Unwritten Theology: Notes Towards a Natural Theology of Music
This chapter outlines how the self becomes emplaced within music and how world-making can be said to occur in practice through the final movement of Joseph Haydn's String Quartet in E-flat major. It outlines what is meant by world-making and why the notion of place is valuable. The chapter sketches the ways in which music world-makes, creating 'real' and 'virtual' places, and grounds this capacity in its reliance upon thresholds. Elements of the virtual processes of world-making will be the focus of the analysis of the final movement of Haydn's quartet. In considering how aspects of the final movement might become apparent to the subject it is important to keep in mind that Haydn was working within a western tradition reliant on harmony. Tonality, then, provides a broader region for the creation of the particular musical place opened up by Haydn's final movement, providing a contour in relation to which certain outlines and inlines stand and can be understood.