VPAB05 Week 11 Notes.docx

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Arts Management
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Alan Stanbridge

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VPAB05 November 23, 2011 Canonic Issues and the Discourses of Art, Folk, and Pop Reading: ‘Canonic Issues’ Canons are exemplary.. of moral and ethical force (15) - How strongly people hold onto these ideas they believe in “Canons exert tremendous… or ignored and hence forgotten” (15) - Canons include exemplary models by nature but other side of the point is that they are exclusive; works that don’t measure up are not included Canons are therefore exclusive 15 Canons.. segments of society 15 Canons self-perpetuate - Accompanied by next point Ideology of immutability - It doesn’t change; but in reality, canons do change But canons change “the dynamics of change in … powers of reconstruction” (16) - They are socially constructed - When change, they change for particular reasons – change in value systems of ex. Canons have generated .. behaviour - Within each canon, set of ideas and values and then categorization groups like phenomena in similar categories and excludes others. Idea of inclusion and exclusion Canon formation is not controlled.. historical movement Formation of canon involves lengthy historical process that engages many cultural variables 19 All kinds of contextual influences that affects this.. aesthetic issues Canons simultaneously… being canonized 19 - Idea of self-perpetuation - Once something is in the canon, becomes model for other things to be included into canon Canons embody the value of ..group[20 Canon formation… and values 22 - Shouldn’t underestimate power of canon, we have in everyday Three myths of canons: universality – claim that certain art forms have universal value that applies in all places and time for all people; myth that it is accepted everywhere Neutrality – myth that somehow it just exists… ignores process of how they became part of the canon (ex. DiMaggio’s article) Immutability – don’t change ^ all are false Difficult myths to counter….myths stand 22 “assumed repertoire – no discussion ….. western tradition 26 - Marginalization of music seen clearly - Similar to prof’s dead generation article The Musical Discourses of Art, Folk, and Pop aka Autonomy, authenticity, and commerciality *these are all claims Autonomy – independent of social forces Authenticity – true and true Commerciality – claim Four examples – Discourses and Value - Music as product vs. music as art - Individual authorship vs. formal - Sound engineers vs. musicians - Live music vs. recorded music th ‘high’ and ‘low’ – 19 century - Aesthetic judgments – rest on both musical and social criteria o Aesthetics are similarly socially constructed o Aesthetics are not simply just aesthetics - Musical tastes - Emergence of cultural Mass culture history - Mass culture cannot be simply equated with class values o Far too simple that music is linked to certain classes o Good example is DiMaggio’s museum, museum has a large audience and cannot have same interests - Values and conflicts are mediated – not directly expressed – through popular culture - The commercial process operates across the high/low discourse? The ‘Art’ Discourse - Particular notions of musical scholarship and musical talent – role of the academy - Particular events/performing conventions - Particular way of thinking about music: genius composers; scared scores; protected by guardian scholars; interpreted by talented performers; critiqued enlightened critics - Autonomous – apart from everyday - Promise of Transcendent experiences—ineffable and uplifting; but need knowledge and training to experience that ^that’s what makes it exclusive; elitist ^claims and discourse; not truths Conventions of the concert hall (prof’s example of noises) – very particular to this
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