Mecanismes de la ruptura de membranes abans i durant el part

With regard to Shakespeare's Sonnets, Bate (1997: 5) suggests that there is a false dichotomy between those who think that Shakespeare either really loved the person in question (fact) or imagined it (fancy). However, there is a further possibility which opens up the idea that it is about the imagining of what such a love might entail. It is this more psychic and fictive dimension that allows us to play make-believe. A poem arguably no more expresses a poet's 'personal' view than an architect's plan for a house shows you his or her own abode. If we take the 'fact or fancy' option seriously, we ought to arrest Agatha Christie for either being a serial killer in reality, or an attempted serial killer in imagination. Kristeva (1987: 43) talks of three realms—the symbolic, the imaginary and the real— offering more scope for generous dimensional interplay which might prove valuable to composers who, if not entirely sovereign, do have a significant role in the generating of new music. As Op. 48 unfolds (whichever route is taken), the interplay of these areas helps to show that they are not, in fact, readily compartmentalisable.

One of Lydia Goehr's points is that something of a work's identity depends on authorial intent, which is not the same thing as whether the author agrees with the view or sense put forward. Vaughan Williams was questioned about the Fourth Symphony (1934) and said that he didn't like it, but it was what he meant (in Mellers 1989: 169). A composer's

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declaration of a work's 'workness', in Goehr's view, became more coercive around 1800, as a composer moved from being "artisan to artist" (Talbot 2000: 172). Davies, however, (2001: 98) considers that Levinson's depiction of a work's identity (discussed by Goehr in 1992: 44-68) lays too much weight on the composer's intention. Davies (2003: 18) helpfully suggests that a title is an important aspect in the making of art, given by a particular author or artist as a sort of framing device. Even using a category (i.e. 'Symphony', or 'Untitled') or making it difficult to name (e.g. Gerald Barry's 1981 piece '_' or Muldowney's Solo/Ensemble of 1974 (noted in Jacobs ed. 1978: 44)) is a form of 'entitlement' denoting ownership and authority over the work. Yet one also thinks of the music of Rosemary Brown, where the authorship is problematic. Humphrey Searle's comment (Parrott 1978: 45) that 'her' music's quality rather than its provenance should be one's prime concern may be sensible, for there are times in, say, casual radio listening, where one may be unaware of the titles, tags and provenance of a work and one is thus left merely with the sound as our guide.

Inattributability, though, creates challenging issues for discussion since bibliographies and footnotes in documents are examples where sources, if not people, rely on identification. Folk have often used others’ names to gain credibility for the work in question. The lesser Loosemore's O Lord increase was for many years ascribed to the glorious Gibbons, for instance, and Borodin's Prince Igor Overture needed Glazunov to 'compose' it from sketches and his own memory. Albinoni's Adagio, invented by Giazotto after the Second World War, is evidence of the need to cement one's place inside the fabric of discourse, and yet also presents a reference problem: should Albinoni's Adagio be tagged under A or G? (Both of these last examples also amplify the point made earlier about the difficulty of ascribgin dates to pieces.) If, indeed, authors claim to be other authors (creating a confusion of provenance) then a more thorough understanding of history becomes harder to investigate. That Pulcinella (1920) is not actually based on music by Pergolesi, as Stravinsky believed, does not affect how we hear it, although it might affect how we interpret his musical processes, aptly described as an act of criticism by Cross (2000: 227). While this might not affect a work's particular truth-content, music's essence can be seen as separate from matters such as practical performability or didactic intent. Tomkins's contrast of a piece by Byrd "excellent for the matter" with a piece by Bull "excellent for the hand" in MS 1122 (Musique Reserve, Bibliothèque Nationale in Paris), shows that the notion of there being

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something 'in the music' (however nebulous) has a long history (in Stevens 1967: 132-3). This apparent dilemma is explored (in my Chopin Derangements) by writing music that

claims to focus on one aspect, such as technique, when its real purpose is wider.

Programming concerts results in a new fabric of musical work. This might simply amplify the 'sources' and help explore one composer's debt to another. A good example (made convincingly by Howat in Samson ed. 1995: 254-268) is that of Chopin's spectre over Debussy. Equally, contrasts between approaches are potent, for any juxtaposition of composers creates a relationship. This perspective is shown nowadays with the focus on curating and the introduction of DJ as a university subject. Vinyl records once did something similar: the ubiquitous pairing of Debussy's String Quartet (1893) and Ravel's String Quartet (1903) made them two sides, literally, of the same disc (with the Grieg and Schumann Piano Concertos (from 1868 and 1845) similarly yoked). The works, thus, had a fusion unintended by the composers and even by the performers. The 'author' becomes more composite and makes authors of performers who, by curating works in certain ways, shift how the works are perceived. This is especially relevant given that, for many, classical music is ritualised with expectations: Benjamin (1992: 217) talks of the tradition of an artwork as stemming from its ritual function, and, while this nowadays may be more pluralistic, new music (including Op. 48) has to find its status amongst a plethora of genres and its almost inevitable self-referentiality. Even if Derrida is correct in saying that the text is "a differential network, a fabric of traces referring endlessly to something other than itself" (in Bloom et al. 1979: 83-4), what does take place on the concert stage, church, street corner or a TV studio still needs some frame of reference.

The notion of Topics helps to mark out relationships, and scholars such as Agawu and Monelle have articulated what has long been sensed subliminally. Topics are signalled on many levels: a 'fanfare' is a military topic; a 'horn-call' a hunting topic (9 and 13 respectively on Agawu’s list in Monelle 2002: 227). The sea's surge, for example, in Britten's Peter Grimes (1945) and Elgar's Sea Pictures (1899) is depicted with similar motifs and orchestration. Topical intertexuality is personally nuanced, though: several resonances I hear in Britten (e.g. Elgar, Beethoven, Purcell, Ireland, Vaughan Williams and Nielsen) receive no mention

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in Rupprecht's book on Britten's musical language. For Monelle, semiotics is not just about the sound but syntax and rhetoric: a military topic can just as easily be changed and even subverted (with the army band in Wozzeck (1922) clearly not intended to have heroic overtones). Further, while Act I of Così fan Tutte (1789) has a 'military band' style topic, it is rather the 'representation of a military band', indicating to the characters (Fiordiligi and Dorabella)—and not just the audience—that their two beloved men are off to war. It is more than ironic, though, and Cairns suggests that music can function simultaneously on different levels (2006: 179-81). This diegetic usage and the corollary notion of breaking frame is very important for performance art (and music), but it can also be used dryly (i.e. on paper) to indicate a connection. Topics draw something from iconography and, to an extent, rely on enculturation, just as in portraiture, standard props—such as a dog, furnishings and jewels—are used to indicate the sitter's status. Carr-Gomm's book The

Secret Language of Art: the Illustrated Decoder of Symbols and Figures in Western Painting (2009) is a

useful book but it is impossible for music to be quite so codified, since the symbols of music are in sound. Much music deploys these types of musical 'signs', yet music is more than mere 'portraits' which push one particular perspective.