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- W3164858049 abstract "The focus of this chapter is largely on Badiou’s delimitation of what counts as music: he insists on an <italic>a priori</italic> commitment to an understanding of music that locates its essence (or more accurately for Badiou, its ‘truth’) not in its sounding, the experience of listening or playing, or in its effects, but only in its formal procedures – a move that derives from a specific historical construction of music which makes the actual happening of music (whether live, recorded, imagined, etc.) irrelevant to philosophy. As a result, Badiou’s playlist of musical ‘truths’ runs from the architectonic innovations of Haydn and sonata form at the end of the c18th through to the post-tonal continuation of Schoenberg’s legacy: truth, musically speaking, exists in Europe between about 1780 and 1950. Consequently, this chapter argues that it is more specific than simply validating the musical products of elite Western culture; it is specifically limited to those produced under the ideology of ‘absolute music’. Finally, though Badiou never identifies music with any feminine essence, the chapter traces the subterranean misogyny embedded in his philosophy of ‘truth’, and argues that his musical – and broader – thinking remains problematic from a feminist perspective." @default.
- W3164858049 created "2021-06-07" @default.
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- W3164858049 date "2020-08-18" @default.
- W3164858049 modified "2023-10-16" @default.
- W3164858049 title "Midwives and Madams: Mus(e)ic, Mediation and Badiou’s ‘Universal’ Subject" @default.
- W3164858049 doi "https://doi.org/10.3366/edinburgh/9781474458313.003.0005" @default.
- W3164858049 hasPublicationYear "2020" @default.
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