Philosophy Compass 11 (8):415-425 (2016)
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Electronic dance music has much about it to interest philosophers. In this article, I explore facets of dance music cultures, using the issue of authenticity as a framing question. The problem of sorting real or authentic dance music from mainstream or commercial clubbing can be treated as a matter of history and genre-definition; as a matter of defining scenes or subcultures; and as a matter of blackness. In each case, electronic dance music, and critical discourse surrounding it, offers fresh illumination of aesthetic questions. I briefly characterise the main genres of dance music, match conversations about the hardcore continuum with philosophers’ accounts of genre, survey sociologists’ ways of thinking about cultures and their connections to taste and personal identity, and link criticisms that dance music now lacks blackness to conceptions of black aesthetics. This article is Part I of two; Part II focusses on dancers, DJs, and the aesthetics and ontology of dance music itself. Video abstract
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Keywords | dance music clubbing scenes subcultures black music authenticity |
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DOI | 10.1111/phc3.12333 |
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Fiction as a Genre.Stacie Friend - 2012 - Proceedings of the Aristotelian Society 112 (2pt2):179--209.
The varieties of religious experience. A Study in human Nature.William James - 1902 - Revue Philosophique de la France Et de l'Etranger 54:516-527.
All Play and No Work: An Ontology of Jazz.Andrew Kania - 2011 - Journal of Aesthetics and Art Criticism 69 (4):391-403.
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