Mémoire: on Music and Deconstruction
Keywords:aesthetics, allegory, critical theory, deconstruction, difference, ideology, music, musicology, music theory and analysis, organicism, postmodernism, poststructuralism, semiotics, unity
AbstractThe exploration of poststructuralism's likely implications for musical interpretation has formed a distinctive contribution to the expanding ensemble of discourses admitted toAnglo-American musicology over the course of the past twenty years. A trend manifest since the later 1980s, its potential was sensed most strongly by a younger generation of music analysts concerned to trace the reflexive consequences of postmodern critical thought for the established canons of systematic theory. As acknowledged in a series of overview surveys by Monelle (1992), Krims (1998), Ayrey (1998) and Norris (2000), its most productive outcomes may be codified in relation to a generalised critique of aesthetic ideology. However, the political consequences embodied in such modes of enquiry were largely displaced within a loosely defined 'New Musicology' throughout the 1990s as the effects of alterity became realigned with a critical programme based on individualised identity politics. The ramifications of difference continue to inform critical debate regarding the nature of musical unity (for instance, in the work of Agawu, Chua, Dubiel, Korsyn, Kramer, Morgan and others). However, this paper argues that the mediating role of artistic form ought not to be permitted to obscure the emancipatory capacity of deconstruction as affirmed by Derrida. In this respect, the message of resistance inscribed within poststructuralism should be seen as emblematic for the defence of musicology's academic status at a time when the discipline remains under threat of institutional closure.
How to Cite
Copyright (c) 2005 Alan Street
This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License.
Authors who publish with this journal agree to the following terms:
- Authors are confirming that they are the authors of the submitting article, which will be published (print and online) in journal Musicological Annual by Znanstvena založba Filozofske fakultete Univerze v Ljubljani (University of Ljubljana, Faculty of Arts, Aškerčeva 2, 1000 Ljubljana, Slovenia). Author’s name will be evident in the article in journal. All decisions regarding layout and distribution of the work are in hands of the publisher.
- Authors guarantee that the work is their own original creation and does not infringe any statutory or common-law copyright or any proprietary right of any third party. In case of claims by third parties, authors commit their self to defend the interests of the publisher, and shall cover any potential costs.
- Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution-ShareAlike 4.0 International License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.
- Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.
- Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work.