Tag: music

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2014 Abstracts Stage 2

Existential Authenticity: A Look at Authenticity in the Life and Work of Nick Drake

Despite Drake’s lack of commercial success during his lifetime, he produced music that today is recognised as some of the most influential in its genre.

By providing a look at his life, work and personality, I will try to show that Drake demonstrates qualities of Sartrean authenticity.

The essay will consist of a struggle in which I try to identify ‘positive’ characteristics of authenticity, e.g. “originality”, “disregard for external pressure” etc.

I will go on to adapt an existential approach in order to define authenticity “negatively”, or what authenticity is not.

I will try to pin down what exactly we mean when we say, “this music is authentic” by taking a closer look at Drake’s musical technique. I will contrast his music, which is eloquent and understated, with music that one might consider manufactured or “inauthentic”, such as the Spice Girls’ discography.

It will be shown that, through the enigma of Drake’s lyrics, musical compositions and personality, that existentialism shaped his perspective and possibly lead to his untimely death.

I will conclude, with help from Peterson’s “Creating Country Music: Fabricating Authenticity”, that ‘authenticity’ is illusory; the Spice Girls and Nick Drake have the same authentic value because authenticity is not objective, rather it is a “socially agreed-upon construct”.

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2013 Abstracts Stage 3

Set Guitars to Kill: a Musical Examination of Post-Rock

The aim of my project was to examine Post-Rock music and to answer the question ‘is post-rock a philosophically sound musical genre?

To answer this question I looked at the Aesthetic Philosophy of Arthur Schopenhauer using his work The World as Will and Idea primarily. I applied his thought to the music by a number of the bands from the Genre such as Godspeed You! Black Emperor, Mogwai, 65daysofstatic, Explosions in the Sky, And So I Watch You From Afar, Thee Silver Mt. Zion and Slint among others.

I also looked at the social and cultural philosophy of Theodor Adorno found in his works Dialectic of Enlightenment and The Culture Industry. I applied this philosophy to the general attitude of the genre, a genre that tends to be antilabel, anti- capitalist and anti-corporate. I used a number of interviews with bands and also with the founders of Record labels who sign a number of post-rock bands such as Constellation Records.

‘Cause this music can put a human being in a trance like state and deprive it for the sneaking feeling of existing. ‘Cause music is bigger than words and wider than pictures. If someone said that Mogwai are the stars I would not object. If the stars had a sound it would sound like this. – Mogwai – Yes I am a Long Way From Home (Opening Monologue)

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2013 Abstracts Stage 2

The Phenomenology of Music and Human Nature

This project aims to analyse the deep connection between humanity’s development, both evolutionary and cultural to the production and fascination of music.

Key Concepts and Ideas:
Naturalism – Every mechanism is a result of the laws of nature
Semiotics – The study of signs, representation and meaning.
Reductionism – All sciences and phenomenon can be reduced to a single set of principles; a unifying theory of everything.

Key Philosophers and Researchers:
Darwin, C..
Pierce, C.
Bowman, D.
Cochran, G.
DeNora, T.
Kania, A.
Mithen, S.
Pierre, J.
Rahn, J.
Spano, R.

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2012 Abstracts Stage 2

Should Drum and Bass Be Valued as Art?

To determine whether or not drum and bass is a legitimate art form I have looked at the publications of four men; two philosophers and two artists.

Schopenhaur – Music is a representation of the will. Good music accurately depicts the will.

Adorno – music is good insofar as it is innovative and revolts against the bourgeoisie culture industry.

Goldie – Don’t think about art just enjoy it!

Wilde – Art Is good insofar as it is beautiful – as simple as that.

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2012 Abstracts Stage 2

The Authenticity Blues. A Study in Heideggerian Authenticity in Blues Music

In this project I shall explore the idea of authenticity in the blues, using both the idiomatic definition of ‘authentic’, and martin Heidegger’s theory of authentic and inauthentic existence

As a case study I shall use the career of Huddie ‘lead belly’ Ledbetter and his working relationship with the folklorists John and Alan Lomax

Are the blues authentic?
Is the life of a bluesman?
Can we appreciate the blues in an authentic way today?

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2012 Abstracts Stage 2

Breaking the Festival Barriers: Is the music festival an exercise in liberation and expression, or simply another mode of social constraint?

Aim: To discuss the relevance of the music festival as an arena for transgression and excess, and as an escape from the constraints of society. Using a variety of music festivals from past and present to construct a coherent argument.

