Headaches among the overtones : music in Beckett / Beckett in music / Catheriane Laws.

Includes index.

References; pages 461-494.

Print version record.

Samuel Beckett produced some of the most powerful writing - some of the funniest but most devastating - of the twentieth century. He described his plays, prose and poetry as 'an unnecessary stain on the silence', but the extraordinary combination of concision and richness in his writing stems from his peculiar sensitivity to the sounds and rhythms of words. Moreover, music forms a part of Beckett's comic aesthetics of failure: it plays a role in his exploration of the possibilities and failures of the imagination, and the ever-failing attempt to forge a sense of self. No wonder, then, that so.

Introduction : why Beckett and music? -- Music in Beckett -- Beckett, proust, and music -- Ideas of music in dream of fair to middling women : Beckett and Beethoven 1 -- Musical haunting in Beckett's ghost trio : Beckett and Beethoven 2 -- 'The fable of one with you in the dark' : the company of schubert in all that fall; Beckett and Schubert 1 -- Vocality and imagination in Beckett's Nacht und Träume : Beckett and Schubert 2 -- Beckett in music -- Beckett and contemporary music -- 'Doing it one way and doing it another way' : Morton Feldman's Neither -- 'Together, dogs!' : Feldman's music for words and music -- Beckett in music translation : embodiment and subjectivity in Richard Barrett's : ne songe plus à fuir -- Step by step : Beckett and Kurtág -- Beckett sources and abbreviations -- References -- Image credits -- Index of works by Beckett -- General index.

English.

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