's ethnographyof music making,Musicking: The Meanings ofPerforming and Listening(Hanover, N.H., 1998). CriticalInquiry 30 (Spring 2oo4) Sz2oo4 by The Universityof Chicago. oo93-1896/o4/3oo3-oooo$10.oo.All rights reserved. 505 506 CarolynAbbate / Music-Drastic or Gnostic? notto be transportedby the state that the performance has engendered in us.The musical work-the thingwe scrutinize for supra-audible import- in less severeterms is a souvenir,one of the thingstaken away from the experienceof playingor listening, to be "put... in a drawer"and contem- platedas a wayof domesticatingthat experience.2 Ratherthan bringing out thesouvenirs and singing their praises or ex- plainingtheir meanings one moretime, I wantto testthe conviction that whatcounts is not a work,not, forexample, Richard Wagner's Die Meis- tersingervon Niirnberg in the abstract,but a material,present event. This entailsseeking a practicethat at its mostradical allows an actuallive per- formance(and not a recording,even of a liveperformance) to becomean objectof absorption,which means going back for a momentto a certain forkin theroad and seeing what was abandoned there. In the 198os, Joseph Kermanargued for a disciplinaryrevolution in musicology,urging a focus on musicalworks and their meaning. This new music criticism was not musiccriticism as usual,and we wouldnot bejournalists, an artisanclass excludedfrom academia. Transcending the quotidian, how Bartoli sang or whetherArgerich seemed nervous, musicology would deal instead with Rossini'sLa Cenerentola orRavel's Gaspard de la nuit.3 WhileKerman's aim wasto divertmusicology towards criticism and hermeneutics and away fromcomposer biography, archival history, and strict formalism, some- thingimportant was foreclosedwhen old musiccriticism became new musiccriticism. And the something was not just Cecilia Bartoli or Martha Argerichbut real music: the performances that were to remainin largepart as marginalto criticismor hermeneuticsas theyhad been to formalism, biography,history, or theory.Even for scholars like Suzanne Cusick, com- mittedin principleto an "embodiedcriticism" that deals with music's ma- terialityrather than with disembodied"texts," writing about an actual performancehas proved to be theunusual option.4 2. Abbate,In Searchof Opera(Princeton, N.J., 2001), p. 51;hereafter abbreviated ISO. 3. See JosephKerman, Contemplating Music: Challenges to Musicology(Cambridge, Mass., 1985), PP. 113-54. 4. See SuzanneCusick, "On Musical Performances of Genderand Sex,"in AudibleTraces: Gender,Identity, and Music,ed. ElaineRadoff Barkin and LydiaHamessley (Zurich, 1999), pp. 25- 48. Cusick,developing Judith Butler's thesis that genderis performedand not essential,calls for musicologyto contemplateperformance itself. Yet with few exceptions,notably her analysesof CARO LY N AB BATE is professorof musicat PrincetonUniversity. She is the author of Unsung Voices(1991), published in French as Voix hors chant (2004), and of In Searchof Opera(2001); she is also translatorof VladimirJankdlvitch's Music and the Ineffable(2003). Most recently, she worked as dramaturg on the MetropolitanOpera's new productionof Don Giovanni,which premiered in March 2004. CriticalInquiry / Spring2004 507 This does not mean that academia has neglected classical-music perfor- mance. Farfrom it. The relationship (or lack of one) between musicological dicta and musical praxis has haunted the historical performancemovement and the debates about it.5There are music historians who write about per- formers of past eras and literary critics or art historians who write on per- formance art. There are philosophical arguments about performance,made with particular verve.6There are ever more frequent references to favorite recordings and analyses of opera staging, not to mention theperformative as catchword and object of scrutiny. Nicholas Cook, imagining a perfor- mance analyst, makes an exhaustive list that downplays only certain conventional music-historical approaches (early music performance, per- former biographies).' His typology includes "performanceinterpretation" (the performance becomes the means to bring out structural features), a staple in music theory.8Under the rubric of the performative there is the "functioning of the performing body" and the restrictions culture imposes on it, which indeed reduces the body to another text to be analyzed, but might include ways in which a specific performance satirizes or travesties the script ("B").9The performativeas umbrella concept could shape a post- modern approach (via Bakhtin and the dialogic) that sees the performance event as a polysemic text to be analyzed in its many conflicting domains. Cook discusses a quasi-ethnographic or sociological approach, where an authoritative observer synthesizes the performance within the culturalcon- text of its production. He notes that "analyzingmusic as performance does actualperformances in "Genderand the CulturalWork of a ClassicalMusic Performance," Repercussions 3 (Spring 1994): 77-110, Cusick herself adheres to the work-centered musicological norm or documentsperformative elements like femalevocality as they were understoodin earlier historicaleras. 5. Two criticalgold standardsare RichardTaruskin's Text and Act:Essays on Musicand Performance(New York,1995), and JohnButt, reviewof Authenticities:Philosophical Reflections on MusicalPerformance, by PeterKivy, Journal of theAmerican Musicological Society 53 (Summer 2000): 159-64as well as Playingwith History:The Historical Approach to MusicalPerformance (Cambridge, 2002). 6. See LydiaGoehr, The Questfor Voice: On Music,Politics, and the LimitsofPhilosophjy (Oxford, 1998),and Naomi Cumming, TheSonic Self- Musical Subjectivity and Signification(Bloomington, Ind., 2000). 7. See Nicholas Cook, "BetweenProcess and Product:Music and/asPerformance," Music TheoryOnline 7 (Apr.2001): http://www.societymusictheory.org/mto/issues/mto.o1.7.2/mto. 0l.7.2.cook.html;hereafter abbreviated "B." As JonathanDunsby writes, "Performance Studies is a burgeoningarea . .. in the book and articleliterature" (Jonathan Dunsby, "Acts of Recall,"The Musical Times 138 [Jan. 19971:12). 8. As is typical,for instance,in argumentsin EdwardCone's Musical Form and Musical
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