Territory: Music, Culture<\/p>\n
Object:
\nDance music, in its authentic form, with Disco as it\u2019s predecessor \u2014 authenticity established by a continuum from Disco to electronic dance music, cultivating ideological resistance, sonic variation and club cultural context. <\/p>\n
Methodology:
\nUnlike most art forms, dance music achieves its ultimate potential in only a moment of euphoria shared by the cumulative joy of a crowd of people. I aim to prove that in these moments, all aspects of authentic dance music come together to form a unique autonomy in the context of the culture industry. I will do this by identifying, using critical analysis, weaknesses in the theories that will be discussed and presenting dance music\u2019s unique ability to exploit these. <\/p>\n
Theory:
\nThe Social Theories of Theodor Adorno in The Dialectic of Enlightenment and G.W.F Hegel in The Philosophy of Right and Philosophy of Mind. Hegel\u2019s theory reinforces the concept of an artistic freedom restricted by the Culture Industry.<\/p>\n
Application:
\nAdorno engages in the idea of \u2018autonomous art\u2019 against the culture industry. To an extent, this will remain the position of authentic \u2018dance music\u2019;ideologically resistant to the culture industry in the way that Adorno idealises. However, a study into Adorno\u2019s own perception of authentic art, a result of his complex, often pretentious Aesthetic Theory, demonstrates why he doesn\u2019t actually believe autonomy can be anything other than illusory in relation to its social context \u2014 Adorno is too negative. <\/p>\n
Conclusion:
\nI have thus presented \u2018dance\u2019 music\u2019s authentic features as holding the potential to actualise Adorno\u2019s illusory ideal. Whilst I also understand this cannot be maintained, in brief moments, dance music is at least the perfect representation of Hegel\u2019s utopian union of the subjective and objective, yet also, can achieve an independent utopia.<\/p>\n","protected":false},"excerpt":{"rendered":"
Finlay John Harbour, 2017, Stage 2<\/p>\n","protected":false},"author":8792,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[251,22,128],"tags":[72,27,97],"class_list":["post-2197","post","type-post","status-publish","format-standard","hentry","category-251","category-abstracts","category-stage-2-abstracts","tag-adorno","tag-culture","tag-music"],"_links":{"self":[{"href":"https:\/\/blogs.ncl.ac.uk\/philosophy\/wp-json\/wp\/v2\/posts\/2197","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/blogs.ncl.ac.uk\/philosophy\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/blogs.ncl.ac.uk\/philosophy\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/blogs.ncl.ac.uk\/philosophy\/wp-json\/wp\/v2\/users\/8792"}],"replies":[{"embeddable":true,"href":"https:\/\/blogs.ncl.ac.uk\/philosophy\/wp-json\/wp\/v2\/comments?post=2197"}],"version-history":[{"count":0,"href":"https:\/\/blogs.ncl.ac.uk\/philosophy\/wp-json\/wp\/v2\/posts\/2197\/revisions"}],"wp:attachment":[{"href":"https:\/\/blogs.ncl.ac.uk\/philosophy\/wp-json\/wp\/v2\/media?parent=2197"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/blogs.ncl.ac.uk\/philosophy\/wp-json\/wp\/v2\/categories?post=2197"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/blogs.ncl.ac.uk\/philosophy\/wp-json\/wp\/v2\/tags?post=2197"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}