This is part Three of a three part lecture-cast prepared for the course SS.235, Sociology of Music/Sound/Noise, Department of Social Science & Culture Studies, Pratt Institute. Spring 2020. Additional course materials are available on the course LMS site. The lecture portion is c.35mins and the musical and sound selections c.30mins.
This portion of the lecture responds to a critique of the original version of this lecture.
Part One of this lecture can be found via any of these links:
Part Two of this lecture can be found at:
We are going to take a piece of music (Charles Ives’ The Unanswered Question) and look at how Bernstein and Adorno used it as a means to delve deeply into these questions regarding the meaning of crisis and the expression of social transformation. As a preliminary to that discussion, in part one we are going to review a few examples of the varieties of expression and experiences of Bernstein’s “crisis of ambiguity”. Can music be expressive of a time and place, and if so, what is the meaning of these expressions? Is Pierre Boulez correct when he says that: “An idea does not exist until we realize how it may be used. In musical terms, there is no such thing as an idea in itself, it is a reaction to our whole cultural environment. » – Pierre Boulez. “Idea, Realization, Craft.” Music Lessons: Lectures at the College de France.
This recording was prepared for the course SS.235, Sociology of Music/Sound/Noise, Department of Social Science & Culture Studies, Pratt Institute. Spring 2020. Additional materials are available on the course LMS site.
Cumulative Bibliography of Parts One, Two, and Three of the Lecture-cast is available via the Pratt Talks or Archive.org links.
An * marks those suggested by my critic in Part Three.