Composing Across Disciplines: A Praise of the Antidisciplinary
DOI:
https://doi.org/10.24310/umatica.2025.v8i8.21285Keywords:
discipline, multidiscipline, interdiscipline, transdiscipline, antidisciplineAbstract
Historical contemporary music (that which has been progressively institutionalised and academised since 1945) has maintained a strong attachment to the concept of absolute music and its unidisciplinary closure which, at the latest, would have been defined in the mid-nineteenth century (Hanslick). This text raises and explores possible ways out of this situation through different ways of relating between disciplines and its corresponding questioning of those paradigms of the disciplinary practice defined by Rancière in his text ‘thinking between disciplines’: territory, mediality (objects) and their consequent methods. From the closed idea of discipline, a path of defined relations (unidiscipline, incidental relation, multidiscipline, interdiscipline and transdiscipline) will therefore be proposed, which will ultimately reach its own negation in the idea of anti-discipline, insofar as a doing that is conscious of the borders in which the different disciplines are inscribed and which, from this conscience, deliberately erases them in a search for a doing that goes beyond media, methodological and territorial preconceptions.
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