Abstract
Outmoded patterns of thought, to invoke Deleuze, plague the practices and discourses of 'new' classical music. Such a claim may seem absurd given 'new' music has earned a reputation for being unorthodox, experimental and subversive, and characterised by a mindset preoccupied with musical progress, complexity and historical necessity. In this essay I shall argue that despite the plethora of styles which now seem to embody 'new' music, it has become increasingly repetitive, and locked into static conventions for its presentation and composition. This is due, in part, to the recent emphasis given to its entrepreneurial activities but, as I will also show, the resistance of organisations to programming women's music means that a whole dimension that might be opened up as 'new' continues to escape our notice.
| Original language | English |
|---|---|
| Number of pages | 24 |
| Journal | Cultural Studies Review |
| Publication status | Published - 2010 |
Keywords
- music
- composition (music)
- women composers
- music--performance
- music--history and criticism
- feminism and music