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Intertextuality in Western Art Music (Musical Meaning and Interpretation), by Michael L. Klein. Indiana University Press (601 N. Morton St., Bloomington, IN 47404), 2005. 182 pp. $44.95.
Reading this book is like eating an artichoke. It takes both perseverance and technical knowledge to avoid discouragement and get to the good eats. Michael Klein buys heavily into the jargon of literary theory and its counterparts in other fields, lacing his musical discussions with references to semiotics, heuristics and hermeneutics, to deconstruction and post-structuralism. This five-chapter book reads like five related scholarly papers, connected primarily through the shared topic of intertexuality: a cross-referencing of texts (or music) both forward and backward in time. Klein argues that all the music and non-music one knows forms a web of relationships, both consciously recognized and hidden, that shapes the meaning you find in a given piece.
Such a premise hardly needs proving, since the vast majority of musicians is bound to agree with this relatedness, but the fun lies in the demonstration. When Klein analyzes music with which he strongly identifies and understands, such as in the fifth chapter, "The Logic of Suffering in Lutoslawski's Symphony No. 4," his probing investigation is emotionally compelling, and his intertextual references to parallel structural and affective elements in Chopin's first ...