Philosophy Compass 11 (8):415-425 (2016)

Nick Wiltsher
Uppsala University
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
Keywords dance music  clubbing  scenes  subcultures  black music  authenticity
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DOI 10.1111/phc3.12333
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References found in this work BETA

Categories of Art.Kendall L. Walton - 1970 - Philosophical Review 79 (3):334-367.
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.
The Aesthetics of Punk Rock.Jesse Prinz - 2014 - Philosophy Compass 9 (9):583-593.

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Citations of this work BETA

The Aesthetics of Country Music.John Dyck - 2021 - Philosophy Compass 16 (5):e12729.

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Similar books and articles

The Aesthetic Appreciation of Music.Jerrold Levinson - 2009 - British Journal of Aesthetics 49 (4):415-425.


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