If Walls Could Talk: Politics, Sound, Otherness
DOI:
https://doi.org/10.25247/P1982-999X.2023.v23n1.p09-26Keywords:
Barriers, Musicology, Political-critical philosophy, Discrimination, Identity, ContemporaryAbstract
This paper relates the philosophical theme of the wall and barriers with musicality. In various ages, music has had a progressive political significance, whereas the contemporary world expresses its regressive nature in commercial musical forms and sound marketing. The closed and obsessive forms of the technological universe appear to be universes of expressive freedom while, on the contrary, the language of harmonic forms has become impoverished and is often characterized by repetitive rhythms with strong identity repercussions. For this reason, the present essay analyses the theme of the wall referring to music as an expressive and artistic form born for the community and in itself open. Often today, though, music is used for marketing strategies or as a vehicle for racial suprematism, discrimination, xenophobia. Starting from the analysis of common idioms such as “if walls could speak” or “walls have ears too” this paper focuses on the difference between music used as a democracy/open space and as an instrument for a strong and closed identity regression.
Downloads
References
AA.VV., Government and Opposition, Volume 38, Issue 1, Cambridge: Cambridge University Press, 2003, pp. 113 - 130.
AA.VV., Music and Conflict edited by John Morgano O’Connell and Salwa El Shawan Castelo Branco, Champaign: University of Illinois, 2010.
ADORNO T.W., Philosophy of New Music, Minnesota: Minnesota University Press, 2006.
BLACKING J., The Musical Sense, trans. Eric and Marika Blondel (Paris: Éditions de Minuit, 1980), See How Musical Is Man?, Seattle: University of Washington Press. 1973. -
BENJAMIN W., The Work of Art in the Age of Mechanical Reproduction, London: Penguin, 2008.
COLLI G., Filosofia dell’espressione, Milano: Adelphi, 1969.
DELEUZE G.; GUATTARI F., A Thousand Planes, Minnesota: University of Minnesota Press, 1987.
DONEGANI J.M., Music and Politics: The Language of Music – between Objective Expression and Subjective Reality in Raisons politiques, Volume 14, Issue 2, 2004.
ECO U., The Open Work, Harvard: Harvard University Press, 1989.
GARRATT J., Music and Politics. A Critical Introduction, Cambridge: Cambridge University Press, 2019.
HENWOOD B., The History of American protest music in https://www.vox.com/culture/2017/4/12/14462948/protest-music-history-america-trump-beyonce-dylan-misty
MASSAKA I., Music in the field of Political Sciences. Research, Questions and Trends in Polish Political Sciences, Vol. XLII, 2013.
NIETZSCHE F., Untimely Mediations, Cambridge: Cambridge University Press, 1997.
STREET J., Music and Politics, Cambridge and Malden: Polity Press, 2012.
THOMSON R., The Intertwined Relationship Between Music And Politics in https://liveforlivemusic.com/features/the-intertwined-relationship-between-music-and-politics/, February 2016.
WALTERS D., The aesthetics of Pierre Boulez, Durham University, http://etheses.dur.ac.uk/3093.
Downloads
Published
Issue
Section
License
Copyright (c) 2023 Revista Ágora Filosófica
![Creative Commons License](http://i.creativecommons.org/l/by/4.0/88x31.png)
This work is licensed under a Creative Commons Attribution 4.0 International License.
Autores que publicam nesta revista concordam com os seguintes termos:- Autores mantém os direitos autorais e concedem à Revista Ágora Filosófica o direito de primeira publicação, com o trabalho simultaneamente licenciado sob a Licença Creative Commons Attribution que permite o compartilhamento do trabalho com reconhecimento da autoria e publicação inicial nesta Revista.
- Autores têm autorização para assumir contratos adicionais separadamente, para distribuição não-exclusiva da versão do trabalho publicada nesta revista (ex.: publicar em repositório institucional ou como capítulo de livro), desde que reconheça e indique a autoria e a publicação inicial nesta Revista.
- Autores têm permissão e são estimulados a publicar e distribuir seu trabalho online (ex.: em repositórios institucionais ou na sua página pessoal) a qualquer momento depois da conclusão de todo processo editorial, já que isso pode gerar alterações produtivas, bem como aumentar o impacto e a citação do trabalho publicado (Veja O Efeito do Acesso Livre).