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THE SACRED CHARACTER OF BRUCKNER 'S MUSIC AND THE FORMATIVE INFLUENCES ON HIS SEMIOTIC MARKINGS THE SACRED CHARACTER OF BRUCKNER 'S MUSIC AND THE FORMATIVE INFLUENCES ON HIS SEMIOTIC MARKINGS
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BRUCKNER'S SIGNIFIERS FOR DARKNESS AND LIGHT, AND THE MEANING OF DARKNESS AND LIGHT IN HIS RELIGION BRUCKNER'S SIGNIFIERS FOR DARKNESS AND LIGHT, AND THE MEANING OF DARKNESS AND LIGHT IN HIS RELIGION
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THE DIALECTIC OF DARKNESS AND LIGHT: STRUCTURE AND MEANING IN BRUCKNER THE DIALECTIC OF DARKNESS AND LIGHT: STRUCTURE AND MEANING IN BRUCKNER
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APOCALYPTIC VISION IN BRUCKNER'S MUSIC APOCALYPTIC VISION IN BRUCKNER'S MUSIC
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TRANSFIGURATION OF THEMES TRANSFIGURATION OF THEMES
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PLATEAUS OF INTENSITY PLATEAUS OF INTENSITY
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CONCLUSION CONCLUSION
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5 5 Lux in Tenebris: BRUCKNER AND THE DIALECTIC OF DARKNESS AND LIGHT
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Published:May 2003
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Abstract
This chapter discusses the construction of the sacred in music by way of a study of the composer Bruckner, chosen because he is widely seen as a “pure” musician, impervious to ideological assault. It becomes clear, however, that he often makes musical choices with reference to Christian religious discourse and thus for ideological rather than structural reasons. The chapter examines the usefulness of a “darkness and light” trope for understanding the compositional process in his music. The strategy is: (1) to establish the sacred character of Bruckner's music and show how he inherits religious signifiers for darkness and light; (2) to show how he uses these signifiers; (3) to explore the appropriateness of the darkness/light trope; and (4) to put forward a theory of “transfiguration of themes”. It affords an opportunity to import ideas from Gilles Deleuze and Félix Guattari, as well as to draw on Jacques Derrida's anti-dialectical arguments.
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