Music and the Crisis of Modernity. / Garcia Priego, Victor.

2015. 188 p.

Research output: ThesisDoctoral Thesis

Unpublished

Standard

Music and the Crisis of Modernity. / Garcia Priego, Victor.

2015. 188 p.

Research output: ThesisDoctoral Thesis

Harvard

Garcia Priego, V 2015, 'Music and the Crisis of Modernity', Ph.D., Royal Holloway, University of London.

APA

Vancouver

Author

BibTeX

@phdthesis{f64958df79eb4513bc0d47a82b13bb61,
title = "Music and the Crisis of Modernity",
abstract = "In this dissertation I want to show how the crisis of the project of modernity – apparent in some challenges we face today such as climate change and rising inequality in developed countries – may provide a chance to redefine the ways we think about musical practice. For this purpose I develop a theoretical framework that allows us to link what is at stake with music – the often conflicting needs, hopes and even fears that articulate musical experience today at both the individual and collective level – with what is at stake with modernity. This framework is based mainly on Hannah Arendt{\textquoteright}s phenomenology of human activities in The Human Condition and the implicit story of modernity it relies on. Arendt{\textquoteright}s account, itself an attempt to provide an explanation to and a way out of the existential threat to the project of modernity posed by totalitarianisms, establishes crucial distinctions between labour and work, on the one side, and between work and action and speech, on the other side. By re-situating music in the broader context of human activities and the evolution of their paradigms in modernity I want to articulate a perspective from which I will discuss issues related to the distinction between the productive and non-productive aspects of musical practice; the different kinds of musical experience; the limits of the subject-object model implicit in most versions of modern aesthetics and the necessity to expand the model to include the intersubjective dimension; and the extent to which what Lydia Goehr calls the {\textquoteleft}work-concept{\textquoteright} may be a principle regulating musical practice in post-industrial society.",
keywords = "Music, Modernity, Arendt, Adorno, Beethoven",
author = "{Garcia Priego}, Victor",
year = "2015",
language = "English",
school = "Royal Holloway, University of London",

}

RIS

TY - THES

T1 - Music and the Crisis of Modernity

AU - Garcia Priego, Victor

PY - 2015

Y1 - 2015

N2 - In this dissertation I want to show how the crisis of the project of modernity – apparent in some challenges we face today such as climate change and rising inequality in developed countries – may provide a chance to redefine the ways we think about musical practice. For this purpose I develop a theoretical framework that allows us to link what is at stake with music – the often conflicting needs, hopes and even fears that articulate musical experience today at both the individual and collective level – with what is at stake with modernity. This framework is based mainly on Hannah Arendt’s phenomenology of human activities in The Human Condition and the implicit story of modernity it relies on. Arendt’s account, itself an attempt to provide an explanation to and a way out of the existential threat to the project of modernity posed by totalitarianisms, establishes crucial distinctions between labour and work, on the one side, and between work and action and speech, on the other side. By re-situating music in the broader context of human activities and the evolution of their paradigms in modernity I want to articulate a perspective from which I will discuss issues related to the distinction between the productive and non-productive aspects of musical practice; the different kinds of musical experience; the limits of the subject-object model implicit in most versions of modern aesthetics and the necessity to expand the model to include the intersubjective dimension; and the extent to which what Lydia Goehr calls the ‘work-concept’ may be a principle regulating musical practice in post-industrial society.

AB - In this dissertation I want to show how the crisis of the project of modernity – apparent in some challenges we face today such as climate change and rising inequality in developed countries – may provide a chance to redefine the ways we think about musical practice. For this purpose I develop a theoretical framework that allows us to link what is at stake with music – the often conflicting needs, hopes and even fears that articulate musical experience today at both the individual and collective level – with what is at stake with modernity. This framework is based mainly on Hannah Arendt’s phenomenology of human activities in The Human Condition and the implicit story of modernity it relies on. Arendt’s account, itself an attempt to provide an explanation to and a way out of the existential threat to the project of modernity posed by totalitarianisms, establishes crucial distinctions between labour and work, on the one side, and between work and action and speech, on the other side. By re-situating music in the broader context of human activities and the evolution of their paradigms in modernity I want to articulate a perspective from which I will discuss issues related to the distinction between the productive and non-productive aspects of musical practice; the different kinds of musical experience; the limits of the subject-object model implicit in most versions of modern aesthetics and the necessity to expand the model to include the intersubjective dimension; and the extent to which what Lydia Goehr calls the ‘work-concept’ may be a principle regulating musical practice in post-industrial society.

KW - Music

KW - Modernity

KW - Arendt

KW - Adorno

KW - Beethoven

M3 - Doctoral Thesis

ER -