By Marcel Cobussen
It sort of feels self-evident that song performs greater than simply a cultured position in modern society. moreover, music's social, political, emancipatory, and comparatively cheap services were the topic of a lot fresh learn. Given this, it really is stunning that the topic of ethics has frequently been overlooked in discussions approximately tune. some of the types of engagement among tune and ethics are extra appropriate than ever, and require sustained realization. "Music and Ethics" examines alternative ways during which song can 'in itself' - in a uniquely musical method - give a contribution to theoretical discussions approximately ethics in addition to concrete ethical behaviour. We ponder song as method, and music-making as interplay. primary to our figuring out is music's organization with engagement, together with touch with song during the act of listening, song as an immanent severe procedure that possesses profound cultural and historic importance, and as an paintings shape that may be world-disclosive, formative of subjectivity, and contributive to intersubjective kin. "Music and Ethics" doesn't supply a basic musico-ethical conception, yet explores ethics as a pragmatic proposal, and demonstrates via concrete examples that the relation among tune and ethics hasn't ever been absent.
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Additional info for Music and Ethics
63 Derrida’s deconstructive strategies are aimed at listening to the non-discursive sonorities of a text, impossible to become enclosed in pre-established schemes and forms. That is why it might be necessary to rephrase Derrida’s own famous statement ‘il faut parler’ (‘one must speak’) by ‘il faut écouter’ (‘one must listen’). However, if one of music’s possible contributions to ethics can be found in its call to listen, to listen carefully and attentively, to others and otherness, the question can be restated: how can we listen carefully?
But she also mentions a possible alternative: the postmodern attempt to recognize the other as the irrational, the passive and the regressive (in opposition to key modernistic concepts such as the rational, the active and the progressive) and the suggestion to (re)think the other as that which has remained in Western thought, a residue bogged down in the violence of the self. 32 Paying attention to the other – that is, attempting to contact a space before or beyond metaphysical thinking (a space that can only be approached through metaphysical thinking) – therefore means regaining a certain astonishment and wonder.
On the one hand is the foreigner ‘with a name’ – that is, the one who claims our hospitality on the basis of a legitimate motive, a good reason. This is the foreigner who speaks our language, whose situation is understandable Simon Critchley, The Ethics of Deconstruction: Derrida and Levinas (Oxford: Blackwell, 1992), p. 17. , pp. 17–18. 18 Jacques Derrida, On Cosmopolitanism and Forgiveness, trans. M. Dooley and M. Hughes (London: Routledge, 2001), p. 17. 19 Jacques Derrida, Of Hospitality, trans.