By Nicholas Cook
In Beyond the ranking: tune as Performance, writer Nicholas prepare dinner supplants the normal musicological idea of tune as writing, saying as an alternative that it's as functionality that track is enjoyed, understood, and ate up. This ebook reconceives track as an task in which that means is produced in genuine time, as cook dinner rethinks established assumptions and develops new techniques. Focusing essentially yet now not completely at the Western 'art' culture, prepare dinner explores views that variety from shut hearing computational research, from ethnography to the examine of recordings, and from the social kinfolk developed via functionality to the acting (and listening) physique. In doing so, he unearths not just that the thought of track as textual content has hampered educational figuring out of song, but additionally that it has inhibited functionality practices, putting them in a textualist straightjacket.
Beyond the rating has a powerful old emphasis, pertaining to vast advancements in twentieth-century functionality sort and atmosphere them into their higher cultural context. prepare dinner additionally investigates the connection among recordings and function, arguing that we don't adventure recordings as mere reproductions of a functionality yet as performances of their personal correct. Beyond the Score is a finished exploration of latest methods and techniques for the examine of tune as functionality, and should be a useful addition to the libraries of tune students - together with musicologists, tune theorists, and song cognition students - everywhere.
Publication of this publication was once supported via the AMS seventy five can pay Endowment of the yankee Musicological Society, funded partially by means of the nationwide Endowment for the arts and the Andrew W. Mellon Foundation.
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The main primary debate within the philosophy of tune consists of the query of no matter if there's an artistically vital connection among track and the feelings. Many theories of the character and importance of song as an paintings shape have maintained that a minimum of one very important price of song is its potential to symbolize, convey, converse, or represent numerous extra-musical feelings or a definite point of emotion.
Compelled by means of a hand harm to desert a profession as a pianist, Robert Schumann went directly to develop into one of many world's nice composers. between many works, his Spring Symphony (1841), Piano Concerto in A Minor (1841/1845), and the 3rd, or Rhenish, Symphony (1850) exemplify his infusion of classical kinds with excessive, own emotion.
What does it suggest to appreciate song? What, if whatever, does song suggest? Composers, performers, listeners, and teachers may possibly resolution those questions in a different way, yet what experience of track do they percentage? while song turns out strange or in contrast to whatever we've heard prior to, we might say that we do not "like" it.
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7 Seen this way, the sample in question consisted merely of Newton singing the notes C-Db-C while fingering a C on the flute. That was not, of course, the reason the Beastie Boys used the sample: they did so because of the highly distinctive aural effect resulting from Newton’s idiosyncratic performance technique. Despite this, the judge took it for granted that meaning inheres in the composition and not its performance. The second consequence of this way of thinking follows directly on the first and was repeatedly stated throughout the nineteenth and twentieth centuries: as a mediator, the performer's highest ambition should be self-effacement.
It 7. Quoted by Judge Nora Manella from the standard legal textbook Nimmer and Nimmer (1997). It should be stressed that this case concerned rights in the work, rather than subsidiary rights in the performance, which the Beastie Boys had cleared; the point of the case was that the former are much more valuable than the latter. Further discussion may be found in Toynbee (2006), Lewis (2007), and Cook (2013a). indd 15 11/23/2013 10:49:06 AM 16 B EYO N D T H E S C O R E is a recurring complaint—prominently articulated by James Winn (1998)—that humanities disciplines are driven by textualist values, driving a wedge between text and performance, and Winn traces this back to the disciplining of music by text in ancient Greece.
Scores represent pieces of music as spatial configurations (you can flip the pages forwards or backwards), and music theory mainly consists of the elaboration of non-temporal models. Obvious examples are Schenkerian theory, which conceives of music as the unfolding in time of the ‘chord of nature’ or major triad, or neo-Riemannian theory, which understands compositions as individuated temporal trajectories across pitch space. To think of a performance as simply the performance of a particular work—or of the structures into which it may be analysed—excludes all sorts of other possibilities as to what is being performed (I shall come back to this, particularly in Chapter 10).