Musical formalism, which strictly limits the type of thing any description of the music can tell us, is ill-equipped to account for contemporary performance practice. If performative interpretations are in a position to tell us something about musical works—that is if performance is a kind of description, as Peter Kivy argues—then we have to loosen the restrictions on notions of musical relevance to make sense of performance. I argue that musical formalism, which strictly limits the type of thing any description (...) of the music can tell us, is inconsistent with Kivy's quite compelling account of performance. This shows the difficulty that actual performances pose to overly rigid conceptions of music. Daniel Barenboim unannounced performance of Wagner in Israel in 2001 shows that the problem of the boundaries of musical relevance is no mere philosophical puzzle. It is a pressing problem in the musical public sphere. (shrink)

Daniel Barenboim, conductor of the Arab/Israeli West-Eastern Divan Orchestra, claims that “everywhere in the world... [Beethoven’s Ninth Symphony] speaks to all people.” But just how universal is Beethoven? Does his music exceed cultural boundaries or is Barenboim’s idea of a “utopian republic,” built, in part, upon Beethoven’s music, just “another Euro-American vision?” In his paper, Mark Whale explores two ways of understanding Beethoven’s music in line with two versions of the “idea of culture” proposed by literary theorist, Terry (...) Eagleton. First, he suggests that our experience of music has to do with its association with the specific cultural “loyalties and allegiances” built into our lives. Second, he argues that there is a mode of musical encounter, one which crosses cultural boundaries, in which we do not simply experience music but actively choose to care about, and to attend to, what we experience. In choosing to attend carefully to Beethoven’s music we discover that it invites and deepens our attention, not only to it, but also to ourselves. (shrink)

ABSTRACT Schubert’s lied An die musik celebrates music’s capacity to transport the listener or performer into a better world. That capacity renders music utopian for it is this better world and the experience of its prefiguration that is the defining character of utopianism. This article explores the ways in which music may be distinctive in its utopian force, and thus suggests several approaches to researching the underdeveloped area of music and utopia. It draws particularly on Ernst Bloch’s analysis and on (...) work by Daniel Barenboim and Edward Said to argue that there are two distinct aspects to the ‘special case’ for music: abstraction or unutterability, and performance. Neither of these elements is straightforward, since neither is peculiar to music, although they are arguably present in music in distinct ways, rendering it qualitatively different from other forms of utopian expression. (shrink)