The Double Articulation of Schubert: Reflections on Der Doppelgänger.
The Musical Quarterly, 93(2) pp. 192–233.
To present a discussion of Der Doppelgänger, the thirteenth song from Schubert's Schwanengesang, might seem a redundant enterprise. Richard Kramer comments of its sixty-three sparsely textured bars that “no other song has provoked quite as much hermeneutical exercise.”1 Yet it is precisely this status as a shibboleth of analytical literature that makes the song inexhaustible as a source for reflection, both upon the business of representing words in music and upon the business of representing music in words.
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