Over the past quarter century, music studies in the academy have
their postmodern credentials by insisting that our scholarly
engagements start and end by placing music firmly within its
various historical and social contexts. In Music and the Politics
of Negation, James R. Currie sets out to disturb the validity of
this now quite orthodox claim. Alternating dialectically between
analytic and historical investigations into the late 18th century
and the present, he poses a set of uncomfortable questions
regarding the limits and complicities of the values that the
academy keeps in circulation by means of its musical encounters.
His overriding thesis is that the forces that have formed us are
not our fate.
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