IRCAM, Cultural Power, and the Reproduction of Aesthetic Modernism
This concluding chapter sum up the key findings of this study on the Institut de Recherche et de Coordination Acoustique/Musique (IRCAM), and the social and cultural character of the contemporary musical avant-garde, discussing the changes at the Institute from the 1970s to the 1990s that have both positive and negative dimensions. It highlights how IRCAM has managed to smooth out some of the practical and ideological obstacles to its functioning, just as some of its stranger rationalities have been mitigated. The chapter also expresses concern about how IRCAM can hold together its autonomy and its mixed economy of performative criteria.
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