Abstract
As an important part of Edward Said's critical practice, music criticism, on the one hand, inherits critical methods from Beginnings, Orientalism, Humanism and Democratic Criticism; on the other hand, it resists these methods due to music's semantic ambiguity. In this interaction between acceptance and resistance, Said develops his unique music criticism based on the concept of elaboration. Specifically, he acknowledges the dynamic relationships between history and subject, world and text, original work and criticism, politics and aesthetics, before contrapuntally interpreting these concepts in a detailed and unprejudiced way. In doing so, his elaborations on music not only activate subject, text, criticism, and aesthetics but also intervene and initiate history, world, original work, and politics.
First Page
206
Last Page
213
Recommended Citation
Li, Sheng. 2020. "Beginning, Elaboration, and Counterpoint: The Intention and Method of Edward Said's Music Criticism." Theoretical Studies in Literature and Art 40, (5): pp.206-213. https://tsla.researchcommons.org/journal/vol40/iss5/4
