LAUSR

Abstract In her book The Philosophical Imaginary, Michèle Le Doeuff claims philosophers use imagery precisely where their argument is at its weakest in order to provide an indistinct rhetorical space which cannot be clearly judged or criticised. Using Le Doeuff's framework, I examine programme notes: descriptive writing from programmes and grant applications that often tie the music to an extra-musical source of meaning. I point out instances where what is at stake in the work shifts from place to place, performing a determined meaning for the genre's outsiders, but indicating semantic superfluity to insiders who will tangibly judge the music on search committees and grant panels. After discussing genre theory and the history of new music, I argue that this imagery has a deeper social function: to gain social capital by performing diversity while maintaining the cultural power afforded by the genre's roots in hegemonic formalism.