Music and Ethical Responsibility
Jeff R. Warren
Language: English
Pages: 213
ISBN: 1107043948
Format: PDF / Kindle (mobi) / ePub
Discussions surrounding music and ethical responsibility bring to mind arguments about legal ownership and purchase. Yet the many ways in which we experience music with others are usually overlooked. Musical experience and practice always involve relationships with other people, which can place limitations on how we listen to and act upon music. In Music and Ethical Responsibility, Jeff Warren challenges current approaches to music and ethics, drawing upon philosopher Emmanuel Levinas's theory that ethics is the responsibilities that arise from our encounters with other people. Warren examines ethical responsibilities in musical experiences including performing other people's music, noise, negotiating musical meaning, and improvisation. Revealing the diverse roles that music plays in the experience of encountering others, Warren argues that musicians, researchers, and listeners should place ethical responsibility at the heart of musical practices.
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Use it through legal contracts and sales. In Canada, a group of prominent popular musicians including Fiest, Barenaked Ladies, Randy Bachman and Avril Lavigne created the Canadian Ethical responsibility in musical experience Music Creators Coalition in 2006 in response to developments in proposed copyright law. They describe themselves as follows: We are a growing coalition of Canadian music creators who share the common goal of having our voices heard about the laws and policies that affect.
Affirms that interpretation is not a cognitive act undertaken after passive reception, but – following Hans-Georg Gadamer – finds that all experience is interpretive. Such a view of interpretation allows for a multiplicity of musical meaning. Unlike the previous models of musical meaning, the inclusion of other perceiving subjects brings relationships and ethical responsibilities to other people into the discussion of musical meaning. Questions of ethical responsibility, then, become essential.
Purposes. Recordings are essential for a project like Steven Block’s pitch class analysis of free jazz, an endeavour all but impossible to undertake without recordings as jazz is rarely scored out note for note (Block 1990). The difficulty with recordings, though, is that often scholars (and listeners in general) lose the concept of the limitations in the occasion of the original performance context. Whether it is the length limits of master tapes or thinking about proximity to microphones in the.
1989c, 57). I conclude by stating that ‘ethics and hermeneutics are … two sides of the same coin: breach and interpretation is the ethical-hermeneutical dialectic’ (Warren 2005, 25). Although Gerald Bruns takes a different approach from the one I take in my article, he similarly concludes that ‘the relation between Gadamer and Levinas is not so much one of disagreement as one of mutually illuminating differences – differences that are paradoxically coherent with one another’ (Bruns 2004, 41).1.
Visual form in William Hogarth’s The Enraged Musician. In this 1741 etching (see Figure 5), an angry violinist practising concert music has been interrupted by street sounds and looks out the window, covering his ears in disgust. Outside, street music accompanies unseemly behaviour including public urination and general rowdiness. In both Picker and Hogarth, examples of other people’s music present a dual problem: first, noise poses a challenge to conceptions of social organisation; second, noise.