Musical formalism as radical political critique: From European modernism to African spirit possession

This thesis explores ways in which formal music analysis can be put to productive political use in various diverse social contexts, ranging from music of European modernism to music associated with African spirit possession. The thesis elaborates a deconstructive argument against a currently-held methodological split in musicology between formalism (a methodological attitude that ostensibly derives its explanations from the formal relationships between musical notes themselves), and hermeneutic criticism (a methodological attitude that ostensibly situates the object of study in a broader network of heterogenous and often contested human relationships within society).