David Trippett’s sprawling, occasionally puzzling, yet often captivating and fascinating attempt to provide fresh insights into Richard Wagner’s compositional practices and aesthetic productions, combines wide-ranging and detailed scholarly reconstructions of some of the cultural contexts or ‘discursive constellations’ that framed the production and reception of Wagner’s works in nineteenth century Germany, with an intensely detailed, sometimes speculative intellectual analysis of the ways in which such re-framings hint at hidden layers of meaning in the aesthetic works themselves, meanings that Wagner himself did not necessarily recognize or share. It is important to point out that, although Trippett’s work is clearly focused on the ways in which discursive framings created different, historically shifting meanings for Wagner’s music, he does not claim that the substance and meaning of the work can simply be reduced to such historical constructions. Although specific discursive webs tend to be self-reflexive in the assignation of meanings, they do not simply construct different realities in different worlds. In a passage somewhat enigmatic in its own right, Trippett claims that his analysis does not assume a ‘substantial’ identity in the Wagner melodies that the different discourses engaged, nor does he claim that the different discourses simply leave us with a series of incommensurable constructions. Instead he claims that what the discourses implicitly share, and what draws them together as articulations of a unifying theme that can be addressed as ‘Wagner’s Melodies’, is a common assumption about melodic form as the articulation of expressive agency. Whether this form is discursively defined as a ‘a music-theoretical category, a philosophical idea, an unwritable utterance, embodied sensuality’ or a ‘material emblem of sound waves’, it holds the individual discourses together and ‘sublates’ their differences as participants in a shared discourse about melody as the musical articulation of a universal dynamics of identity formation (11). The patterned sequence of tones in harmonic space and musical time, the emergence of individuated narrative (with the characteristics of sensual embodiment and historical particularity) from undifferentiated being, provides the common form which the various discursive frameworks tried, ultimately unsuccessfully, to define, control and possess as an integral objective experiential reality. Wagner’s melodies sustain a recognizable Wagnerian form through their various historical appropriations and transformations.
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