In Beyond the Score: Music as Performance, author Nicholas Cook supplants the traditional musicological notion of music as writing, asserting instead that it is as performance that music is loved, understood, and consumed. This book reconceives music as an activity through which meaning is generated in real time, as Cook rethinks familiar assumptions and develops new approaches.
In Beyond the Score: Music as Performance, author Nicholas Cook supplants the traditional musicological notion of music as writing, asserting instead that it is as performance that music is loved, understood, and consumed. This book reconceives music as an activity through which meaning is generated in real time, as Cook rethinks familiar assumptions and develops new approaches.
Nicholas Cook is the 1684 Professor of Music at the University of Cambridge. Author of Music: A Very Short Introduction, which has been translated into fifteen languages, his book The Schenker Project: Culture, Race, and Music Theory in Fin-de-siècle Vienna won the Society for Music Theory's 2010 Wallace Berry Award. He is a Fellow of the British Academy and Academia Europaea.
Inhaltsangabe
Contents About the companion web site List of figures List of media examples Introduction 1 Plato's curse Sounded writing Performative turns? 2 Page and stage Theorist's analysis Performer's analysis Performance analysis 3 What the theorist heard Affecting the sentiment Spoken melody, or sung speech Schenker vs. Schenker 4 Beyond structure Structure in context Mozart's miniature theatre Rhetoric old and new In time and of time 5 Close and distant listening Reinventing style analysis Forensics vs. musicology Performing Poland The savour of the Slav 6 Objective expression Nature's nuance Phrase arching in history Phrase arching in culture 7 Playing somethin' Referents and reference The work as performance 8 Social scripts An ethnographic turn Sociality in sound Performing complexity 9 The signifying body 31 August 1970, 3.30 am The white man's black man 10 Everything counts Pleasures of the body Bodies in sound Building bridges 11 The ghost in the machine Music everywhere Original and copy Signifying sound 12 Beyond reproduction The best seat in the hall Acoustic choreography Rethinking the concert Making music together List of references
Contents About the companion web site List of figures List of media examples Introduction 1 Plato's curse Sounded writing Performative turns? 2 Page and stage Theorist's analysis Performer's analysis Performance analysis 3 What the theorist heard Affecting the sentiment Spoken melody, or sung speech Schenker vs. Schenker 4 Beyond structure Structure in context Mozart's miniature theatre Rhetoric old and new In time and of time 5 Close and distant listening Reinventing style analysis Forensics vs. musicology Performing Poland The savour of the Slav 6 Objective expression Nature's nuance Phrase arching in history Phrase arching in culture 7 Playing somethin' Referents and reference The work as performance 8 Social scripts An ethnographic turn Sociality in sound Performing complexity 9 The signifying body 31 August 1970, 3.30 am The white man's black man 10 Everything counts Pleasures of the body Bodies in sound Building bridges 11 The ghost in the machine Music everywhere Original and copy Signifying sound 12 Beyond reproduction The best seat in the hall Acoustic choreography Rethinking the concert Making music together List of references
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