The Battle of Chronos and Orpheus

1. MUSICAL SEMIOLOGY: BEYOND STRUCTURALISM, AFTER POSTMODERNISM; 1. Nostalgia is still what it was; 2. The structuralist paradise; 3. Beyond structure; 4. A semiological analysis; 5. Deconstructing the deconstructionists; 6. After postmodernism; 7. Musicology and values; 8. The battle of Chronos and Orpheus; 2. THE PAST ANTERIOR (LEVI-STRAUSS AND BRAILOIU); 1. Myths and musical works are instruments for the obliteration of time; 2. Does the music of an oral tradition have a history?; 3. A model of collective musical creation; 4. Brailoiu's structuralism and its difficulties; 3. BOULEZ STRUCTRUALIST; 1. On reading Boulez; 2. Cortege of the ancestors; 3. The time of history; 4. The time of the work; 5. Totality, structure, and death; 4. GOULD OUT OF TIME; 1. Structure and atemporality in Gould's thinking; 2. Gould's denial of time; 3. The denial of time and self-destruction; 5. HANSLICK: THE CONTRADICTIONS OF IMMANENCE; 1. Is Hanslick a formalist?; 2. Hanslick's concept of musical beauty; 3. The composer and the interpreter; 4. Feeling and beauty for the listener; 5. The relevance of Hanslick's thinking; 6. FIDELITY, AUTHENTICITY, AND CRITICAL JUDGMENT; 1. Interpretation and hermeneutics; 2. The families of critical judgment in light of the semiological tripartition; 3. The critique of critical ideas; 4. The semiology of judgements of fidelity and authenticity; 5. The return of the beautiful in the era of doubt; 7. GOULD AS PRECURSOR OF POSTMODERNISM?; 1. Musical language and 'communication'; 2. A postmodern in the modernist era; 3. The future of music, I; 4. Nature of the creative process?; 5. The future of music, II; 8. MEMORY AND FORGETTING (WAGNER/PROUST/BOULEZ); 1. Proliferations; 2. Orientations; 3. Opening/closing; 4. In praise of amnesia; 9. THE THREE NORNS AND THE LITTLE MADELEINE; 1. Proust's primordial nebula; 2. From Siegfried's Tod to Gotterdammerung; 3. Time regained; 10. TANNHAUSER THROUGH BAUDELAIRE'S LOOKING-GLASS: MODERN OR POSTMODERN?; 1. The carnal and the Platonic in the Tannhauser Overture; 2. Which Tannhauser did Baudelaire hear?; 3. Tannhauser as a theory of art; 4. A work that is completed but unfinished; 11. BOULEZ IN THE POSTMODERN ERA: THE TIME OF REPONS; 1. Modernism, postmodernism, and classicism; 2. The ideology of progress and the empiricism of evolution; 3. The crisis in musical 'communicaton'; 4. Repons in history; 5. Listening to Repons; 6. Conception and perception in Repons; 7. Sociologism and value judgment; 8. The classicism of Repons