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DIE TIEFE IM FLUG
EINBLICKE IN DIE ARBEIT DER BRITISCHEN KÜNSTLERIN ALWYNNE PRITCHARD von Martin Tchiba
First published in: Neue Zeitschrift für Musik 4/2016
By permission of SCHOTT MUSIC GmbH & Co. KG, Mainz – Germany
Music has always been instrumental, not only in defining who we are and how we interact with one another, but also in casting the spells, creating the illusions within which we live. Music channels the fantasies fed to us by the market, reinforcing the fiction of one brand of individuality or another, whilst at the same time affirming our membership of its various tribes of individuals, outcasts and mavericks. We conform though our non-conformity. And the more we aspire to use music as a way of extricating ourselves from the web of social constructs we inhabit, the more entangled we become. The more we speak in hallowed tones, elaborate myths, get hooked and fetishize, the more we fall pray to the gimmickry that has extended far beyond the music (or any other) industry to permeate all corners of our private and public lives. The marketplace is everywhere; its strategies delineate the shape of our existence. And of course, it delineates and confines the space within which music must exist.
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