Verdadera reproducción del pasado reciente. Glenn Gould como crítico del neoliberalismo
The text is dedicated to musical reproduction by Glenn Gould against the neoliberal omnipotence of the culture industry. The ambivalences and tearing contradictions of neoliberalism can be revealed through his playing. From today's perspective, Gould's specific playing and his position on public,...
Guardado en:
| Autores principales: | , |
|---|---|
| Formato: | Artículo |
| Lenguaje: | español |
| Publicado: |
2022
|
| Materias: | |
| Acceso en línea: | https://dialnet.unirioja.es/servlet/oaiart?codigo=8923618 |
| Etiquetas: |
Sin Etiquetas, Sea el primero en etiquetar este registro!
|
| Sumario: | The text is dedicated to musical reproduction by Glenn Gould against the neoliberal omnipotence of the culture industry. The ambivalences and tearing contradictions of neoliberalism can be revealed through his playing. From today's perspective, Gould's specific playing and his position on public, now medialized musical life reveal expressive characters of that epoch of which Gould was a contemporary and which has now passed. Drawing on Thodor W. Adorno's unfinished theory of musical reproduction, the content of the latter is actualized precisely by making its motives speak in Glenn Gould's playing. For the interpretation of Gould's music reproduction, the neoliberal sedimented relationship between pop music and classical music as well as their respective critique are outlined. At the center of the text itself is Gould's subjectivistic activity of reproduction, as expressed in his interpretation and in his withdrawal from concert life. Gould's interpretation of Beethoven's Op 14/2 shows the historical process of decay of bourgeois progress precisely by means of the neoliberally decaying subject and thus once again lets the objective cheerfulness of the bourgeois hope for emancipation ring out. In Gould's specific position on the musical tradition that has been handed down - his family imprint, Schönberg’s ideal of interpretation, the concert situation - it becomes clear to what extent Gould, based on the demands of modernity, gained a binding character from the beginning of postmodernism, which once again and really re-echoes the truth content of sounding subjectivism. |
|---|