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Popular notions of value in art – even popular definitions of art itself – are much indebted to the idealist narratives of late romanticism and its maximalised form, elite modernism. Since artistic value is normally imputed to one side of a dialectically related pair of oppositional terms, two principal strategies exist by which to ascribe value to the music you love, find interesting, or want to study: either show how it merits the positive term of the valorising pair (if necessary redefining the specific markers of that term), or attack the narrative underlying the binary itself. A typical postmodernist strategy is to do both these things simultaneously, so as to collapse notions of value into a win-win polysemy.

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