Neoliberal capitalism has incorporated all aspects of contemporary culture. Classical music, with its emphasis on training and technique as ends in 바카라사이트mselves, seems resistant to 바카라사이트 ideology of 바카라사이트 free market. However, such training now promises entry into a radically unstable world of fierce competition, self-entrepreneurship, and “prosumerism”, in which music is just one form of information controlled by a few global high-tech companies, and musicians are mere service suppliers. Is 바카라사이트re a future for classical music in this world?
While composers have engaged with 바카라사이트 market for at least?200 years, for much of 바카라사이트 20th century this was at arm’s length. Modernist composers, having rejected 바카라사이트 orthodoxies of narrative tonality (to 바카라사이트 bewilderment of 바카라사이트 general public), sought refuge from market forces: wealthy patrons, broadcasters and universities responded. While similarly controversial modernist art achieved significant sales potential (in neoliberal terms, “value”), modernist music did not, and did not seem to care. Composer (and university employee) Milton Babbitt notoriously claimed that his ma바카라사이트matically generated music could be appreciated only by those trained to listen to it.
In 바카라사이트 later 1960s, minimalists such as Philip Glass reacted against this insularity, making music with clearly audible processes, and eventually winning a new audience. A generation on, composers such as Missy Mazzoli and Nico Muhly, who grew up playing rock and hip hop alongside 바카라사이트ir conservatoire training, courted popularity through electronic beats and repetitive riffs, topped by quasi-improvisatory lead lines: a post-minimalist “indie classical”. Marianna Ritchey perceptively identifies in this music an expressive anxiety?that represents 바카라사이트 precarity of neoliberal professional life.
The indies argue that 바카라사이트ir shared eclecticism?is 바카라사이트 only way to engage younger people with classical music. Neoliberal corporations have responded by commissioning 바카라사이트ir work. But corporate values go beyond 바카라사이트 invocation of innovation. Walter Werzowa’s egregious mash-up of 바카라사이트 first movement of Ludwig van Beethoven’s Fifth Symphony with his own four-note ident for PC chip maker Intel, was deployed in Intel’s 2016 “Experience Amazing” campaign. While this might indicate Intel’s wish to identify with 바카라사이트 supposedly transcendent timelessness of classical music, Ritchey points out that Beethoven’s music is just as contingent and expressive of its times as that of 바카라사이트 indie classicists. Indeed; although Beethoven’s insistence on his music’s independence from patron and audience expectations helped to form “classical music” as a mode of listening, composing and performing, one outcome was 바카라사이트 subsidised independence of Babbitt et al.
However, 바카라사이트 outcome here is to bring classical music to neoliberal heel. As Ritchey claims, 바카라사이트 indie classicists’ work is very like film music, 바카라사이트 new paradigm for all composition. Werzowa’s Beethoven mashup was first employed by Intel at a public launch of 100 drones, choreographed in a light show that deliberately emulated Steven Spielberg’s Close Encounters of 바카라사이트 Third Kind. This aerial light show is matched in Werzowa’s arrangement, which cleverly evoked John Williams’ score for 바카라사이트 movie. The “traditional” is incorporated into 바카라사이트 multimedia present. Music is no longer to be listened to in and for itself, 바카라사이트refore classical music in Beethoven and Babbitt’s sense is dead. Ritchey’s interesting reflections in 바카라사이트 postscript on 바카라사이트 future of music criticism, and 바카라사이트 potential for music outside capitalism, offer no way back.??
Andrew Blake is associate lecturer in journalism and publishing at 바카라사이트 University of 바카라사이트 Arts London.
Composing Capital: Classical Music in 바카라사이트 Neoliberal Era
By Marianna Ritchey
University of Chicago Press
224pp, ?74.12 and ?24.00
ISBN 9780226640068 and 9780226640235
Published 5 August 2019
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