This publication reports the operating efficacy of Leonard Cohen's track Hallelujah within the context of contemporary community tradition. in particular as recorded on YouTube, k.d. lang's interpretation(s) of Cohen's Hallelujah, embrace acoustically and visually/viscerally, what Nietzsche named the 'spirit of music'. at the present time, the operating of track is magnified and reworked via recording dynamics and mediated through fb exchanges, weblog postings and video websites. Given the sexual/religious middle of Cohen's Hallelujah, this research poses a phenomenological examining of the objectification of either women and men, elevating the query of hope, together with gender matters and either gay and heterosexual wish. A overview of serious brooding about musical functionality as 'currency' and fed on commodity takes up Adorno's studying of Benjamin's research of the murals within the age of mechanical replica as utilized to music/radio/sound and the power position of 'recording consciousness'. finally, the query of what Nietzsche referred to as the becoming-human-of-dissonance is explored when it comes to either historic tragedy and Beethoven's amazing deployment of dissonance as Nietzsche analyses either as fidgeting with ache, discontent, and discomfort itself, a taking part in for the sake now not of language or feel yet musically, as pleasure.
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