What is the relationship between music and time? How does musical rhythm express our social experience of time? In Groove: An Aesthetic of Measured Time, Mark Abel explains the rise to prominence in Western music of a new way of organising rhythm - groove. He provides a historical account of its emergence around the turn of the twentieth century, and analyses the musical components which make it work. Drawing on materialist interpretations of art and culture, Mark Abel engages with aesthetic (...) arguments, challenging in particular Adorno's critique of popular music. He concludes that groove does not simply reflect the temporality of contemporary society, but, by incorporating abstract time into its very structure, is capable of effecting a critique of it"--Provided by publisher. (shrink)

Marxists regard works of art as meaningful, and look for political meanings even when they are not addressing political subjects. But where does music’s meaning lie? The conventional view is that music is non-referential, capable only of supporting other artforms or of expressing emotions. Adorno rejects the idea of music as a language of emotions, and does not believe that music has universal grammatical and syntactical rules. Yet he claims that music has language characteristics which make it as political as (...) other artforms. What does he mean, and is he right? To answer those questions, we need to know how he understands language. This article examines how Adorno's view compares with the Marxist theory of language and consciousness developed by Valentin Voloshinov, and explores the extent to which approaching music from this direction might clarify a Marxist understanding of music and contribute to solving the thorny question of musical meaning. (shrink)