By Eduardo Fuente, Peter Murphy LL.
Song is a ubiquitous and difficult to know cultural shape. it's semiotically and aesthetically open-ended; but even a 'non-musical' individual is ready to stick to the fundamentals of rhythmic constitution and stream. Its presence in social and cultural existence is extra complex through its a number of sorts of lifestyles - as either 'live' and 'technologically mediated', as self-referential language and as accompaniment to textual content, dance and different cultural expressions. This assortment brings jointly philosophers, sociologists, musicologists and scholars of tradition who theorize the a number of roles of song via cultural practices as assorted as opera and classical song, jazz and dad, avant-garde and DIY musical cultures, track gala's and remoted listening in the course of the iPod, rock in city historical past and the piano in modern Asian societies.
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Additional resources for Philosophical and Cultural Theories of Music
Once upon a time Sartre suggested that we became free through an act of violence. This is, however, not what the contemporary Ring interpretations 26 • Agnes Heller suggest. Siegfried’s freedom is meant to be won by acts of violence. Yet, through the acts of violence, no freedom has been won. Parsifal gains freedom not by violence, but by empathy. His innocence, to begin, was as much unreflected as the innocence of Siegfried. He killed the swan. He did not remember. But in the experience of the absolute empathy (he feels the wound) he looses his innocence, the unreflected innocence of ignorance.
The mythological figures of the Ring, especially the Gibichungs, are sometimes staged as petit bourgeois, or decadent bourgeois of the Victorian age very much in Nietzsche’s spirit. Yet they can also be presented as our contemporaries without “historicizing”. For example in the 2000 staging of the Ring in Bayreuth by Jürgen Flimm, three multinational corporations—the gods, the giants and the dwarfs—fight for world domination. B. Shaw a hundred years ago, that the Ring is about the development of capitalism.
Warner’s interpretation is polyphonic. Her Don Giovanni, the violent man and rapist, has also a great sexual attraction. Reference to a sado-masochistic discourse does not come as a surprise in times of the Sade renaissance. Warner’s Don Giovanni does not owe his sexual attraction to his genius as an eroticist, but to his unscrupulous use of violence. The unscrupulous use of force and violence is sexually attractive, and transforms women yet also men into the violent man’s sexual slaves. (In Warner’s conception, Don Giovanni is served by two slaves, Leporello and Elvira.