WW as Parasite (was:Snape's iPod (was: Staff's Activities...)
nrenka
nrenka at yahoo.com
Mon Nov 7 00:32:32 UTC 2005
No: HPFGUIDX 142561
--- In HPforGrownups at yahoogroups.com, "horridporrid03"
<horridporrid03 at y...> wrote:
> Betsy Hp:
> For exactly the reason you've raised. The WW is not a culture that
> encourages artistic creativity. They're a tiny little population
> with one school, and that school doesn't teach music. (Or theater
> or art or literature...) So if a wizard is into chamber music,
> he'll have to look beyond the WW to find his fix.
Except that we've been given examples of wizards engaging in
explicitly derivative, but wizardly, forms of the arts. I think of
the book titles: "Hairy Snout, Human Heart" is an overt parody
(although I can't quite remember exactly what of), and "Helas, j'ai
Transfigure mes Pieds" (by the wizard Malecrit) would definitely have
appealed to that mischevious medieval sense of humor.
I think the parodic element is the key one here, on JKR's part.
> Also, the forms of music they listen to (a torch singer, a rock
> group, chamber music) were all formed by specific and logical
> progressions of Muggle culture. A culture the WW purportes to have
> no part of.
Wizarding society could definitely support rock music; chamber music,
one wonders about. Opera is right out. But there's nothing stopping
them from being parasitic--but then generating their own *versions*
of things, as opposed to going to the Muggle world for their fix.
When you have the Weird Sisters, you don't need to go out of your way
to get records of The Who.
<snip discussion of economics which is IMO a giant incoherent
sinkhole and one thing which marks Rowling's work as wainscot fantasy
and not anywhere near the high genre; in other words, do I think
she's really thought about it through to full coherency? Haha.>
<snip>
> Or maybe it's like music and culture in the USA a while ago, where
> a white audience listened to black performers in a hotel the
> performers were not allowed to stay in.
Possible. Opera, still, is a social genre and involves necessary
engagement with Muggles...and Lucius Malfoy is one of our model
ideologues, although not a Bellatrix-class fanatic. Again, my
contention is about engagement with overtly Muggle musics and social
settings therefore, not potential wizarding adaptations thereof.
Lucius Malfoy at Covent Garden? Well, I guess more likely there than
Sadler's Wells...
> But the very fact that Dumbledore is noted as being fond of chamber
> music on his Chocolate Frog card, and the fact that chamber music
> developed in the Muggle world *after* the WW went into hiding,
> suggests that there must have been some sort of respectable
> interaction between the cultures. Even if that respect was gained
> by the wizards deliberately fooling themselves.
But Dumbledore is also *exceptional* in his relationship to the
Muggle world, as emphasized again and again. He doesn't see it just
as a source to be exploited (the Quidditch World Cup organizers
attitude) or as something to be scorned and mocked (the default
DE/pureblood fanatic mode). I can't think of any other adult
character prominent in society who has an understanding of it like
him.
> But their world is too filled with Muggle items given a wizard
> twist to suggest that their culture is truly separate from the
> Muggle one. And I'm betting that would include their music.
The twist is the essential key word. I'm not disputing that there's
borrowings of musical technologies: the piano is one of the most
solid ones that we have, and an old gramophone (which would probably
play 78s, not LPs...). But there's absolutely no evidence of
borrowing and maintenance of Muggle music, as opposed to the
adaptation of musical forms. Carnatic music uses the violin, but
that in no way makes it 'Western' music. I still object
wholeheartedly to the idea that Muggle music is a large-scale
presence in wizarding society.
-Nora doesn't quite see Snape as patient enough for most of the
classical music ascribed to his tastes, but that's another discussion
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