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In this singularly critical essay, the author concentrates on the refusal to make value judgments that underlies the stylistics pratices of musique actuelle, and she denounces also the ambiguity which results from its critique of commercialism while exploitating the resources of industrial music.
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From a philosophical point of view, music is an object difficult to grasp. Hence, the author's choice to analyse the traces of what some writers have thought about twentieth-century musical practice. The Holocaust has historically been situated at the centre of reflections on ethics, if not even seen as the origin of these. The author focuses on works that describe the central place that music occupied in the life of the concentration camp: Pascal Quignard's La Haine de la musique, and some related works, and then Anthony Burgess's A Clockwork Orange, and its film adaptation by Stanley Kubrick. The article concludes with discussion of Holocaust testimonies and of some critical studies on the public space occupied by today's music.
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First to react is the music critic of the arts weekly Voir. She observes that there certainly exists a public for contemporary music, but that perhaps it harshly reflects a terrible reality. She points out that today the era of arid, structuralist music of the 1950-1970s