Goodwin (1988) engages with postmodern musical criticism in this essay. He is particularly concerned with the argument that digitally reproduced music feels inauthentic.
1. Digitally-produced music is not so different from traditionally produced music.
Listeners attempt to negotiate digitally produced music through the same modernist, real framework of musical history. Furthermore, digital reproduction attempts to synthesize the "real" as closely as possible.
2. Postmodern musical criticism tries to stretch digital music into something new.
Goodwin (1988) engages the post-modern argument that sampling represents the fragmentation and disintegration of popular music. He counters this argument by pointing the problems with theorizing in the abstract. Goodwin (1988) argues that the preoccupation with postmodernism in musical culture has resulted in theories that overstate the importance of postmodernism on the listening experience.
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