By the same authors

From the same journal

Imaginary Musical Radicalism and the Entanglement of Music and Emancipatory Politics

Research output: Contribution to journalArticle

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Imaginary Musical Radicalism and the Entanglement of Music and Emancipatory Politics. / Reuben, Federico.

In: Contemporary Music Review, Vol. 34, No. 2-3, 12.2015, p. 232-246.

Research output: Contribution to journalArticle

Harvard

Reuben, F 2015, 'Imaginary Musical Radicalism and the Entanglement of Music and Emancipatory Politics', Contemporary Music Review, vol. 34, no. 2-3, pp. 232-246. https://doi.org/10.1080/07494467.2015.1094221

APA

Reuben, F. (2015). Imaginary Musical Radicalism and the Entanglement of Music and Emancipatory Politics. Contemporary Music Review, 34(2-3), 232-246. https://doi.org/10.1080/07494467.2015.1094221

Vancouver

Reuben F. Imaginary Musical Radicalism and the Entanglement of Music and Emancipatory Politics. Contemporary Music Review. 2015 Dec;34(2-3):232-246. https://doi.org/10.1080/07494467.2015.1094221

Author

Reuben, Federico. / Imaginary Musical Radicalism and the Entanglement of Music and Emancipatory Politics. In: Contemporary Music Review. 2015 ; Vol. 34, No. 2-3. pp. 232-246.

Bibtex - Download

@article{104d7032c2994568b419eaac15a11e33,
title = "Imaginary Musical Radicalism and the Entanglement of Music and Emancipatory Politics",
abstract = "The relationship between music and politics in the discourse of creative practitioners is often reduced to assertions of causality between specific musical works or aesthetic traits and particular political actions or ideologies. The association between the musical avant-garde and emancipatory politics (and their perceived common failure to fulfil a historical destiny) is evidence that a unidimensional understanding of the interconnections between these two practices can have a saturating effect on musical reception and creation. A direct result of this reductive approach is the emergence of an artistic category that could be labelled, imaginary musical radicalism—a creative approach in which artists replicate musical strategies of the avant-garde movements, detached from their original modernist vision (Ranci{\`e}re). This article proposes a heuristic and multidimensional approach, based on a radical historicist analysis (Rockhill) of musical and political practices as an alternative model for the creative practitioner working at the intersection of music and politics.",
keywords = "Music, Politics, Aesthetics, Avant-garde, Jacques Ranci{\`e}re, Gabriel Rockhill",
author = "Federico Reuben",
note = "{\circledC} 2015 Taylor & Francis. This is an author-produced version of the published paper. Uploaded in accordance with the publisher’s self-archiving policy. Further copying may not be permitted; contact the publisher for details",
year = "2015",
month = "12",
doi = "10.1080/07494467.2015.1094221",
language = "English",
volume = "34",
pages = "232--246",
journal = "Contemporary Music Review",
issn = "0749-4467",
publisher = "Routledge",
number = "2-3",

}

RIS (suitable for import to EndNote) - Download

TY - JOUR

T1 - Imaginary Musical Radicalism and the Entanglement of Music and Emancipatory Politics

AU - Reuben, Federico

N1 - © 2015 Taylor & Francis. This is an author-produced version of the published paper. Uploaded in accordance with the publisher’s self-archiving policy. Further copying may not be permitted; contact the publisher for details

PY - 2015/12

Y1 - 2015/12

N2 - The relationship between music and politics in the discourse of creative practitioners is often reduced to assertions of causality between specific musical works or aesthetic traits and particular political actions or ideologies. The association between the musical avant-garde and emancipatory politics (and their perceived common failure to fulfil a historical destiny) is evidence that a unidimensional understanding of the interconnections between these two practices can have a saturating effect on musical reception and creation. A direct result of this reductive approach is the emergence of an artistic category that could be labelled, imaginary musical radicalism—a creative approach in which artists replicate musical strategies of the avant-garde movements, detached from their original modernist vision (Rancière). This article proposes a heuristic and multidimensional approach, based on a radical historicist analysis (Rockhill) of musical and political practices as an alternative model for the creative practitioner working at the intersection of music and politics.

AB - The relationship between music and politics in the discourse of creative practitioners is often reduced to assertions of causality between specific musical works or aesthetic traits and particular political actions or ideologies. The association between the musical avant-garde and emancipatory politics (and their perceived common failure to fulfil a historical destiny) is evidence that a unidimensional understanding of the interconnections between these two practices can have a saturating effect on musical reception and creation. A direct result of this reductive approach is the emergence of an artistic category that could be labelled, imaginary musical radicalism—a creative approach in which artists replicate musical strategies of the avant-garde movements, detached from their original modernist vision (Rancière). This article proposes a heuristic and multidimensional approach, based on a radical historicist analysis (Rockhill) of musical and political practices as an alternative model for the creative practitioner working at the intersection of music and politics.

KW - Music

KW - Politics

KW - Aesthetics

KW - Avant-garde

KW - Jacques Rancière

KW - Gabriel Rockhill

U2 - 10.1080/07494467.2015.1094221

DO - 10.1080/07494467.2015.1094221

M3 - Article

VL - 34

SP - 232

EP - 246

JO - Contemporary Music Review

T2 - Contemporary Music Review

JF - Contemporary Music Review

SN - 0749-4467

IS - 2-3

ER -