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Irène Deliège and Max Paddison's Contemporary Music: Theoretical and Philosophical Perspectives has been a long time in the gestation. Was it worth the wait? The honest, if dispiriting, answer has to be ‘yes and no’. The volume has much to recommend it, especially in its later sections; but its long incubation (as well as its previous partial publication in French) seems to have left some strong traces. The title is one example of the problem: it suggests a bipartite division, whereas in fact the volume is divided into three sections, devoted respectively to theory, philosophy and creative practice. While this would not normally be worth noting, the final section is an addition to the English‐language version, absent from the earlier, French‐language volume. Cuts have been made elsewhere, to which I shall turn below. Within such a division, as Paddison notes, there is inevitably slippage (p. 3). Yet the overlaps here are rather extreme and in certain senses confusing, at least if one is to have any sense that ‘theory’ means something distinct from ‘philosophy’, particularly because Paddison speaks of a crisis in theory itself, occasioned by the rise of notions of postmodernity, where he indicates ‘theoretical discourse in
Music Analysis – Wiley
Published: Jan 1, 2014
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