Discussion: It is felt that music festivals provide a much needed release from the strains and pressures of society; one is permitted a degree of excess within a shared environment. The use of drugs and alcohol during a festival is representative of the need to cast off one’s inhibitions and to partake in unrestrained celebration. However, the music festival is still influenced by social rules and regulations. It is a temporary letting-loose, and therefore may be regarded as another form of social constraint.

Philosophy: – Freud; Civilisation and its Discontents, Totem and Taboo – Bataille; Inner Experience – Hegel; Elements of the Philosophy of Right, The Phenomenology of Mind

“Long may the expression of free-thinking people reign over this land!” -Michael Eavis

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2012 Abstracts Stage 3

Is Music Worth Saving? How Changing Social Norms and Conventions have Contributed to the Decline of the Music Industry.

Aims
 To gain an understanding of how largely capitalist organizations, such as Apple, Sony BMG and Warner are slowly eliminating the competition – smaller independent record labels and stores and alienating the musician from their art
 To investigate whether the use of free illegal downloading and file sharing websites can ever be justified in the current economic climate?
 To decide whether or not we should care about the demise of the record industry and whether music is a good that is worth saving?

Thinkers + Texts
 Mark Fisher— Capitalist Realism
 Immanuel Kant—Groundwork for the Metaphysic of Morals
 Karl Marx—Capital
 Arthur Schopenhauer—The World and Will as Representation

“It is easier to imagine a total catastrophe which ends all life on earth than it is to imagine a real change in capitalist relations” (Zizek, 334: 2011)

“We could just as well call the world embodied music as embodied will; this is the reason why music makes every picture, indeed every scene from real life and from the world, at once appear in enhanced significance” (Schopenhauer, 262-263: 1969)

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2009 Abstracts Stage 2

Can Alienation and Disaffection be a Catalyst for Art? Popular Music as a Form of Social Commentary and Self-Expression

Objective: In this essay I intend to look at how alienation and disaffection may be a catalyst for art, in particular with popular music, as a form of social commentary and self-expression, and what effect if any this art may produce within society. I will do so through studying Marx’s theory on alienation by looking at how if one becomes alienated in society they may use music as an alternative form of subjective labour. Then I will assess the role and worth of popular music in relation to the individual creating it and in turn how this may be used by other people in society and what they can gain from it. Concept: Popular music as a form of social commentary and self-expression. Thinkers: 1. Marx’s theory of alienation: ‘Anxiety about one’s social role, its basis, and its value is especially likely for creative artists who have “betaken themselves to their work as an isolated means of ‘self-expression’ without clear social function.’ (Elridge, 2003) I will explore how, whilst deprived a means of objectifying and fulfilling one’s human nature capitalist labour, creation of music may be an alternative form of productive labour. 2. Adorno’s critique of popular music ‘Its planned idiocy virtually tests what mankind will put up with, what threadbare, noncommittal intellectual contents can be imposed upon it.’ (Adorno, 1989.p52) Next, I will critically assess Adorno’s damning critique of popular music, aiming to interact with his theory to illustrate how, rather than being a meaningless practice, an audience may connect and be of benefit from it. Key Sources: Marx— Economic and Philosophic Manuscripts of 1844, Adorno— Introduction to the Sociology of Music, Popular music, Popular culture, Society.

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2009 Abstracts Stage 3

Hearing without Knowing: Music, Recording and Differance

This project began with Bill Drummond’s poster, Notice. For Drummond, the digitization and instant access to music through the internet has rendered recorded music a dead art form. To try and understand Drummond’s perception, I have chosen to examine three moments where technology had altered musical production and dissemination: – (1) The birth of notation. (2) The advent of file-sharing software such as Napster. (3) The rise of house music and ecstasy culture where DJs perform using recorded music. Throughout, I have used Deleuze and Guatarri’s A Thousand Plateaus as a conceptual tool-kit. Drawing on their notion of the rhizome, faciality, the refrain, becoming-imperceptible and micro-politics I have attempted to understand both these three movements and develop an approach to music itself. In order to cast some light on Drummond’s perception of recorded music as a single, irrelevant genre, I have turned to Adorno’s conception of the culture industry. Through Derrida’s Dissemination, I have attempted to show that the dichotomy between recording and performance cannot be sustained and that the musical experience returns the listener to the play of differance.

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2009 Abstracts Stage 3

Is Popular Music a Means to an End, or a Good in Itself?

