In his essay, "The Death of the Author," Roland Barthes describes the written text as that which begins when the "voice loses its origin (142)" or the "author enters into his own death (142)." How could this written text be similar (or dissimilar) to a musical text? Our example of a musical text is Gershwin's Porgy and Bess. Does Barthes give us any ways of thinking about the text that might help us with the difficulty of "listening" to music as readers?
Barthes replaces the concept of the author with the concept of the "scriptor," who is "born simultaneously with the text" (145). Barthes says that because this process is simulateous, the writing is not a "depiction," but is rather a "performative" (145). We talked last week with the film group about how the "performative" nature of Grease was different from the reality of Saving Private Ryan. Does Barthes describe a similar difference? Can we consider Gershwin as a "scriptor"--i.e. someone who deals with a text as a "tissue of quotations (147)," something "drawn from many cultures and entering into mutual relations of dialogue, parody, contestation (148)"?
Barthes, however, goes further than simply changing the name and function of the author to the scriptor. What does he do? In what sense does the author become the "listener"? What does Barthes mean when he writes, in the very last sentence, that "the birth of the reader must be at the cost of the death of the Author (148)"?
Barthes replaces the concept of the author with the concept of the "scriptor," who is "born simultaneously with the text" (145). Barthes says that because this process is simulateous, the writing is not a "depiction," but is rather a "performative" (145). We talked last week with the film group about how the "performative" nature of Grease was different from the reality of Saving Private Ryan. Does Barthes describe a similar difference? Can we consider Gershwin as a "scriptor"--i.e. someone who deals with a text as a "tissue of quotations (147)," something "drawn from many cultures and entering into mutual relations of dialogue, parody, contestation (148)"?
Barthes, however, goes further than simply changing the name and function of the author to the scriptor. What does he do? In what sense does the author become the "listener"? What does Barthes mean when he writes, in the very last sentence, that "the birth of the reader must be at the cost of the death of the Author (148)"?
Picture: GERSHWIN, George 1898-1937. I Got Plenty O' Nuttin', with the autograph signature of the composer. J & J Lubrano Music Antiquarians.
The Theatre Guild presents Porgy and Bess, music by George Gershwin libretto by DuBose Heyward lyrics by DuBose Heyward and Ira Gershwin production directed by Rouben Mamoulian. New York: Gershwin Publishing Corp. [PN G-8-6] [c1935]. [i] (title), pp. 2-7 music, [i] publisher's catalogue of "Songs published separately from the American folk opera Porgy and Bess," including, in addition to the present song, "Bess You Is My Woman," "A Woman Is A Sometime Thing," It Ain't Necessarily So" and "My Man's Gone Now." Copyright in the name of the composer. Inscribed in blue ink to head of title-page: "For Alexander Lindley - With admiration and warm greetings. George Gershwin July 1936 (check day)" [a year to the month before the composer's untimely death at the age of 39]. Very slightly worn and creased; creased at central fold; small edge tears.
"The idea of writing a full-length opera based on DuBose Heyward's novel Porgy, about life among the black inhabitants of 'Catfish Row' in Charleston, South Carolina, first occurred to Gershwin when he read the book in 1926. Heyward's wife Dorothy had later helped him turn Porgy into a successful play, and Heyward had been approached by Al Jolson, who hoped to use the story for a musical show in which he would play the lead in blackface. This plan was rejected, however, and in October 1933 Heyward and the Gershwin brothers signed a contract with the Theatre Guild in New York, the same organization that had produced Porgy on stage. Gershwin began the score in February 1934... During much of the summer of 1934 he stayed in South Carolina, composing and absorbing the local atmosphere... By early 1935 the composition was finished, and Gershwin spent the next several months orchestrating." Richard Crawford in Grove online.
The Theatre Guild presents Porgy and Bess, music by George Gershwin libretto by DuBose Heyward lyrics by DuBose Heyward and Ira Gershwin production directed by Rouben Mamoulian. New York: Gershwin Publishing Corp. [PN G-8-6] [c1935]. [i] (title), pp. 2-7 music, [i] publisher's catalogue of "Songs published separately from the American folk opera Porgy and Bess," including, in addition to the present song, "Bess You Is My Woman," "A Woman Is A Sometime Thing," It Ain't Necessarily So" and "My Man's Gone Now." Copyright in the name of the composer. Inscribed in blue ink to head of title-page: "For Alexander Lindley - With admiration and warm greetings. George Gershwin July 1936 (check day)" [a year to the month before the composer's untimely death at the age of 39]. Very slightly worn and creased; creased at central fold; small edge tears.
"The idea of writing a full-length opera based on DuBose Heyward's novel Porgy, about life among the black inhabitants of 'Catfish Row' in Charleston, South Carolina, first occurred to Gershwin when he read the book in 1926. Heyward's wife Dorothy had later helped him turn Porgy into a successful play, and Heyward had been approached by Al Jolson, who hoped to use the story for a musical show in which he would play the lead in blackface. This plan was rejected, however, and in October 1933 Heyward and the Gershwin brothers signed a contract with the Theatre Guild in New York, the same organization that had produced Porgy on stage. Gershwin began the score in February 1934... During much of the summer of 1934 he stayed in South Carolina, composing and absorbing the local atmosphere... By early 1935 the composition was finished, and Gershwin spent the next several months orchestrating." Richard Crawford in Grove online.
Item Id:17110 Cost: $4,250.00
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