Kramers Theory

Jonathan Kramer
1. Is not simply a repudiation of modernism or its continuation, but has aspects of both a break and an extension
2. Is, on some level and in some way, ironic – Timbaland having animal sounds etc layered behind the track.
3. Does not respect boundaries between sonorities and procedures of the past and of the present
4. Challenges barriers between 'high' (classical) and 'low' (pop, rock, dance etc) styles e.g. Dan Black- Symphonies.
5. Shows disdain for the often-unquestioned value of structural unity – boundaries blurred.
6. Questions the mutual exclusivity of elitist (classical) and populist (pop) values – questions whether they merge together or not.
7. Avoids totalizing forms (e.g., does not want entire pieces to be tonal or serial or cast in a prescribed formal mold)
8. Considers music not as autonomous but as relevant to cultural, social, and political contexts – doesn’t just operate on its own, relevant within cultural, social and political things. E.g. charity singles, Diamonds - Sierra Leone
9. Includes quotations of or references to music of many traditions and cultures – taking elements from different cultures e.g. Kanye West – Drunk & Hot Girls and Can- Sing Swan Song
10. Considers technology not only as a way to preserve and transmit music but also as deeply implicated in the production and essence of music e.g. DJ Shadow, auto tune etc.
11. Embraces contradictions (different to what you expect)
12. Distrusts binary oppositions
13. Includes fragmentations and discontinuities e.g. sampling things, uses sound effect only once.
14. Encompasses pluralism and eclecticism
15. Presents multiple meanings and multiple temporalities
16. Locates meaning and even structure in listeners, more than in scores, performances, or composers – depends on how it relates to you as a person, different cultural expectations etc. has any meaning you want.