ALL SHOOK UP ~ Music, Passion, and Politics

ALL SHOOK UP  ~ Music, Passion, and Politics

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Book review and technical detail ALL SHOOK UP ~ Music, Passion, and Politics Carson Holloway

Technical detail of ALL SHOOK UP ~ Music, Passion, and Politics
ALL SHOOK UP ~ Music, Passion, and Politics
author Carson Holloway
ISBN 108248
Language English
Category Entertainment & Sports
Publisher Spence Publishing Company
Pages 232
Publishing Date 1st January, 1970

Book Reviews:

A arguable abstraction of the moral furnishings of bedrock music.Since its access assimilate the accepted music arena in the 1950s, bedrock has been heralded as an apparatus of liberation and accursed as a above contributor to the abatement of American culture. While abundant of the agitation has been belted to surfaces (the abandon and misogyny of rap, for example, or the pseudo-Satanism of abundant metal), Holloway (Political Science/Concord Coll.) aims to move to a added akin by asking, What is the abode of music in the accumulation of character, and what are its effects, decidedly on the young? In the attitude of Leo Strauss, he looks for the answers to his questions in the writings of the abundant political philosophers. In the ancients, Plato and Aristotle, he finds a acceptance of the acute furnishings music can have: the modes and melodies of music, afar from the words that may be set to it, can either augment and enflame the body or abetment it in the agronomics of advantage and contemplation. In such aboriginal avant-garde thinkers as Hobbes and Locke, the columnist finds an alienation to the attentive virtues and a affair for concrete aegis and beastly comforts, while in the backward avant-garde thinkers Rousseau and Nietzsche the accent of music is afresh recognized—but this time in the interests of the actual passions the ancients were anxious to control. Holloway again turns to a application of abreast address about music and its effects, pausing forth the way to accede Allan Bloom’s belled argumentation adjoin bedrock in The Closing of the American Mind and Robert Pattison’s aegis of it in The Triumph of Vulgarity. His unsurprising cessation is that the ancients were right, and that we betrayal our adolescence to bedrock music alone at their and our peril.Those who are already abiding by the classical appearance of appearance and ability will acquisition little new here; those who are not so abiding will acquisition abundant that is abstruse and little that ability change their minds.

In the fifteen years since Tipper Gore and Frank Zappa feuded over raunchy lyrics, a furious but confused debate has raged over popular music's effect on character. In a new book that shatters the assumptions of pop music's critics and defenders alike, Carson Holloway shows that music is both more dangerous and more beneficial than we think. Conservative complaints about popular music focus on lyrics alone and appeal only to public decency and safety. Liberals, swift to the defense of any self-expression, simultaneously celebrate rock's liberating ethos and deny its cultural influence. Neither side appreciates the true power of music or is willing to examine its own musical tastes. Previous ages, Holloway finds, were not as naive as our own. Plato and Aristotle, who saw that music can awaken the soul to reason or inflame it with passion, insisted on the cultivation of temperance through musical education. Rousseau and Nietzsche likewise recognized music's power, though these modern prophets of passion encouraged precisely the sort of music that the ancients would have deplored. The curious exception to this political concern with music is found in the intervening Enlightenment-the source of American politics. In their rejection of the classical notion of "statecraft as soulcraft," Locke and his contemporaries blinded themselves to the influence of culture on the character of citizens. Only in recent years, as pop fare has reached extremes of depravity, have some Americans-most famously Allan Bloom in The Closing of the American Mind-begun to worry about the destructive potential of music. Bloom looked beyond lyrics to the music itself, but in his elitism failed to consider music's full moral influence. Holloway, by contrast, is sympathetic to pop's appeal, and his well-rounded study compels us to take all music seriously. What he proposes-a rediscovery of the musical wisdom of Plato and Aristotle-will completely change the way we think about music.

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