Object – Popular music. • I shall study Schopenhauer in order to establish how ideas concerning music have changed over time. • For Schopenhauer music is a good, an end in itself. • Music is set aside from all the other art forms, it does not simply manifest the ideas of the will but is a direct expression of the will. • Music is the key to suspending will for a moment through an aesthetic break from everyday pain. Adorno. • Popular music is an instrument for another good instead of an end in itself. • The function of the culture industry is ultimately to organise leisure time in the same way as industrialisation has organised work time. • Customers of musical entertainment are themselves objects of the same mechanisms which determine the production of popular music. Their spare time serves only to reproduce their working capacity. • Work leads to mass culture and mass culture leads back to work. Popular music is standardized, and in order to conceal this standardization, the music industry engages in pseudo individualisation. Thus listeners are kept inline by making them forget that what they listen to is already pre digested. Problems with Adorno. Popular music has changed a lot since Adorno who was writing in 1941. Is it still as monolithic as he would have us believe? Does pseudo individualisation really explain things like the advent of rock and roll in 1956, the emergence of The Beatles in 1962 or punk rock in 1976? Popular music from Adorno onwards. Rock and roll as religion – a good in itself. Robert Pielke suggests that rock and roll is most properly understood as a religion that has created a transformation in culture. He compares the 6 characteristics of a religious experience presented by Rudolf Otto with feelings generated from listening to rock and roll or attending a concert. Charles Pressler and Derrida’s outline of ‘The Colossal’ The awe-inspiring concept that rock and roll presents is ‘the colossal’. The presentation of ‘the colossal’ is like an enabling energy that allows a new set of values to be taken onboard by the rock and roll audience.

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2008 Abstracts Stage 2

An Investigation of Philosophical Concepts within Fashion Trends in Music

For my project, I decided to investigate the role of fashion trends within music. I wanted to discover how the two are connected, and the influence they have upon each other. I wanted to understand how they both change, and the reasons why they change. I focused upon the Punk movement from the 1970s to the present day, which allowed for an easy transition from my stage one project, and still remains an area of importance within my life. Philosophically, I based my investigation on the works of Guy Debord and the Situationists, Surrealism and the works of Deleuze and Guattari. I also included sociological and psychological theories. I studied the role of the mass‐media in great detail, and found that theories presented by neo‐Marxist thinkers allowed me a greater understanding of my subject. I found that the mass media is responsible for the creation of Marxist “Ideology” and Debord’s “Spectacle”. These two create a false world view which allows people to be manipulated by others. I discovered that the media and business plays an important role within alternative rock music and the trends it creates. The media will offer positive or negative press regardless of stylistic content, and big companies will control what music, and its derivatives, are allowed into the public domain. This of course is a display of Debord’s Spectacle, and how alternative rock music has become its victim.

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2008 Abstracts Stage 2

Black Sabbath and Surrealism? Does their Music Display Ressentiment with Respect to Nietzsche?

Territory: Black Sabbath, their music shaped a new movement and style, the term ‘heavy metal’ came about to embody their music. Often overlooked and discarded Sabbath’s music would go on to be the forerunner and influence of many other great rock and metal artists. Concepts: My project aims to explore the territory of Black Sabbath and its relation, or non-relation, to the ideals and principles of Surrealism. I shall also be using the secondary concept of ressentiment in music using Nietzsche’s works on The Birth of Tragedy and use other musical styles to support my ideas. These shall be my two main concepts but I will also be using other philosophers that have interested me and have specific relevance to my project, for example Schopenhauer’s World as Will and Idea in which he discusses the role of music in society. My interest is to see if I can apply philosophies intended for their own times to a modern era of music.

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2008 Abstracts Stage 2

The Industrialisation of the Music Industry – Money vs Music

In this project I am looking to investigate the effects of capitalism on the music industry and more specifically the dominance of major record labels over independent. • One of the major influences for this project is the rise of television programmes such as the X Factor and Pop Idol and their effect on the world of music. These programmes seem to concentrate more on how much money they make rather than what the producers say they aim to do, which is to find musical talent. • By looking primarily in Marx and Fukuyama, I want to develop the idea of capitalism and the division of labour through Weber and Durkheim. • Finally I hope to bring both Music and Philosophy together by looking at Keith Negus and Simon Frith who have both looked at the idea of capitalism in music in an attempt to conclude once and for all whether or not capitalism truly has had a negative effect on the quality and production of music.

