New PDF release: Decomposition: A Music Manifesto

By Andrew Durkin

ISBN-10: 0307911764

ISBN-13: 9780307911766

Decomposition is a bracing, revisionary, and provocative inquiry into music—from Beethoven to Duke Ellington, from Conlon Nancarrow to Evelyn Glennie—as a private and cultural event: the way it consists, the way it is idiosyncratically perceived by way of critics and reviewers, and why we take heed to it the best way we do.

Andrew Durkin, most sensible often called the chief of the West Coast–based commercial Jazz workforce, is singular for his insistence on asking tricky questions about the complexity of our presumptions approximately song and approximately listening, in particular within the electronic age. during this profitable and lucid learn he explodes the age-old idea of musical composition because the paintings of person genius, arguing in its place that during either its composition and reception tune is essentially a collaborative company that comes into being basically via mediation.

Drawing on a wealthy number of examples—Big Jay McNeely’s “Deacon’s Hop,” Biz Markie’s “Alone Again,” George Antheil’s Ballet Mécanique, Frank Zappa’s “While You have been Art,” and Pauline Oliveros’s “Tuning Meditation,” to call just a few—Durkin makes transparent that our appreciation of any piece of track is usually trained via neuroscientific, mental, technological, and cultural components. How we hearken to track, he keeps, may need as a lot strength to alter it as track may have to alter how we hear.

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Extra resources for Decomposition: A Music Manifesto

Sample text

But remember also that Kant provided a deduction only of the pure concepts of the understanding, on the grounds that it was only there that we needed to worry about objective validity and empirical adequacy. This, in turn, was because the deliverances of receptive Introduction 17 sensibility were supposed to immediately refer to objects without having been produced according to the principles of spontaneous cognition. Thus, in light of what happens to the aesthetic over the course of Kant’s writing, we seem to have a couple of large, interrelated problems on our hands.

But remember also that Kant provided a deduction only of the pure concepts of the understanding, on the grounds that it was only there that we needed to worry about objective validity and empirical adequacy. This, in turn, was because the deliverances of receptive Introduction 17 sensibility were supposed to immediately refer to objects without having been produced according to the principles of spontaneous cognition. Thus, in light of what happens to the aesthetic over the course of Kant’s writing, we seem to have a couple of large, interrelated problems on our hands.

Finally, one can argue that as the role and the activity of the faculty of sensibility slowly expand over the course of the critical corpus, the aesthetic comes to pose a serious challenge to the overall critical project, either demanding its serious retroactive revision or importantly undermining some of its key goals and tenets. Heidegger, for example, insisted that the imagination shows up in the Critique of Pure Reason as an inassimilable ‘rogue faculty’ that challenges Kant’s initially clean dichotomy between spontaneous understanding and receptive intuition, and he claims that if Kant had followed his own line of argument, he would have been required to rethink the critical project at its very core, scrapping some of its central tenets such as the a priori necessity and security of the 16 17 See, for instance, Strawson (1966) and Bennett (1966).

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Decomposition: A Music Manifesto by Andrew Durkin


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