Critical Theory, Musical Practice

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Would love to hear John Lydon's comments on this

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I picked up the "Norton Anthology of Theory and Criticism" recently, mostly wanting to learn the context behind some very inspiring books about narrative structure and semiotics I've been reading. I've done this but in the process have also accidentally become somewhat acquainted with critical social theory of the 20th century.



So I'm just generally wondering whether identifying a specific critical theory development as a cause of a specific music theory development can lead to a more general process of manifesting personal ideology into musically-quantifiable stylistic elements and if so what this process might be.

I just think this stuff allows one to sound much more annoying in justifying your personal preferences. I generally think its a waste of time to focus on the cultural baggage rather than engaging with music directly

Re modernist classical music, always liked this Elliott Carter quote:

one begins to look back at old music as stuffy, or even tiresome.

It's funny -- I'm beginning to like older music more than I used to, but it's like I'm going into a museum and contemplating a Rembrandt. It just feels like its part of the aristocratic class system of kings and queens and dukes which just doesn't exist anymore.