Richardson Recontextualisation in music FINAL.pdf (704.9 kB)
Recontextualisation and fascist music
chapter
posted on 2016-03-16, 13:37 authored by John RichardsonThe vast majority of work examining identity and politics in musicology, and in popular music studies
in particular, presumes and sometimes explicitly argues that music is personally and socially
therapeutic – that since music enacts social identities it is a force for good, particularly in relation to
marginalised groups. My chapter brings together two areas of critical examination: the sociological
analysis of fascist music; and the concept ‘recontextualisation’, developed in discourse analytic
literature, wherein the contents of one text reappear in another text. Meanings are formed in use;
and so, through this process of ‘textual borrowing’, (partly) new meanings are produced. This
chapter examines three ways in which this occurs in fascist song and music – through appropriation;
through interpolation; and through ideological realignment – and will explore the functions that this,
and the performance of song and music more generally, serves to fascist cultural projects.
History
School
- Social Sciences
Department
- Communication, Media, Social and Policy Studies
Published in
Music as Multimodal DiscoursePages
? - ? (?)Citation
RICHARDSON, J.E., 2016. Recontextualisation and fascist music. IN: Way, L.C.S. and McKerrell, S. (eds.) Music as Multimodal Discourse:Semiotics, Power and Protest. London: Bloomsbury Academic, pp. 71-94.Publisher
Bloomsbury PublishingVersion
- AM (Accepted Manuscript)
Publisher statement
This work is made available according to the conditions of the Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International (CC BY-NC-ND 4.0) licence. Full details of this licence are available at: https://creativecommons.org/licenses/by-nc-nd/4.0/Publication date
2016Notes
This is a chapter from the book, Music as Multimodal Discourse.ISBN
9781474264426Language
- en