Hearing A New World: The Aesthetic Use of Technology in Pop-Rock
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| Titel: | Hearing A New World: The Aesthetic Use of Technology in Pop-Rock |
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| Autoren: | Sol Bidon-Chanal |
| Weitere Verfasser: | Sol, Bidon-Chanal |
| Quelle: | Aisthesis, Vol 15, Iss 2 (2023) |
| Verlagsinformationen: | Firenze University Press, 2023. |
| Publikationsjahr: | 2023 |
| Schlagwörter: | Music Criticism, History, FOS: Political science, Social Sciences, Library science, [SHS.PHIL] Humanities and Social Sciences/Philosophy, Context (archaeology), Sociology, Subject (documents), 11. Sustainability, Rock music, Political science, Language and Literature, Communication, FOS: Sociology, FOS: Philosophy, ethics and religion, Interactive Evolutionary Music Systems and Instruments, Archaeology, Physical Sciences, 8. Economic growth, Object (grammar), Musical, Relevance (law), Computer Vision and Pattern Recognition, BH1-301, Art, Mass art, musical creation, popular music, sound technology, Choir, Aesthetics, Geometry, Mass Art, FOS: Law, Popular music, Epistemology, Visual arts, 12. Responsible consumption, Point (geometry), Field (mathematics), FOS: Mathematics, Musical creation, Historical and Theoretical Study of Music, Sound Technology, 9. Industry and infrastructure, Pure mathematics, Linguistics, Ontologies of Rock, Computer science, [SHS.MUSIQ] Humanities and Social Sciences/Musicology and performing arts, Philosophy, Literature, Computer Science, FOS: Languages and literature, Arts and Humanities, Media Ecology and Communication Studies, Law, Music, Mathematics |
| Beschreibung: | At odds with the relevance it has as object of aesthetical experience around the world, pop-rock music is still a rare subject in philosophical inquiry. Nonetheless, it has arisen growing interest in the last two decades, particularly in the Anglo-Saxon tradition. In such context, this paper intends to give an overview of the philosophical contributions on the subject made so far, and provide some guidelines for its study in the field of aesthetics. After reconstructing the debate, starting from Theodor W. Adorno’s thoughts on mass music as prolegomena and arriving at the so-called “ontologies of rock”, this article takes an aesthetic point of view concerning the specificity of pop-rock and argues that the decisive aspect of the genre in the choir of popular musical expressions lies in the unique role of technology applied in its production. |
| Publikationsart: | Article Other literature type |
| ISSN: | 2035-8466 |
| DOI: | 10.36253/aisthesis-11922 |
| DOI: | 10.60692/xrx1y-n4n98 |
| DOI: | 10.60692/n8ccv-dva77 |
| Zugangs-URL: | https://univ-paris8.hal.science/hal-04411097v1 https://doi.org/10.36253/aisthesis-11922 https://doaj.org/article/57e966dbb207430ba44d2f51f9787493 |
| Rights: | CC BY NC |
| Dokumentencode: | edsair.doi.dedup.....3360634d4ea2fe526dbfbdf0bb102eb1 |
| Datenbank: | OpenAIRE |
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Nájsť tento článok vo Web of Science | Abstract: | At odds with the relevance it has as object of aesthetical experience around the world, pop-rock music is still a rare subject in philosophical inquiry. Nonetheless, it has arisen growing interest in the last two decades, particularly in the Anglo-Saxon tradition. In such context, this paper intends to give an overview of the philosophical contributions on the subject made so far, and provide some guidelines for its study in the field of aesthetics. After reconstructing the debate, starting from Theodor W. Adorno’s thoughts on mass music as prolegomena and arriving at the so-called “ontologies of rock”, this article takes an aesthetic point of view concerning the specificity of pop-rock and argues that the decisive aspect of the genre in the choir of popular musical expressions lies in the unique role of technology applied in its production. |
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| ISSN: | 20358466 |
| DOI: | 10.36253/aisthesis-11922 |