Frontmatter

Kapitel in diesem Buch

1. Frontmatter i
2. Contents v
3. Examples vii
4. Acknowledgements viii
5. Notes on Contributors x
6. Introduction 1
7. Part I Music and Noise
8. 1. Musique concrète and the Aesthetic Regime of Art 25
9. 2. ‘Rip it up and start again’: Reconfigurations of the Audible under the Aesthetic Regime of the Arts 47
10. 3. A Lesson in Low Music 71
11. Part II: Politics of History
12. 4. Wandering with Rancière: Sound and Structure under the Aesthetic Regime 95
13. 5. Staging Music in the Aesthetic Regime of Art: Rancière, Berlioz and the Bells of Harold en Italie 117
14. 6. Rancière on Music, Rancière’s Non-music 138
15. 7. Coloured Opera and the Violence of Dis-identification 156
16. Part III: Politics of Interaction
17. 8. Musical Politics in the Cuban Police Order 175
18. 9. Rancière and Improvisation: Reading Contingency in Music and Politics 207
19. 10. Rancière’s Affective Impropriety 230
20. Part IV: Encounters and Challenges
21. 11. Rancière, Resistance and the Problem of Commemorative Art: Music Displacing Violence Displacing Music 263
22. 12. Stain 290
23. 13. On Shoemakers and Related Matters: Rancière and Badiou on Richard Wagner 312
24. 14. Roll Over the Musical Boundaries: A Few Milestones for the Implementation of an Equal Method in Musicology 334
25. Afterword: A Distant Sound 353
26. Works Cited 366
27. Index 390