By Nicholas Cook
In Beyond the ranking: song as Performance, writer Nicholas prepare dinner supplants the conventional musicological idea of song as writing, announcing as an alternative that it really is as functionality that track is enjoyed, understood, and fed on. This booklet reconceives track as an job by which that means is produced in genuine time, as prepare dinner rethinks favourite assumptions and develops new ways. Focusing basically yet no longer completely at the Western 'art' culture, cook dinner explores views that diversity from shut hearing computational research, from ethnography to the research of recordings, and from the social kin developed via functionality to the acting (and listening) physique. In doing so, he unearths not just that the thought of tune as textual content has hampered educational figuring out of song, but in addition that it has inhibited functionality practices, putting them in a textualist straightjacket.
Beyond the ranking has a robust ancient emphasis, bearing on huge advancements in twentieth-century functionality variety and atmosphere them into their greater cultural context. cook dinner additionally investigates the connection among recordings and function, arguing that we don't event recordings as mere reproductions of a functionality yet as performances of their personal correct. Beyond the Score is a complete exploration of recent techniques and techniques for the examine of song as functionality, and should be a useful addition to the libraries of song students - together with musicologists, tune theorists, and tune cognition students - everywhere.
Publication of this e-book used to be supported by way of the AMS seventy five can pay Endowment of the yank Musicological Society, funded partly through the nationwide Endowment for the arts and the Andrew W. Mellon Foundation.
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Additional info for Beyond the Score: Music as Performance
While the second is more open to historical evidence, there is still room for interpretive freedom: it is perfectly clear that for a multitude of reasons, not least inadequate rehearsal, original performances were often far from what composers would have wished, an obvious example being Beethoven’s Ninth Symphony. In this way the various criteria for faithfulness could be conveniently played off against one another to legitimise a wide range of desired performance options. indd 26 11/23/2013 10:49:08 AM Plato’s Curse 27 It could be argued that the discourses which emerged round HIP—and formed an integral part of it—represented an intensified disciplining of performance, a subordination of practice to the written word.
Indd 26 11/23/2013 10:49:08 AM Plato’s Curse 27 It could be argued that the discourses which emerged round HIP—and formed an integral part of it—represented an intensified disciplining of performance, a subordination of practice to the written word. In the first place, period treatises were invoked as authoritative prescriptions for authentic performance practice. But since, as specifications of such practice, words tend to be vague or ambiguous at best and unintelligible at worst, musicologists also played an essential role as interpreters of period documents: in this way they acquired an unaccustomed degree of authority in matters of performance.
The basis of this convergence was that on the one hand psychologists saw music as an area that was both culturally meaningful and exceptionally amenable to quantitative investigation, while on the other hand theorists saw psychological methods as offering new approaches to existing problems. At first, as the title of the journal indicates, the focus was on perceptual issues, but in the 1980s studies of performance became increasingly popular. One reason was the difficulty of conducting ecologically valid research into the perception of music (because the process of gathering responses may easily perturb the perceptual process).
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