This essay investigates global discourse in the shadow of the 1960s. It draws on the views of Nelson Goodman, Marshall McLuhan, and Theodor W. Adorno to explore three concepts central to music in the age of global transmission: compliance, current, and virtuality. It looks at “Three Blind Mice” as endemic of a global epidemic: a positivistic reductionism found not only in philosophy and music but also in culture and society at large.

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