Article

The Public-Educational Musings of Benjamin Britten: Toward A Post-Critical Love For Classical Music

Authors:
To read the full-text of this research, you can request a copy directly from the authors.

Abstract

In this paper we discuss the musical work of classical composer Benjamin Britten as a lasting legacy for public music education. Our starting point is the contemporary urgency to rethink both public music education in general, and the public-educational significance of Western classical music in particular, in the face of the dual threats posed by anti-educational tendencies of “functionalization” and “hobbyfication.” Relating this situation to concerns already voiced by Britten in his time, we consider in what ways aspects of Britten’s musical work can be shown to reveal a highly original, post-critical answer to these threats. While his pedagogical musings remain riddled with ambiguities, which readily invite critical deconstruction, our paper argues for the more affirmative option of reconceptualizing these ambiguities as constitutive tensions of a public-educational love for (classical) music. To gauge the practical implications of such a post-critical music-educational love, we analyze the concrete case of the Aldeburgh Festival , perhaps Britten’s most full-fledged effort to reclaim music as a public affair. Thinking about this case, we reflect on how Britten’s legacy could lastingly impinge on the publicness of Western classical music, as well as on ongoing and future practices of public music education in general.

No full-text available

Request Full-text Paper PDF

To read the full-text of this research,
you can request a copy directly from the authors.

ResearchGate has not been able to resolve any citations for this publication.
ResearchGate has not been able to resolve any references for this publication.