Performing French folk music: non-representational theory and the politics of authenticity.
Cultural Geographies, 11 pp. 199–209.
We can best understand music by being in the middle of it ... the starting point must be how we (and that includes you and me) actually use, internalize, or otherwise care about music, whether by going to concerts or discos, relaxing to it in the sitting-room, or whistling it at work. It avoids prescriptive judgements inherited from another age, about what we (and that means you) ought to listen to and how. It assumes that to study music is to study your own participation in it - to study yourself...
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