Unsung Voices

Who "e;speaks"e; to us in The Sorcerer's Apprentice, in Wagner's operas, in a Mahler symphony? In asking this question, Carolyn Abbate opens nineteenth-century operas and instrumental works to new interpretations as she explores the voices projected by music. The nineteenth-century metaphor of music that "e;sings"e; is thus reanimated in a new context, and Abbate proposes interpretive strategies that "e;de-center"e; music criticism, that seek the polyphony and dialogism of music, and that celebrate musical gestures often marginalized by conventional music analysis.