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|a Titlestad, Michael
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|a Festive Critique and Agency in Felix Laband's "4/4 down the Stairs" / Svečarska kritika i djelovanje u djelu 4/4 Down the Stairs felixa labanda
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|a This article presents an analysis of Cape Town-based electronic artist Felix Laband's album, 4/4 Down the Stairs (African Dope Records: 2002). The discussion comprises three sections. The first theorises, through the contested lens of Mikhail Bakhtin's formulation of the carni-valesque, Laband's use of the 'low-other' as festive critique. It unravels the aesthetico-ideologi-cal discourse in which the cover design and the music participate. The second discussion, which sounds an additional cautionary note in counterpoint to celebrating festive critique, turns to the work of the French economist and philosopher, Jacques Attali, to consider his distinction between 'mass music' and what he defines rather idiosyncratically as 'composition.' Attali's theory of musical production, which juxtaposes the multivalent tropes of Carnival and Lent, presents a persuasive critique of the popular music industry. We consider, in our description of Attali's representation of the trap of commercial circulation, the extent to which Laband's work registers as the 'background noise' of 'consumer integration, interclass levelling, cultural homogenization' (1985: 111). The third and final section of the argument is rather more optimistic. It seeks to develop, through the ideas of Michel de Certeau, a theory of (muted and conditional) subversive agency that applauds Laband's creativity as the capture of musical possibility in a mode that de Certeau describes as 'pedestrian' combinational and relational practice. /// Ovaj članak predstavlja, na različitim razinama, dijalošku analizu djela 4/4 Down the Stairs (kao trivijalno, kao banalni pastiš, kao komercijalno, nekoherentno, sekundarno ili kao izblijedjeli minimalizam). Rasprava se sastoji od triju odlomaka. U prvome se teoretizira, kroz osporavanu prizmu formulacije karnevalesknom Mihaila Bahtina, o Labandovoj uporabi 'niskog drugog' ('low-other') kao svečarske kritike. U njemu se rješava estetičko-ideološki diskurs, uključujući dizajn omota i samu glazbu, približavajući se glazbi opisnom analizom 'Blue Crack Twos', jedne od traka na albumu. Ovaj odlomak valja čitati kao skeptično uprizorenje Bahtinova teorijskog aparata koje privlači pozornost na svoja ograničenja čak i kada ocrtava mogućnosti karnevala kao oružja protiv pretvaranja i hipokrizije moćnih. Druga rasprava komplicira cijelu stvar. Obraća se djelu francuskog ekonomista i filozofa Jacquesa Attalija da bi razmotrila njegovo razlikovanje izmedu 'masovne glazbe' i onoga što definira prilično idiosinkretički kao 'kompoziciju'. Attalijeva političko-ekonomska teorija glazbene produkcije, koja supostavlja polivalentne trope karnevala i korizme, predstavlja uvjerljivu kritiku industrije popularne glazbe. Potom se u ovom odlomku unosi dodatna opominjujuća nota kao protuteža slavljenoj 'veseloj' kritici. Njome se sugerira da prividno karnevaleskna subverzija, kada je nerazmrsivo integrirana u produkcijske i reprodukcijske krugove, često ne čini ništa drugo nego fetišizira ponavljanje i potrošnju. Treći i završni odlomak je optimističniji. U njemu se nastoji razviti, putem ideja Michela de Certeaua, teorija nijemog i uvjetovanog djelovanja koja povladuje Labandovoj kreativnosti kao hvatanje glazbene mogućnosti na način koji de Certeau opisuje kao 'pješačku' kombinatornu i odnosnu praksu. U ovom se odlomku pokazuje da Attalijeva krajnje modernistička kritika 'masovne glazbe' ne odgovara zadatku prepoznavanja puteva kojima se glazbenici pojedinci, s pomoću lukavstava prilagodavanja i manipulacije, uključuju u prevladavajuće akustické poretke te čineći tako uvode u te poretke i novinu i nepostojanost.
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|a Copyright 2005 HMD / Croatian Musicological Society
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|a Cultural Theory
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|a Carnival
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|a Festive Critique
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|a Mass Culture
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|a Bakhtin
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|a Attali
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|a de Certeau
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|a Behavioral sciences
|x Leisure studies
|x Recreation
|x Entertainment
|x Performing arts events
|x Variety shows
|x Traveling shows
|x Carnivals
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|a Arts
|x Performing arts
|x Music
|x Music theory
|x Musical pitch
|x Musical modes
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|a Arts
|x Performing arts
|x Music
|x Music genres
|x Popular music
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|a Arts
|x Performing arts
|x Music
|x Music theory
|x Tonal theory
|x Musical dissonance
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|a Arts
|x Performing arts
|x Music
|x Music theory
|x Music composition
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|a Philosophy
|x Axiology
|x Aesthetics
|x Applied aesthetics
|x Musical aesthetics
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|a Arts
|x Performing arts
|x Music
|x Music genres
|x Sacred music
|x Church music
|x Mass settings
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|a Economics
|x Economic disciplines
|x Labor economics
|x Employment
|x Occupations
|x Artists
|x Musicians
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|a Arts
|x Performing arts
|x Music
|x Music theory
|x Musical forms
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|a Physical sciences
|x Earth sciences
|x Geography
|x Geodesy
|x Cartography
|x Original Scientific Papers: Izvorni Znanstveni Članci
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|a research-article
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|a Viljoen, Martina
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|i Enthalten in
|t International Review of the Aesthetics and Sociology of Music
|d Council of the Academies of Sciences and Arts of the SFR of Yugoslavia, Academy of Music of the University in Zagreb, Department for Musical Art and Musicology of the Croatian Academy of Sciences and Arts
|g 36(2005), 1, Seite 199-220
|w (DE-627)372367437
|w (DE-600)2123176-X
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|g volume:36
|g year:2005
|g number:1
|g pages:199-220
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|u https://www.jstor.org/stable/30032166
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|d 36
|j 2005
|e 1
|h 199-220
|