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Contents

Music in the Early Twentieth Century

PUTTING THINGS “IN QUOTES”

Chapter:
CHAPTER 9 Lost—or Rejected—Illusions
Source:
MUSIC IN THE EARLY TWENTIETH CENTURY
Author(s):
Richard Taruskin

The passage in Ortega’s essay subtitled “A Few Drops of Phenomenology” (after the branch of philosophy that inquires into the nature of appearances and perception) can help us understand Berg’s predicament. Ortega imagines a deathbed scene witnessed by the wife of the dying man, his doctor, a reporter, and a painter.6 Their various relationships to the event are analyzed in turn. The author’s conclusion is that as the four witnesses are each more detached from the event emotionally than the last, they are by the same token increasingly observant of it in all its details. It is that maximum detachment that enables the artist “objectively” to channel the emotions of the lived reality into significant form. That form then becomes, for the artist and those who truly appreciate his art as art, the object and the aim of contemplation. And that is irony at its highest and best, no longer to be simply identified with humor. It is the irony that transforms experience into art.

Citation (MLA):
Richard Taruskin. "Chapter 9 Lost—or Rejected—Illusions." The Oxford History of Western Music. Oxford University Press. New York, USA. n.d. Web. 18 Dec. 2018. <http://www.oxfordwesternmusic.com/view/Volume4/actrade-9780195384840-div1-009005.xml>.
Citation (APA):
Taruskin, R. (n.d.). Chapter 9 Lost—or Rejected—Illusions. In Oxford University Press, Music in the Early Twentieth Century. New York, USA. Retrieved 18 Dec. 2018, from http://www.oxfordwesternmusic.com/view/Volume4/actrade-9780195384840-div1-009005.xml
Citation (Chicago):
Richard Taruskin. "Chapter 9 Lost—or Rejected—Illusions." In Music in the Early Twentieth Century, Oxford University Press. (New York, USA, n.d.). Retrieved 18 Dec. 2018, from http://www.oxfordwesternmusic.com/view/Volume4/actrade-9780195384840-div1-009005.xml
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