Composing Capital
Classical Music in the Neoliberal Era
- Contents
- Review Quotes
Table of Contents
Contents
Introduction: Music and Neoliberalism
ONE Innovating Classical Music
TWO “Indie” Individualism
THREE Opera and/as Gentrification
FOUR Intel Beethoven: The New Spirit of Classical Music
Conclusion: Music against Capitalism
Acknowledgments
Notes
Bibliography
Index
ONE Innovating Classical Music
TWO “Indie” Individualism
THREE Opera and/as Gentrification
FOUR Intel Beethoven: The New Spirit of Classical Music
Conclusion: Music against Capitalism
Acknowledgments
Notes
Bibliography
Index
Review Quotes
Andrew Blake | Times Higher Education
"Music is no longer to be listened to in and for itself, therefore classical music in Beethoven and Babbitt’s sense is dead. Ritchey’s interesting reflections . . . on the future of music criticism, and the potential for music outside capitalism, offer no way back."
Anne C. Shreffler, Harvard University
"Composing Capital opens our eyes and ears to the unholy dance between classical music and the neoliberal economic values that underpin American political culture. In a theoretically sophisticated and hard-hitting critique, Ritchey shows how new music has unwittingly adopted capitalism's 'rhetorical benevolence,' embracing flexibility, entrepreneurship, and disruption as positive values rather than recognizing them as destabilizing and exploitative forces. Meanwhile, giant tech conglomerates enlist Beethoven to lend their products positive associations like freedom and individuality and to provide a simulacrum of historical depth in a radically anti-historical business culture. This is an important book, and it comes at just the right time."
Sumanth Gopinath, University of Minnesota, author of "The Ringtone Dialectic: Economy and Cultural Form"
“There is something not only despicable and insidious but also tragic and misguided about the ways in which composers, compositional scenes and collectives, performing companies, and advertising/production composers/arrangers and sound designers have actively reproduced ideologies of competition, entrepreneurship, individualism, and marketization. A bracing tonic to read, and filled with energetic prose and critical enthusiasm, as well as remarkably clear expositions of ideas that elsewhere have been made unnecessarily complicated and unclear, Composing Capital is both a polemic and a pensive meditation on the present state of things. This is an inspiring and powerful book.”
James R. Currie, State University of New York at Buffalo, author of "Music and the Politics of Negation"
“An extraordinarily important book. The time is ripe for this kind of statement about the relationships between neoliberalism and contemporary classical music practice, discourse, and economic circulation; and, moreover, for such a book to be penned by the hand of a musicologist. Indeed, it is pressing. There is simply no denying the political relevance of musicology’s thinking-through of its imbrications with neoliberal logistics; the drive toward conceptual ossification of its fundamentals must, at all costs, be stalled. Composing Capital will be a significant means by which this might be done.”
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