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2008 Abstracts Stage 2

People Places and Things’ – a Study of Blues Music in the Context of Everyday Life

Object: Blues music in the pre and post-war period. The reason I chose to study blues music is because its roots are firmly entrenched in the folk tradition. Subsequently the music is expressive in form and often reflects the current social climate. I studied music recorded by folklorist Alan Lomax and recording artists such as Son House, Muddy Waters and Robert Johnson and considered a series of documentary films directed by Martin Scorsese. Change: Blues music progressed from a form of musical expression contained within rural African-American communities to an international phenomenon which saw the likes of the Rolling Stones, Cream, John Mayall and The Kinks re-recording earlier blues songs with greater commercial success. I believe that this change can be attributed to the structural constructs put in place by the dominant modes of production that recognised a potential market and exploited it for capital gains. Concepts: Primarily the Situationist Internationale’s critique of contemporary capitalist society, analysing the idea that modern life has receded into a spectacular representation which is dominated by the commodity form. Accompanying this idea is the notion that spectacular society is capable of co-opting popular movements which question the status-quo into its own reinforcement. In order to provide a link between the Situationist Internationale and the change which blues music underwent during the pre and post-war period I drew upon commentaries by Richard Middleton and Richard Peterson both of whom analyse the role of the recording industry in fabricating authenticity and exploiting a musical market for capital gain.

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2008 Abstracts Stage 2

After Modernity – Colliding Dialects or Voices in Chorus?

The aim of this project is to understand UK hip-hop as a form of cultural expression through a comparison with British folk-revival. Both can be understood as rejections of modernity. Central concepts for discussion will be: tradition and community individuality and novelty, modernism and postmodernism. For an understanding of folk-revival and tradition, I will examine Alasdair MacIntyre’s After Virtue. MacIntyre’s conception of tradition and virtue ethics will be compared with Nietzsche and the ethics of postmodernism or late capitalism.

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2008 Abstracts Stage 2

How Does the Band The Gorillaz Represent the Spectacle of Society?

Territory: I decided to begin my research with one of my favourite bands the ‘Gorillaz’. The Gorillaz is a project created by Damon Albarn, who composed the music, but created a cartoon-like band to represent it for him. The band exists between the boundaries of the real world and the imagination of Albarn. Whilst researching the band, I was amazed to discover how many different artists, musicians and producers worked on the albums. The cartoon front for the band meant that all the artists and contributors could work on the album without having to be acknowledged for it. The animated characters take responsibility of looking and acting like the greatest rock band on earth, whilst the real musicians can contribute the music without the pressure of the commercial image which accompanies it. Concept I decided to focus on the notion of society as a spectacle as written about by Guy Debord. The main reason for this is because I agree with Debord’s notion that we live our everyday lives through a spectacle of society. I think in some ways the Gorillaz create their own spectacle of society as they reflect flaws in society through themselves. Examples of this are the ruining effect that big record companies have on music, and the harsh reality of the supposed glamour of being a star. Questions To what extent do the Gorillaz reflect Debord’s notion of the spectacle? Is it possible to escape the reign of the spectacle through art and music? Does the spectacle of a capitalist society fuel our sense of isolation and loss of creativity?

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2007 Abstracts Stage 2

Music Therapy

The aim of this project is to explore the belief that music can work as a healing or soothing mechanism for people suffering from cases of mental illness, bereavement, and any other personal problems. Music as a form of therapy • Although a relatively new form of practised therapy, music has been used as a way of helping people for hundreds of years; whether it be in calming physical disabilities, helping people to express repressed emotions, dealing with unconscious fears. • The British Society for Music Therapy was founded in 1958 by Juliette Alvin. It now treats a number of people, from adults to children, suffering from bereavement to illnesses such as cerebral palsy. Even though some illnesses are incurable, music is used as a way of providing joy and creating bonds between patient and client, and also between clients. Historical value • In Ancient Greece, it was commonly believed that music providing a form of communication with the gods. • The belief was still held in the Middle Ages, that music also symbolised a link with Satan, often being associated with the work of witches. Expressionism • Expressionism saw the emergence of pieces of music composed through unconscious emotions, rather than like previous decades of music which conformed to forms, strict melodies, rhythms and timbres. Aspects of Nietzsche’s theory of dualism emerged in many expressionist works. • Key figure was Schoenberg, who wished to see the elimination of the conscious will in expressionism. • Leads to exploring Freud and Hegel’s theories on consciousness and unconscious; overcoming problems which lie in the unconscious by realising and thus being able to treat them. The Enlightenment • The avant-garde movement had key figure Andre Breton, who developed his theory of automatism; this can be related to the way music is now used to help release emotions without the interference of thought processing. Foucault • Studies in madness; Foucault recognised the effects music could have on those suffering from forms of madness.

