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Stairways in the dark: Sound, syntax and the sublime in Haas's 'in vain'

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JournalTempo
DateAccepted/In press - 9 Feb 2019
DateE-pub ahead of print - 18 Mar 2019
DatePublished (current) - Apr 2019
Issue number288
Volume73
Number of pages19
Pages (from-to)7-25
Early online date18/03/19
Original languageEnglish

Abstract

The glowing critical response to Georg Friedrich Haas’s 'in vain' (2000) has focused particularly on the visceral effect created by Haas’s use of ‘endless’ scales, richly saturated microtonal chords, and passages that take place in total darkness. Discussion of these features has often led reviewers and commentators to use forms of description and praise which evoke the old (but lately rejuvenated) aesthetic category of the sublime. This article explores these connections with sublime aesthetics in more detail as a way of clarifying both philosophical and interpretative perspectives on in vain. The idea of the sublime serves as a thread connecting aspects of spectral technique and aesthetics, the mathematical visions of M.C. Escher, and the charged socio-political context in which the work was written.

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