Confronting the Social: Mode of Production and the Sublime for (Indian) Art Music

2000 ◽  
Vol 44 (1) ◽  
pp. 15 ◽  
Author(s):  
Regula Burckhardt Qureshi
Keyword(s):  
Art Music ◽  
The Sublime ◽  
The Social ◽  
Mode Of Production ◽  
Indian Art

Coinage and the Tributary Mode of Production

2018 ◽  
Author(s):  
Eduardo Manzano Moreno
Keyword(s):  
Roman Empire ◽  
Middle Ages ◽  
Social Role ◽  
State Of The Art ◽  
Early Middle Ages ◽  
The Social ◽  
Simple Question ◽  
Mode Of Production

This chapter addresses a very simple question: is it possible to frame coinage in the Early Middle Ages? The answer will be certainly yes, but will also acknowledge that we lack considerable amounts of relevant data potentially available through state-of-the-art methodologies. One problem is, though, that many times we do not really know the relevant questions we can pose on coins; another is that we still have not figured out the social role of coinage in the aftermath of the Roman Empire. This chapter shows a number of things that could only be known thanks to the analysis of coins. And as its title suggests it will also include some reflections on greed and generosity.

Introduction

2018 ◽  
Author(s):  
Louçã Francisco ◽  
Ash Michael
Keyword(s):  
Social Reproduction ◽  
Capital Accumulation ◽  
Social Consequences ◽  
First Century ◽  
Capitalist System ◽  
Global Restructuring ◽  
The Social ◽  
And Diffusion ◽  
Political Decision Making ◽  
Mode Of Production

This book investigates two questions, how did finance become hegemonic in the capitalist system; and what are the social consequences of the rise of finance? We do not dwell on other topics, such as the evolution of the mode of production or the development of class conflict over the longer run. Our theme is not the genesis, history, dynamics, or contradictions of capitalism but, instead, we address the rise of financialization beginning in the last quarter of the twentieth century and continuing into the twenty-first century. Therefore, we investigate the transnationalization of the circuits and processes of capital accumulation that originated the expansion and financialization of the mechanisms of production, social reproduction, and hegemony, including the ideology, the functioning of the states, and the political decision making. We do not discuss the prevailing neoliberalism as an ideology, although we pay attention to the creation and diffusion of ideas, since we sketch an overview of the process of global restructuring of production and finance leading to the prevalence of the shadow economy....

scholarly journals Composing Individuals: Ethnographic Reflections on Success and Prestige in the British New Music Network

2013 ◽  
Vol 10 (1) ◽  
pp. 115-136 ◽  
Author(s):  
HETTIE MALCOMSON
Keyword(s):  
Social Norms ◽  
Art Music ◽  
Social Processes ◽  
Ethnographic Study ◽  
New Music ◽  
Disciplinary Power ◽  
Art Worlds ◽  
The Social ◽  
Scant Attention

AbstractIn contrast to established musicians, lesser-known composers have received scant attention in art music scholarship. This article, based on an ethnographic study, considers how a group of British composers construed ideas of success and prestige, which I analyse in terms of anthropological writings on exchange, Bourdieusian symbolic economies, and Foucauldian notions of disciplinary power. Prestige was ascribed to composers who created ‘interesting’ music, a category that eclipsed novelty as an aim. Individuality, enacted within a context of individualism, was key to assessing whether music was interesting. This individuality had to be tempered, structured, and embedded in the social norms of this and related ‘art worlds’. The article examines the social processes involved in creating this individuality, musical personality, and music considered interesting.

scholarly journals Contemporary art music and its audiences: Age, gender, and social class profile

2018 ◽  
Vol 24 (1) ◽  
pp. 60-77 ◽  
Author(s):  
Katarzyna Grebosz-Haring ◽  
Martin Weichbold
Keyword(s):  
Social Class ◽  
Contemporary Art ◽  
Art Music ◽  
New Music ◽  
Music Festivals ◽  
Social Patterns ◽  
Active Involvement ◽  
The Social ◽  
Cultural Movements ◽  
Motivational Structure

Contemporary art music (CAM) has experienced significant aesthetic changes in recent decades and has acted as a seismograph for socio-cultural movements. New music festivals have had a significant influence on the development and perception of this music by promoting aesthetic pluralism, introducing new concert formats, and expanding to unusual venues. These movements induce changes in the social patterns of CAM consumers and have an impact on the traditional high culture audience profile. This article relies on audience surveys at three European CAM festivals and draws on Bourdieu’s (1984) and Schulze’s (1992) class and lifestyle concepts in order to explore demographic characteristics and social class in CAM audiences. As the results show, consumption of CAM is still a distinctive practice sustained by an exclusive community having considerable education and “musical capital”. Nevertheless, the festivals show heterogeneity in the age structure and motivational structure of attendees as well as in specific patterns regarding knowledge, experience and active involvement with CAM. The analysis shows that aesthetic pluralism can lead to greater social openness regarding social class affiliation.

