Good: What Values Do We Bring to Music?
Good: What Values Do We Bring to Music?
Important scholarship over the last generation has done much to contextualize the conventional portrait of good music as having emerged within the particular realm of nineteenth-century “absolute” or “pure” music, and to highlight its supporters’ underlying agendas. Yet the conventional classical music value system nevertheless continues to be widely applied, rearing its head in discourse surrounding many post-nineteenth-century modernist and postmodernist classical musics that otherwise challenge aspects of traditional classical musics, earlier classical musics that flourished previous to the emergence of such thinking, and styles such as jazz, rock, and hip-hop. Further, even defining examples in numerous realms, whether Beethoven symphonies, “classic” jazz performances, or catchy pop tunes, do not fit—and need not be interpreted to fit—standard expectations of the given repertoire in particularly neat or convincing ways. Musical values are continually contested, as each expression aims to further a dominant perspective at the expense of marginalized ones. The book as a whole investigates the construction of musical values across a wide range of historical periods and soundscapes.
Keywords: absolute music, classical music, good music, hip-hop, jazz, musical values, pure music, rock, value system
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