This book reads representations of Western music in literary
texts to reveal the ways in which artifacts of imperial culture
function within contemporary world literature. Bushnell argues that
Western music s conventions for performance, composition, and
listening, established during the colonial period, persist in
postcolonial thought and practice. Music from the Baroque,
Classical, and Romantic periods (Bach through Brahms) coincides
with the rise of colonialism, and Western music contains imperial
attitudes and values embedded within its conventions, standards,
and rules. The book focuses on the culture of classical music as
reflected in the worlds of characters and texts and contends that
its effects outlast the historical significance of the real
composers, pieces, styles, and forms. Through examples by authors
such as McEwan, Vikram Seth, Bernard MacLaverty, Chang-rae Lee, and
J.M. Coetzee, the book demonstrates how Western music enters
narrative as both acts of history and as structures of analogy that
suggest subject positions, human relations, and political activity
that, in turn, describes a postcolonial condition. The uses to
which Western music is put in each literary text reveals how
European art music of the seventeenth through the nineteenth
centuries is read and misread by postcolonial generations, exposing
mostly hidden cultural structures that influence our contemporary
understandings of social relations and hierarchies, norms for
resolution and for assigning significance, and standards of
propriety. The book presents strategies for thinking anew about the
persistence of cultural imperialism, reading Western music
simultaneously as representative of imperial, cultural dominance
and as suggestive of resistant structures, forms, and practices
that challenge the imperial hegemony.
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