Abstract and Keywords
The problems associated with the “representational” nature of music has been a feature of musicology and Western thought for many years, with authors such as Eduard Hanslick highlighting how music’s “beauty” lies in its formal structure as opposed to containing or purveying any inherent emotionality. In more recent times, academics such as Davies, Moore, and Zak have all elaborated on how recording technology has added to the complex ways in which music and musicians interact with time, place, and space; to a certain extent all popular music can be considered “virtual.” This chapter discusses the creation and reception of the music of Frank Zappa, who purposively employed techniques to philosophically position his output in a virtual dimension. It draws on Zappa’s own vocabulary, in addition to a range of thinkers (including those highlighted here) to Plato, Paul Weiss, and Schopenhauer.
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