Postmodern Musicology and the Subjectivity of Value
This article includes three sections. Part I attempts an assessment or reconstruction of musicology in terms of philosophical axiology and argues that modern musicology responds to the premises of value objectivism while postmodern musicology clearly sustains value subjectivism. Part II focuses crit...
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| Izdano u: | URI:https://journals.openedition.org/filigrane, |
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| Glavni autor: | |
| Format: | Article ou chapitre numérique |
| Jezik: | Anglais |
| Izdano: |
Filigrane
2024
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| Online pristup: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
| Sažetak: | This article includes three sections. Part I attempts an assessment or reconstruction of musicology in terms of philosophical axiology and argues that modern musicology responds to the premises of value objectivism while postmodern musicology clearly sustains value subjectivism. Part II focuses critically on issues associated with value subjectivism, such as relativism, constructivism and value reductionism, highlighting antinomies of theory in major branches of postmodern musicology (including feminist and homosexual musicology) and contesting the populist argument. Part III examines the claim that postmodern musicology is a critical discipline, demonstrating its self-exception from the mainly deconstructive “critical” argument, the impasses of its instrumental understanding of aesthetic value and the latent connection of this understanding with the legitimizing rhetoric of the contemporary music industry. To complement this view and by way of returning to Adorno’s philosophy, the essay gives a hint of a critically rational objectivist axiology of music, in which the subject functions not as an arbitrary constructor and projector of values but as their necessary condition of possibility. |
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