By Jeff R. Warren
Discussions surrounding tune and moral accountability call to mind arguments approximately felony possession and buy. but the various ways that we event song with others are typically ignored. Musical event and perform continually contain relationships with people, which could position obstacles on how we take heed to and act upon track. In song and moral accountability, Jeff Warren demanding situations present methods to song and ethics, drawing upon thinker Emmanuel Levinas's conception that ethics is the duties that come up from our encounters with people. Warren examines moral obligations in musical reviews together with appearing different people's tune, noise, negotiating musical that means, and improvisation. Revealing the varied roles that tune performs within the event of encountering others, Warren argues that musicians, researchers, and listeners may still position moral accountability on the center of musical practices.
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Extra info for Music and Ethical Responsibility
This model explores the interdependence of music, culture and the perceiving subject, and how each influences the other. I briefly outline each of these relationships, and then draw out the implications for musical meaning. Music contributes to and creates culture through the creation of cultural artefacts, and through establishing communities based around music creation, consumption, education and research. Music is never created in a vacuum. Rather, music is created in culture and bears the marks of it.
If the word ‘thought’ is replaced with ‘musical meaning’, we see that this model explores the first two dimensions – self and world – but does not adequately explain the third dimension: relationships with other people. The fifth and final model of musical meaning considers the interactions between personal experience, history and other people. It builds towards my central argument in this book, namely that music brings people into Five models of musical meaning relationships that require response.
These three characteristics of musical meaning – that it is experiential, multiple and involves ethical responsibility – provide the basis for the inter-relational view of musical meaning explored in this study. An inter-relational model of musical meaning allows for the experiential through recognising the influence of culture, memory and previous experiences in the experience of music. It affirms that interpretation is not a cognitive act undertaken after passive reception, but – following Hans-Georg Gadamer – finds that all experience is interpretive.