The Code of History

Beyond Reason ◽  
2021 ◽  
pp. 87-112
Author(s):  
Sanjay Seth
Keyword(s):  
Art Music ◽  
Modern History ◽  
Simple Application ◽  
History Writing ◽  
The Past ◽  
The Social ◽  
History Of Art ◽  
Core Elements ◽  
History Of ◽  
Meaning And Purpose

Showing that history writing is not the simple application of a method to sources bequeathed to us from the past, but rather a code that constructs “the past” in particular ways, this chapter explicates the elements of the code. Modern history treats past objects and texts as the objectified remains of humans who endowed their world with meaning and purpose, while constrained by the social circumstances characterizing their times; this time of theirs is dead, and it can only be represented, not resurrected; the past is only ever the human past, and it does not include ghosts, gods, spirits, or nature. In outlining these core elements of the code of history, it engages with those forms of history writing—the history of art, music, and science—that do not always share all the elements of the code, but for that very reason illuminate all the more clearly what the discipline presupposes.

Towards a New International Technological Order

1979 ◽  
Vol 4 (3) ◽  
pp. 277-300 ◽  
Author(s):  
Johan Galtung
Keyword(s):  
The Political ◽  
Human Beings ◽  
Political Will ◽  
Alternative Technologies ◽  
The Social ◽  
Physical Presence ◽  
Linear Movement ◽  
To Come ◽  
Capital Intensive ◽  
Mode Of Production

The main thesis of the paper is that technology is not merely a mode of production and therefore neutral; it carries within it a code of structures - economic, social, cultural, and also cognitive. The economic code that inheres in Western Technology demands that industries be capital-intensive, research-intensive, organization-intensive and labour-extensive. On the social plane, the code creates a ‘centre’ and a ‘periphery’, thus perpetuating a structure of inequality. In the cultural arena, it sees the West as entrusted by destiny with the mission of casting the rest of the world in its own mould. In the cognitive field, it sees man as the master of nature, the vertical and individualistic relations between human beings as the normal and natural, and history as a linear movement of progress. The transfer of Western technology is thus a structural-cultural invasion, which is not clearly seen as such parly because it is not accompanied by the West's physical presence (as in the days of colonialism), and partly because the fragmentation inherent in Western technology fragments the perception of the total picture. For techniques that create different structures to come into their own, a very clear perception of the interlocking of technology and structures is needed. Also needed is the political will to use alternative technologies as an instrument to bring about a structural change.

scholarly journals On Singing and Listening in Vaughan Williams's Early Songs

2017 ◽  
Vol 40 (3) ◽  
pp. 257-282
Author(s):  
Ceri Owen
Keyword(s):  
Art Music ◽  
Social Utility ◽  
Robert Louis Stevenson ◽  
Narrative Coherence ◽  
Self And Other ◽  
Publication History ◽  
Multiple Voices ◽  
The Social ◽  
The Individual ◽  
Early Songs

Vaughan Williams's celebrated set of Robert Louis Stevenson settings, Songs of Travel, has lately garnered liberal scholarly attention, not least on account of the vicissitudes of its publication history. Following the cycle's premiere in 1904 it was issued in two separate books, each gathering stylistically different songs. Though a credible case for narrative coherence has been advanced in numerous accounts, the cycle's peculiar amalgamation of materials might rather be read as a signal to its projection of multiple voices, which unsettle the longstanding critical tendency to map a single protagonist through its progress. The division marked by the cycle's publication history may productively be understood to reflect a tension inherent in its aesthetic propositions, one constitutive of much of Vaughan Williams's work, which frequently mediates between the individualistic and the collective, the “artistic” and the “accessible,” and, as I suggest, the subjective voice of the individual artist in its invitation to the participation of a singing and listening community. I propose that Vaughan Williams's early songs frequently frame the idea or demand the engagement of a listener's contribution, as particular modes of singing and listening—and singing-as-listening—are figured and invited within the music's constitution. Composed as he was searching for an individual creative voice that simultaneously sustained a nascent commitment to the social utility and intelligibility of national art music, these songs explore the possibility of achieving a self-consciously collective authorial subjectivity, often reaching toward a musical intersubjectivity wherein boundaries between self and other—and between composer, performer, and listener—are collapsed. In the recognition of such processes lies a means of examining the tendency of Vaughan Williams's work toward projecting a powerfully subjective voice that simultaneously claims identification with no single agency.

Marxism and Moral Objectivity

1981 ◽  
Vol 7 ◽  
pp. 19-44 ◽  
Author(s):  
William H. Shaw
Keyword(s):  
Sociological Theory ◽  
Historical Materialism ◽  
Intellectual Life ◽  
Moral Consciousness ◽  
General Process ◽  
Moral Systems ◽  
The Social ◽  
Different Types ◽  
General Mode ◽  
Mode Of Production

Historical materialism tenders a sociological theory of morality. According to it, different types of society are characterized by different and distinctive moral codes, values, and norms, and these moral systems change as the societies with which they are linked evolve. Morality is not something immutable and eternal; rather, it is part of ‘the general process of social, political and intellectual life’ - part of the social consicousness - which is conditioned by the general mode of production of material life. It is no accident, but rather a functional requirement, that different forms of moral consciousness accompany different modes of production. Moreover, since all existing societies have been class societies, their moralities have been class moralities in the sense that they sustain and reflect the material relations that constitute the basis of the different forms of class rule.

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