Response: Music, image and the sublime
Armstrong, T (2008) Response: Music, image and the sublime Textual Practice, 22 (1). pp. 71-83.
Armstrong 2008 Response Music Image.pdf
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This paper locates James' suggestion that the personal feelings produced by the sublime might serve to reinforce a safe conservatism wherein the individual is freed from reflecting on the ideological implications of his or her own emotions in the field of musicology. Using Bourdieu, Kubrick's 2001: a Space Odyssey (1968) and Stephen Speilberg's E. T. (1982), Armstrong shows how film music guarantees the safety of the educated, bourgeois listener by rescuing him or her from the fear of atonal, dissonant music by ensuing melodic harmonies and slowed rhythms. It is music's linguistic silence, the paper shows, that renders its ideological aspect more powerful however, highlighting the social context of music's production, distribution and reception.
|Divisions :||Faculty of Arts and Social Sciences > School of Arts > Music|
|Date :||18 February 2008|
|Identification Number :||https://doi.org/10.1080/09502360701842033|
|Related URLs :|
|Additional Information :||This is an electronic version of an article published in Textual practice (2008), 22 (1), 71-83. Available online at: http://www.tandfonline.com/doi/abs/10.1080/09502360701842033|
|Depositing User :||Symplectic Elements|
|Date Deposited :||25 Apr 2012 11:00|
|Last Modified :||09 Jun 2014 13:18|
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