ABSTRACT
As this suggests, Hennion’s pragmatic deconstruction of the music-society binary necessarily impacts on the notion of genre. A genre too is a co-production, involving, on the one hand, a style of music and its self-presentation, which actively solicit its users to interpret and use it in certain ways; and, on the other hand, those same users’ reappropriations of this solicitation on their own terms, redefining the music’s proposed meanings by the uses they put it to, the materials they bring to its use, the way they deploy and train their bodies in order to use it better, and the discourses they produce about it. The meaning and contours of a genre, therefore, are again dynamic.
