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Who could ask for anything more? Cul...

Stanbridge, Alan.

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Who could ask for anything more? Cultural theory, contemporary music, and the question of canons.

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	Who could ask for anything more? Cultural theory, contemporary music, and the question of canons./
作者:	Stanbridge, Alan.
面頁冊數:	447 p.
附註:	Adviser: John Shepherd.
Contained By:	Dissertation Abstracts International62-02A.
標題:	Anthropology, Cultural. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=NQ57627
ISBN:	0612576272

Who could ask for anything more? Cultural theory, contemporary music, and the question of canons.
Stanbridge, Alan.

Who could ask for anything more? Cultural theory, contemporary music, and the question of canons. - 447 p.

Adviser: John Shepherd.

Thesis (Ph.D.)--Carleton University (Canada), 2000.

This dissertation was motivated by a sense of frustration with many of the existing theoretical and methodological protocols for the study of art and culture. A review and critique of a wide range of work in cultural and postmodern theory, and in the ‘new musicology’ and popular music studies, suggests that, in response to the formalist reductionism of traditionalist approaches, much revisionist work simply substitutes its own form of ideological reductionism. Such approaches often ignore, relativize, or invert established systems of cultural hierarchy and canonicity, sometimes offering an alternative canon but ultimately failing to challenge existing patterns of institutional authority, privilege and canonicity. The significant corollary to these revisionist forms of reductionism and canonic inversion is an equally problematic understanding of cultural value.

ISBN: 0612576272Subjects--Topical Terms:

735016
Anthropology, Cultural.

Who could ask for anything more? Cultural theory, contemporary music, and the question of canons.
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520 $a This dissertation was motivated by a sense of frustration with many of the existing theoretical and methodological protocols for the study of art and culture. A review and critique of a wide range of work in cultural and postmodern theory, and in the ‘new musicology’ and popular music studies, suggests that, in response to the formalist reductionism of traditionalist approaches, much revisionist work simply substitutes its own form of ideological reductionism. Such approaches often ignore, relativize, or invert established systems of cultural hierarchy and canonicity, sometimes offering an alternative canon but ultimately failing to challenge existing patterns of institutional authority, privilege and canonicity. The significant corollary to these revisionist forms of reductionism and canonic inversion is an equally problematic understanding of cultural value.
520 $a In this dissertation, I develop a conceptualization of postmodernism that attends to the specificities of postmodern cultural practice, acknowledging the prevalence of irony, parody and intertextuality in contemporary cultural forms. Suggesting that the ‘doublecoding’ of much postmodern practice raises significant questions in terms of both cultural value and academic ‘positionality’, I note the limitations of any ‘happy’ interdisciplinarity. In sharp contrast to the partiality and reductionism of much work in contemporary cultural theory and ‘music studies’, I propose a critically self-reflexive ‘eclecticism of theory’, based on a judicious appraisal of the strengths and weaknesses of particular theoretical approaches and methodologies, and the recognition that issues of text and context must be understood as thoroughly interdependent, symbiotic, and dialogical. This involves a critical engagement with art and culture—in all its ‘high’ and ‘popular’ manifestations—analytically situated in its socio-historical, institutional and political contexts. This analytical model allows a broadly eclectic theoretical approach to the complexities of contemporary music and its canons, denying narrow interpretations of musical meaning and cultural value, and offering instead a richly intertextual reading of musical forms and practices. With the aid of several case studies in the field of contemporary jazz, I illustrate the proposed model, suggesting that the model can be understood to be more broadly applicable to questions of meaning and value across the entire musical field.
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