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2007 Abstracts Stage 2

Has Music Lost its Artistic Value? The Popularisation of Music in the 20th Century

TERRITORY: The history of popular music in the 20th century. Looking at: growth in access, development of technology, social and cultural changes through the decades. OBJECTS: Arnold Schoenberg & The Rolling Stones. I will be using each as a case study, pre and post war, to show changes in ideologies in the music, change in their status as musicians, how has the music industry changed them. SOCIAL CHANGE: Exploring the social political and cultural changes that have directly influenced music culture, music industry, music ideologies. Also looking the influence of the media through the decades with the development in T.V. radio and internet. What role has capitalism played in music culture? CONCEPTS: Primarily Artistic Value using Theodor Adorno and Simon Frith as my core texts. Also more briefly looking at Hegel on aesthetics and Marx on capitalism and the role they play in popular music.

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2007 Abstracts Stage 3

Understanding Noise

To explore noise and its theoretical underpinnings. Drawing on the work of Deleuze and Guattari, I wish to argue that noise appears as a perpetual deterritorialization of music. Over the course of the twentieth century there arose an increased difficulty to distinguish music from its counterparts of silence and noise. It was not until Luigi Russolo’s 1913 essay The Art of Noises that noise was encouraged to be used in musical composition, consequently liberating musicians from the antiquity of harmony and rhythm which dominated musical discourse for centuries. Noise today can be found permeating numerous musical acts. However, my intention was to examine those artists whom present noise with no melodic retrieval, who remain with noise as noise. My main referral was the work and philosophies of Masami Akita (Merzbow) a quintessential figure within noise music. Attali suggested that music, the codification of noise and silence “prefigures new social relations.” Likewise, I wanted to examine noise as a possible marker of temporal and cultural difference. Territories and Change: Drawing on the work of Deleuze and Guattari, I argued that noise is a perpetual deterritorialization of music. Capitalism brings with it both restrictions but also the possibility to escape such restrictions. Just as the human is encouraged to live creatively within capitalism, noise artists likewise attempt to exist creatively within music, challenging conceptions of how music is to be defined and created. That is, noise artists such as Merzbow trace lines of flight in an attempt to resist stratification. In this sense I also examined noise as an example of a smooth space and a rhizome. Noise however cannot escape musical strata entirely; rather it remains within music, forever on its periphery challenging what it is we define as music. It thus seems that the ethos or idiom of noise is dependent upon musical strata. Noise therefore must remain within music as extra-idiomatic, that is, a sense from within music that it is uncontainable. In examining noise as a perpetual deterritorialization of music, I was examining a change in musical conceptions as they have been hitherto and as they may come in the wake of the possibilities opened up by noise.

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2006 Abstracts Stage 2

Hendrix, Hippies and Humanism: an Analysis of the Realisation of Postmodern Aesthetic and Ethical Values within Western Culture during the 1960s

Territory: The Jimi Hendrix song Voodoo Chile (Slight Return). Aims and Objective: To analyse 1960’s culture and counterculture movements in terms of their aesthetical and ethical values with reference to Nietzsche’s philosophies. I intend to demonstrate that with the aid of music and the arts people at this time began to turn away from traditional pre-war values and began to experiment with more subjective, postmodern views of the world and humanity’s relation to it. Concepts: The underlying concept of my project is: ‘Ethical redemption through the means of aesthetical values’; this is closely related to Nietzsche’s conception of art as being ‘the highest dignity of mankind’. I am also investigating the concept of ‘slave and master moralities’ as theorised by Nietzsche to analyse the shift away from pre-war traditional values (for example, Christian doctrines) towards a more individual style of ethics, as can be witnessed in hippy communes and in relation to the civil rights movements and the sexual revolution. The ‘will to power’ in relation to these concepts will be the basis of my conclusion as to what extent this era can be said to be one of the defining periods of the shift of humanity towards post-modernism, especially within western culture and society. Sources: I will reference a wide variety of sources both on the structure of 1960’s culture and on Nietzsche’s philosophy as well as on post-modern philosophy. My main texts, however, will be: • Friedrich Nietzsche, The Birth of Tragedy, • Friedrich Nietzsche, On the Genealogy of Morals, • David Henderson, ‘Scuse Me While I Kiss the Sky: The Life of Jimi Hendrix, • John Morton Blum, Years of Discord. American Politics and Society, 1961-1974.