Classical Music and Postmodern Knowledge by Lawrence Kramer

By Lawrence Kramer

A best cultural theorist and musicologist opens up new probabilities for figuring out mainstream Western artwork music—the "classical" tune composed among the eighteenth and early 20th centuries that's, for lots of, wasting either its status and its attraction. while this tune is seemed esoterically, faraway from real-world pursuits, it more and more sounds extra evasive than transcendent. Now Lawrence Kramer exhibits how classical track can tackle new that means and new lifestyles while approached from postmodernist standpoints.

Kramer attracts out the musical implications of latest efforts to appreciate cause, language, and subjectivity in terms of concrete human actions instead of to common rules. Extending the rethinking of musical expression all started in his past Music as Cultural Practice, he regards tune not just as an item that invitations aesthetic reception but additionally as an task that vitally shapes the private, social, and cultural identities of its listeners.

In language obtainable to nonspecialists yet informative to experts, Kramer presents an unique account of the postmodernist ethos, explains its courting to track, and explores that courting in a sequence of case stories starting from Haydn and Mendelssohn to Ives and Ravel.

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Arnold calls for a modern poetry subservient to classical Greek models and, therefore, willy-nilly, to the interests of the socially privileged university men whose education was based on the Greek classics. The antidote to modernity is a kind of donnish paternalism. Ideally, that would mean living masters, contemporaries who could be figured as pedagogues on the Greek model, transmitters of both love and wisdom. " But such a hand and voice are sadly lacking.  . "17 In a textbook illustration of Freud's dictum that living, for the ego, means being loved by the superego,18 Arnold redirects the subject's longing for personal guidance toward a depersonalized authority that becomes the object of an eroticized submission.

For one thing, the possibility of knowledge implies the possibility of error; the listener as personified subject can always listen badly, or listen well and report on it badly. Errors, however, may be dialectical means as well as dead ends. An error may ignite a debate that advances knowledge in correcting the error, or a wrong claim may be made on the right topic, confirming or revealing the pertinence of the topic.  . " 45 He may be wrong that the held note should be "squeezed dry," but he, too, hears the necessity of Beethoven's appearing in person.

It is < previous page page_19 next page > < previous page page_20 next page > Page 20 distinctive, even unique, in that its symbolic function includes the signification of the semiotic, but it, too, necessarily binds symbolically the semiotic energies that it signifies as unbound. The practical consequences of these interrelationships show up strikingly in some clinical observations of the neurologist Oliver Sacks. Playing, singing, and listening to music, Sacks found, or even hearing it in the mind's ear, could relieve impairments in speech, mobility, and writing in Parkinsonian patients.

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