Classical Music as Enforced Utopia

Autor/in	Leech-Wilkinson, Daniel
Titel	Classical Music as Enforced Utopia
Quelle	In: Arts and Humanities in Higher Education: An International Journal of Theory, Research and Practice, 15 (2016) 3-4, S.325-336 (12 Seiten)Infoseite zur Zeitschrift PDF als Volltext Verfügbarkeit
Sprache	englisch
Dokumenttyp	gedruckt; online; Zeitschriftenaufsatz
ISSN	1474-0222
DOI	10.1177/1474022216647706
Schlagwörter	Classical Music; Conflict; Peace; Musical Composition; Performance; Music Education; Ethics; Social Influences; Social Attitudes; Creativity + Suchen Sie Ihr Suchwort? Konflikt; Frieden; Komponieren; Achievement; Leistung; Musikerziehung; Ethik; Sozialer Einfluss; Social attidude; Soziale Einstellung; Kreativität
Abstract	In classical music composition, whatever thematic or harmonic conflicts may be engineered along the way, everything always turns out for the best. Similar utopian thinking underlies performance: performers see their job as faithfully carrying out their master's (the composer's) wishes. The more perfectly they represent them, the happier the result. But why should performers not have a critical role to play in re-presenting a score, just as actors are permitted--required even--to find new meanings and new relevance in texts? And what or whom are performers obeying, the long dead composer (and what is the ethical basis for that?) or a policing system (teachers, examiners, adjudicators, critics, agents, promoters, record producers) that enforces an imaginary tradition from childhood to grave? Starting from the evidence of early recordings, showing that composers are "mis"represented, this article seeks to unpick some of the delusions that support classical music practice. (As Provided).
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Erfasst von	ERIC (Education Resources Information Center), Washington, DC
Update	2020/1/01