TY  - CONF
  - Kulezic-Wilson, D.
  - Musical Culture and Memory, The Eighth International Symposium of the Department of Musicology and Ethnomusicology
  - Ideology as a Filter for Memory: The 'Imperialism' of Music and Stylistic Labelling
  - University of Belgrade
  - Oral Presentation
  - 2006
  - ()
  - 11-APR-06
  - 14-APR-06
  - Memory is a highly elusive phenomenon affected by different factors, which influence both the appearance of its 'content' and its possible interpretations. In the same way personal memory is dependant on the psychological make-up of its owner, so is cultural memory reshaped by the forces of ideology. This claim is tested and confirmed on a regular basis in the daily politics of the modern world, and is a particularly topical subject in our own society which is deeply affected by the flux of competing ideologies. The same observation applies to music culture in which ideology has become the prism through which music history is interpreted. One example is the tendency to interpret or dismiss 'unfashionable' ideas in ongoing practices as remnants of Romantic philosophy, while at the same time 'blocking' the memory of their previous incarnations or ignoring their significance in the contemporary context. What particularly comes to mind is the interpretation of the 'imperial' status of music (Goehr, Flinn) in comparison to other arts as a distinctly Romantic idea, which this paper challenges by examining its origins as well as its influence on modernist ideas of the 20th century and on cinema as the youngest of the arts. Consequently this paper questions the reliability of stylistic labelling, and indeed argues its ambiguity in the contemporary context, by using the example of the relationship between music and film.
DA  - 2006/NaN
ER  - 

@unpublished{V60789633,
   = {Kulezic-Wilson,  D. },
   = {Musical Culture and Memory, The Eighth International Symposium of the Department of Musicology and Ethnomusicology},
   = {{Ideology as a Filter for Memory: The 'Imperialism' of Music and Stylistic Labelling}},
   = {University of Belgrade},
   = {Oral Presentation},
   = {2006},
   = {()},
  month = {Apr},
   = {14-APR-06},
   = {{Memory is a highly elusive phenomenon affected by different factors, which influence both the appearance of its 'content' and its possible interpretations. In the same way personal memory is dependant on the psychological make-up of its owner, so is cultural memory reshaped by the forces of ideology. This claim is tested and confirmed on a regular basis in the daily politics of the modern world, and is a particularly topical subject in our own society which is deeply affected by the flux of competing ideologies. The same observation applies to music culture in which ideology has become the prism through which music history is interpreted. One example is the tendency to interpret or dismiss 'unfashionable' ideas in ongoing practices as remnants of Romantic philosophy, while at the same time 'blocking' the memory of their previous incarnations or ignoring their significance in the contemporary context. What particularly comes to mind is the interpretation of the 'imperial' status of music (Goehr, Flinn) in comparison to other arts as a distinctly Romantic idea, which this paper challenges by examining its origins as well as its influence on modernist ideas of the 20th century and on cinema as the youngest of the arts. Consequently this paper questions the reliability of stylistic labelling, and indeed argues its ambiguity in the contemporary context, by using the example of the relationship between music and film.}},
  source = {IRIS}
}