Du mélos en manifeste
To consider the notion of manifesto from a musical angle raises several problems, both for the definition of what could qualify as “revolutionary music” and for the shift that music itself could perform in terms of our sense of the word “revolution.” To begin with, we will critically examine the rom...
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| Format: | Article |
| Language: | fra |
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Pléiade (EA 7338)
2018-09-01
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| Series: | Itinéraires |
| Subjects: | |
| Online Access: | http://journals.openedition.org/itineraires/4421 |
| Summary: | To consider the notion of manifesto from a musical angle raises several problems, both for the definition of what could qualify as “revolutionary music” and for the shift that music itself could perform in terms of our sense of the word “revolution.” To begin with, we will critically examine the romantic paradigm which considers music as a poetic absolute in order to recognize its strength as a manifesto. Following which we will highlight the underlying paradox in revolutions whose criteria would be so specifically musical that their reach would remain internal to the musical domain. This will lead us to establish a link between the heteronomy of music towards the manifesto claim and the media conditions of music distribution, and consider the attempts to translate sound forms by “temporal semiotics” an eternal return of the aestheticisation of the revolutionary question. |
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| ISSN: | 2427-920X |