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- For Beckett, influenced from the outset by Schopenhauer, music always represented a more essential medium than language, one able to overcome the inherent abstractness of the linguistic sign and point the way to a reality beyond the impoverished world of phenomenal experience.
Apr 17, 2020 · Sometimes, as in the television play Ghost Trio, Beckett dramatises the act of listening to music. Elsewhere it is a voice to which we are (explicitly or implicitly) directed. This can be the voice of a reader, as in Ohio Impromptu, or the protagonist’s own recorded voice, as in Krapp’s Last Tape.
- Catherine Laws
- 2020
Jun 29, 2015 · Unlike many of the contributors to Beckett and Music, Laws (herself author of an essay in that collection) is a musicologist, and the attentiveness to musicology as a discipline is one of the distinguishing features of Headache among the Overtones.
Abstract. Samuel Beckett’s lifelong passion for music remains one of the most fascinating aspects of his creative work.
Beckett's music exists not only on page but also on stage, where the author blended the roles of composer and conductor. For Beckett, exactitude of tone, sound and silence were crucial, for, when music. leaves the domain of the mind, it becomes an auditory body vulnerable to violation.
Beckett’s Meditations on Music. The Letters of Samuel Beckett contain a fair amount of Beckett’s reflections on musical performances, and critic Alex Ross notes several of them on his New Yorker blog:
This paper considers aspects of the musicality of Beckett's language and his use of music, examining the ways in which, in certain plays, music plays a role in the exploration of subjectivity and representation.
The importance of music in Beckett’s work is now well documented. His own love of music is frequently commented on, but beyond this it is the role of music in his plays, prose and poetry that is significant. Music sometimes becomes a theme, deployed (in somewhat typical modernist fashion) as a model art form towards which literature might aspire.
