Christiansen, Emil H.

Jensen, Perry MacLeod

Larsen, Regina Mary-Ann Ilsøe

Rödholm, Alma

Skjoldager, Manja

Wigø, Benjamin

Based on the modern use of music this project will present a line of art and reception theorists with the purpose of discussing and reflect upon, how music is perceived and utilized in the 21. century. The essay “The Work of Art in the Age of Mechanical Reproduction” of Walter Benjamin from 1936 presents the term aura as a way to differ original art from reproduced art. This term is attempted actualized in a modern context with a relational point of reference. A vast amount of similarities and differences regarding form, value, use and perception can be found in comparing music with other types of artistic work. This serves the purpose of proving music as an artform which has undergone drastic changes in the way it is perceived, performed and listened to since the introduction of recording technology. In conclusion to our theoretical research and discussion it can be considered a feasible claim that music withholds a relational aura because it is placed in a unique, curated space and time. Furthermore this relational aura depends on added cult value. This paper also discusses the differences and resemblances of concerts and recorded music. Finally it proclaims a critical awareness towards curator tendencies seen when utilizing music in general. This is shown when discussing professional and private purposes of curation. It is worth to note, that this is indeed af topic of which further examination would prove to be valuable in the field of experiencing and understanding musical works and aesthetics.Based on the modern use of music this project will present a line of art and reception theorists with the purpose of discussing and reflect upon, how music is perceived and utilized in the 21. century. The essay “The Work of Art in the Age of Mechanical Reproduction” of Walter Benjamin from 1936 presents the term aura as a way to differ original art from reproduced art. This term is attempted actualized in a modern context with a relational point of reference. A vast amount of similarities and differences regarding form, value, use and perception can be found in comparing music with other types of artistic work. This serves the purpose of proving music as an artform which has undergone drastic changes in the way it is perceived, performed and listened to since the introduction of recording technology. In conclusion to our theoretical research and discussion it can be considered a feasible claim that music withholds a relational aura because it is placed in a unique, curated space and time. Furthermore this relational aura depends on added cult value. This paper also discusses the differences and resemblances of concerts and recorded music. Finally it proclaims a critical awareness towards curator tendencies seen when utilizing music in general. This is shown when discussing professional and private purposes of curation. It is worth to note, that this is indeed af topic of which further examination would prove to be valuable in the field of experiencing and understanding musical works and aesthetics

Lytterens møde med musikken i det 21. århundrede - en teoretisk diskussion

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Roskilde Universitet