Download Classical Music and Postmodern Knowledge by Lawrence Kramer PDF

By Lawrence Kramer

ISBN-10: 0520207009

ISBN-13: 9780520207004

ISBN-10: 0585370451

ISBN-13: 9780585370453

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

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

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

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Extra resources for Classical Music and Postmodern Knowledge

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In Sacks's terms, what the music imparts is a "naturalness in posture and action" correlative to "the living 'I' "; 39 in Kristevan terms, the gift imparted is the primordial jouissance (quasi-orgasmic, unrepresentable bliss) of the semiotic, the continuity of presubjective desire and signification. Not just any music, though, can accomplish this. "Rhythmic impetus" has to be present, writes Sacks, but it "has to be 'embedded'" in a formal pattern the listener can grasp unreflectively. Raw "banging," indeed, could prompt pathological jerking.

Those projects can only be achieved through modes of hermeneutic and historical writing that are always also criti < previous page page_17 next page > < previous page page_18 next page > Page 18 cal, in the dual sense of performing both criticism and critique: modes of writing that, while conceding and indeed affirming their own "rhetorical" and "subjective" character, rigorously seek to position musical experience within the densely compacted, concretely situated worlds of those who compose, perform, and listen.

As we have seen, the epistemic character of this shift derives from a rethinking of several key topics in modernist thought. Postmodernisms resituate reason among its objects, install local generality in the economy of explanation, affirm subjectivity as a decentered mobility, and treat communication as a mode of action, subsuming the constative under the performative and undoing the division of human agency into distinct psychical, social, and cultural subfields. This epistemic shift, however, is practical as well as theoretical; it has substantial moral and political implications.

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Classical Music and Postmodern Knowledge by Lawrence Kramer

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