عنوان

Groove :

شماره

TLets543092

عنوان اصلي

Groove :

نام عام مواد

[Thesis]

نام نخستين پديدآور

Abel, Mark F.

عنوان اصلي به قلم نويسنده ديگر

an aesthetic of measured time

نام ناشر، پخش کننده و غيره

University of Brighton

تاریخ نشرو بخش و غیره

2011

جزئيات پايان نامه و نوع درجه آن

Ph.D.

کسي که مدرک را اعطا کرده

University of Brighton

امتياز متن

2011

متن يادداشت

The emergence of 'groove' in Western popular music around the turn of the twentiethcentury was a distinct departure in the organisation of musical time. Though in manyways prefigured by the metrical system of the previous three centuries, groove appearsto intensify meter to a qualitatively new level. Occurring at roughly the same historicalmoment as musical modernisms began systematically to challenge temporal regularity,groove can be regarded as a move in the opposite direction: an acceptance or even a celebration of abstractly measured time.This thesis undertakes a historical and hermeneutic investigation into the phenomenonof groove. It begins by analysing the way that it works musically in order to justify theclaim that groove is an aesthetic of measured time. It then challenges the notion thatgroove derives from African musical traditions, transported to the Americas throughslavery, arguing instead that groove's roots lie in the changed social circumstances ofthe industrialised world, precipitated by the emergence of monopoly capitalism. Thismove is central to the thesis, which proceeds on the basis that the ways in which musicsorganise time - that is, the temporality internal to them - reflects, or is an aestheticresponse to, the experience or consciousness of time prevailing in the societies whichproduce them.The middle portion of the thesis is an examination of philosophical arguments aboutmeasured time and their musical implications, from Bergson's claim that authentic timeis reduced to space by measurement, through Bachelard's critique of Bergson, toSchutz's application of phenomenology's theory oftime consciousness to musical time.At the heart ofthe thesis is an examination of Adorno's writing on musical temporalityand his critique of the abstract time of popular music. The thesis argues that, thoughextremely perceptive and useful, what Adorno's position lacks is a sufficientlydialectical analysis of the ways in which the temporalities of advanced capitalism areexperienced and in turn find expression in music.Such an analysis is attempted in the latter part ofthe thesis, deploying the work ofMarxists who argue that capitalism is responsible for the abstraction of time and,moreover, that this abstract time is a 'real abstraction'. Because it is generated by theinner workings of the capitalist economy, it is not something that can be wished away atthe level of thought or that aesthetic representation can simply refuse, as Adorno andother modernists suggest. Groove, therefore, has the virtue of dealing with time as itreally is under capitalism, rather than seeking a Utopian escape from it.The thesis concludes by considering the relationship of abstract time to historicalconsciousness, arguing that groove is an aesthetic mode which figures time differentlyfrom previous musics: immanently rather than narratively or representationally. As aresult, groove generates a heightened experience of the present or the 'Now', whilesimultaneously retaining the sense of the Now's location within a temporal, orhistorical, continuum. Using Benjamin's concept ofJeztzeit, groove music is thusrevealed to be a modernism, albeit one distinguished from others by its nonUtopianism,and one capable, at least in its best incarnations, of expressing our potentialto make history, rather than simply be subjected to it. Therein lies groove's politicalcharge.

مستند نام اشخاص تاييد نشده

Abel, Mark F.

مستند نام تنالگان تاييد نشده

University of Brighton

نام الکترونيکي

فرمت انتشار

p

نوع ماده

[Thesis]

کد کاربرگه

276903

سطح دسترسي

a

تكميل شده

Y