The sense of play as anodyne to the dragging weight of seriousness, as the way to pierce the veil that such a mindset casts, was hard for me to think of in song. But then I decided just to have fun with it and my mind alighted on Smooth Criminal. Not for any obvious, clearly delineatable reason, but because it seems to me that the video takes delight in ignoring the content of the song it accompanies. Lyrics, setting, action, none agree with one another. Everything is an excuse, or perhaps a reason, to just dance.
This is a blog for the community of Rhetoric 108—On the Philosophy of Music: "Music to Hear"—in the Department of Rhetoric at the University of California, Berkeley, Spring 2011 and Fall 2011.
Thursday, September 22, 2011
The Dancing Song (song that dances)
I liked the Zarathustra readings more, perhaps, than I would have otherwise were it not for our discussion last week on the possible futility of trying to sciencify music. To whit, one needs must write a close reading of such as poetry. Which, of course, produces it's own automatic disjunction against "serious" scholarly discourse, for which there are norms. Serious, weighty, norms. Nietzsche is not unaware of this, "God's advocate am I before the devil: but the devil is the spirit of gravity." (219)
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