![]() ![]() Kate: What is your definition of ‘groove music’? In turn, it represents an intensification of an aspect of music – meter – which dates from only a few hundred years before that. In the case of music, what I call ‘groove music’ is so ubiquitous that we are tempted to think that it’s just the way that music is, but it’s important to have a historical picture which can show that groove arises in music around the beginning of the twentieth century, initially in America. Culture also tends to get naturalised so that it seems to most people that things couldn’t be any other way. In studying music, I hold to the Marxist principle that cultural phenomena are shaped by the material practices of the society that produces them. ![]() Mark Abel: It is a defence of popular music, but in the first place it is an attempt to explain why the music of our time sounds the way it does. Kate Bradley: Is it fair to say that Groove is a defence of popular music from a Marxist perspective? Could you summarise your argument in brief? Much analysis of modern music focuses on lyrical content, but how can we understand modern musical forms? What relation do they have to the capitalist world in which they’ve developed? To answer these questions Kate Bradley interviewed Mark Abel, author of Groove: An Aesthetic of Measured Time.
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