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Musical Revolutions in German CultureCoda

Musical Revolutions in German Culture: Coda [By mapping out the persistence of a critical-deconstructive approach toward musical production, consumption, and reception in the German cultural sphere, this modest intellectual-historical project has explored the theoretical and practical contours of music, sound, and noise as a site of “critical-revolutionary activity.”1 Through the radical philosophies of Friedrich Schlegel, Walter Benjamin, Theodor W. Adorno, and Blixa Bargeld, the preceding pages have unpacked an exemplary constellation of counterhegemonic strategies of musicking against the grain that still hold relevance for the continued actuality of musical practices in the new millennium. These strategies are predicated on the conviction that acoustic phenomena operate as a uniquely expressive form of cultural, historical, and political knowledge in human society. Such knowledge expresses not only the material conditions of intelligibility underlying society as a whole, but also, more fundamentally, a reservoir of untapped cultural-revolutionary possibilities that may be used to decisively transform everyday consciousness in the service of human emancipation. These oppositional acts of musicking—from composing “dialectical sonorities” to promoting “dialectical listening”—reveal how music might open up new ways of self-understanding within the confines of dominant power/knowledge structures; illuminate hidden constellations of genuine human aspirations; and neutralize those cultural forces that seek to restrain the inherently creative force of sound.] http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png

Musical Revolutions in German CultureCoda

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Publisher
Palgrave Macmillan US
Copyright
© Palgrave Macmillan, a division of Nature America Inc. 2014
ISBN
978-1-349-49763-8
Pages
137 –147
DOI
10.1057/9781137449955_6
Publisher site
See Chapter on Publisher Site

Abstract

[By mapping out the persistence of a critical-deconstructive approach toward musical production, consumption, and reception in the German cultural sphere, this modest intellectual-historical project has explored the theoretical and practical contours of music, sound, and noise as a site of “critical-revolutionary activity.”1 Through the radical philosophies of Friedrich Schlegel, Walter Benjamin, Theodor W. Adorno, and Blixa Bargeld, the preceding pages have unpacked an exemplary constellation of counterhegemonic strategies of musicking against the grain that still hold relevance for the continued actuality of musical practices in the new millennium. These strategies are predicated on the conviction that acoustic phenomena operate as a uniquely expressive form of cultural, historical, and political knowledge in human society. Such knowledge expresses not only the material conditions of intelligibility underlying society as a whole, but also, more fundamentally, a reservoir of untapped cultural-revolutionary possibilities that may be used to decisively transform everyday consciousness in the service of human emancipation. These oppositional acts of musicking—from composing “dialectical sonorities” to promoting “dialectical listening”—reveal how music might open up new ways of self-understanding within the confines of dominant power/knowledge structures; illuminate hidden constellations of genuine human aspirations; and neutralize those cultural forces that seek to restrain the inherently creative force of sound.]

Published: Nov 2, 2015

Keywords: Political Knowledge; German Culture; Objective Musicality; Creative Force; Musical Practice

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