Resumen de Musique et posmodernité: pratiques / théorizations / interférences
This essay attempts to situtate transnational musics within the discursive space of postmodernity by arguing that, as an alleged site of intervention, postmodernity must lead to a self-critique and engage with a project other than its own in order to avoid aesthetic and political mystifications. To see beyond postmodernity as something more than a buzzword, cultural theorists should seek to intersect emergent critical discourses about popular musics with certain lines of thought traced by such often cited but hardly understood French philosophers Derrida, Lyotard, Barthes, Foucault and Deleuze. Within the angloamerican mediascape, and elsewhere, much is yet to be exploited from the work of these thinkers. To be sure, their relationship to music and postmodernity hardly lends itself to an immediate understanding and "application" to a specific historical practice. Nonetheless, many of them have made clear statements about these matters: Deleuze and Guattari, for instance, have given voice to an uncompromising refusal of postmodernism altogether, leaving us with conceptual tools to act through micro-politics of deterritorialisation going far beyond, to the extent that it ever existed, the line demarcating European art music from popular musics.Through a set of interwined perspectives - namely those of musicology, philosophy and cultural studies - this essay invites readers to confront the plurality of languages involved in these problems - within and without University enclosures.
