Philosophical and Cultural Theories of MusicEduardo de la Fuente, Peter Murphy Music is a ubiquitous and hard to grasp cultural form. It is semiotically and aesthetically open-ended; yet even a 'non-musical' person is able to follow the basics of rhythmic structure and flow. Its presence in social and cultural life is further complicated by its multiple forms of existence - as both 'live' and 'technologically mediated', as self-referential language and as accompaniment to text, dance and other cultural expressions. This collection brings together philosophers, sociologists, musicologists and students of culture who theorize the multiple roles of music through cultural practices as diverse as opera and classical music, jazz and pop, avant-garde and DIY musical cultures, music festivals and isolated listening through the iPod, rock in urban heritage and the piano in contemporary Asian societies. |
Contents
Philosophical and Cultural Theories of Music Eduardo De La Fuente and Peter Murphy | 1 |
Chapter Two Modern Hermeneutics and the Presentation of Opera Agnes Heller | 13 |
A Consideration of the Relationship Between Technology and the Embodied Performance of Music Daniel Black | 31 |
One Mans Vast Comic Adventure in American Music Dramaturgy and Mysticism Peter Murphy | 49 |
Reflections on Cultural Secularization David Roberts | 71 |
Towards a Cultural Sociology of the Twentieth Century Composer Eduardo De La Fuente | 87 |
Chapter Seven Collective Effervescence Numinous Experience or ProtoReligious Phenomena? Moshing with Durkheim Schleiermacher and Otto Ma... | 107 |
Chapter Eight Music as a Space of Possibilities John Rundell | 129 |
Chapter Ten The Paradox of DoitYourself in Unpopular Music Joseph Borlagdan | 175 |
Chapter Eleven Musical Culturespeak and Cosmopolitan Identities in Australian Multiculturalism Graeme Smith | 201 |
Chapter Twelve The Piano and Cultural Modernity in East Asia Alison Tokita | 221 |
Chapter Thirteen Popular Music Cultural Memory and Everyday Aesthetics Andy Bennett | 243 |
Reevaluating the Place of Cultural Status in Producing Aesthetic Attachment Claudio E Benzecry | 263 |
Chapter Fifteen Musical Listening and BoundaryWork Michael Walsh | 287 |
List of Contributors | 309 |
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Common terms and phrases
activity Adorno aesthetic ageing music Agnes Heller argues articulated artist Asian audience Australian authenticity become Bob Dylan boundaries boundary-work Bourdieu Cambridge classical music collective effervescence Colón comic composer concept contemporary context creative cultural memory cultural production DeNora DIY ethic Don Giovanni Durkheim ethnic everyday example experience fans feel field forms of music genres global Goffman Graeme Smith human Ibid identity independent music community individual instrument interpretation Japan keyboard Korea lifestyle lo-fi London Max Weber means multicultural musi music dramas musical listening musical performance musicians mystic numinous organisations Parsifal phenomenology philosophy piano play political popular music practices produced religion religious rhythm Routledge Sam Shepard Schleiermacher secularization sense Simmel social society Sociology songs sound space Special Rider Music stage structure Subcultures suggests symbolic Theory tion tradition transcendent twentieth century University Press Wagner WCBR Weber western music Wolfmother world music Zerubavel