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Remixing Music Studies: Essays in Honour of Nicholas Cook [Kõva köide]

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  • Formaat: Hardback, 222 pages, kõrgus x laius: 234x156 mm, kaal: 453 g, 12 Tables, black and white; 9 Line drawings, black and white; 4 Halftones, black and white; 13 Illustrations, black and white
  • Ilmumisaeg: 31-Jul-2020
  • Kirjastus: Routledge
  • ISBN-10: 1138359920
  • ISBN-13: 9781138359925
Teised raamatud teemal:
Remixing Music Studies: Essays in Honour of Nicholas CookSuurem pilt
  • Formaat: Hardback, 222 pages, kõrgus x laius: 234x156 mm, kaal: 453 g, 12 Tables, black and white; 9 Line drawings, black and white; 4 Halftones, black and white; 13 Illustrations, black and white
  • Ilmumisaeg: 31-Jul-2020
  • Kirjastus: Routledge
  • ISBN-10: 1138359920
  • ISBN-13: 9781138359925
Teised raamatud teemal:
Püsilink: https://www.kriso.ee/db/9781138359925.html
Märksõnad:
"Where is the academic study of music today, and what paths should it take into the future? Should we be looking at how music relates to society and constructs meaning through it, rather than how it transcends the social? Can we 'remix' our discipline and attempt to address all musics on an equal basis, without splitting ourselves in advance into subgroups of 'musicologists', 'theorists', and 'ethnomusicologists'? These are some of the crucial issues that Nicholas Cook has raised since he emerged in the 1990's as one of the UK's leading and most widely-read voices in critical musicology. In this book, collaborators and former students of Cook pursue these questions, and others raised by his work--from notation, historiography, and performance to the place of music in multimedia forms such as virtual reality and video games, analysing both how it can bring people together and the ways in which it has failed to do so"--

Where is the academic study of music today, and what paths should it take into the future? Should we be looking at how music relates to society and constructs meaning through it, rather than how it transcends the social? Can we ‘remix’ our discipline and attempt to address all musics on an equal basis, without splitting ourselves in advance into subgroups of ‘musicologists’, ‘theorists’, and ‘ethnomusicologists’? These are some of the crucial issues that Nicholas Cook has raised since he emerged in the 1990s as one of the UK’s leading and most widely read voices in critical musicology. In this book, collaborators and former students of Cook pursue these questions and others raised by his work—from notation, historiography, and performance to the place of music in multimedia forms such as virtual reality and video games, analysing both how it can bring people together and the ways in which it has failed to do so.

Arvustused

"If anyone deserves this kind of Festschrift it's Nick Cook, whose work--provocative and inspiring--is seminal to present day thought about music."

- Lawrence Kramer, Distinguished Professor of English and Music, Fordham University

"This collection of essays serves as a splendid tribute to Nick Cook, revealing the widespread influence his work has had on so many diverse aspects of the study of music. The authors engage spiritedly not only with Cooks ideas on the production, performance, and theory of music in relation to traditional practices and multimedia technologies, but also respond to the social and ethical concerns that characterize his work."

- Derek B. Scott, Professor of Critical Musicology, University of Leeds

"This is a wonderful collection that offers a rich contribution to the field. The chapters take Cooks work as a starting point, and work, play, or move with the models he has developed in highly productive ways."

Freya Jarman, Reader in Music, University of Liverpool

Acknowledgements ix
List of contributors
x
Introduction: a hedgehog in fox's clothing 1(16)
Matthew Pritchard
Ross Cole
Ananay Aguilar
PART I Media, notation, and performance
17(96)
1 Transforming musical (multi)media: virtual reality and the goals of music research in the twenty-first-century humanities
19(13)
Nicola Dibben
2 Playing along to what? Video game music and the metaphor model
32(15)
Michiel Kamp
3 `A repertoire of means for imagining music': notation cultures and the musical imagination
47(14)
Floris Schuiling
4 Rethinking classical sound recordings: creativities beyond the score
61(15)
Georgia Volioti
5 Between practice and theory: performance studies and/as artistic research
76(15)
John Rink
6 Moral judgement in response to performances of Western art music
91(22)
Daniel Leech-Wilkinson
PART II Meanings and values in history
113(97)
7 Vocality, orality, and disciplinarity: a case study of gendered categorizations in the ancient Near East
115(16)
Anija Dokter
8 `All this requires but a moment of open revelation'! Johann Gottfried Herder, Robert Lachmann, and the global musicological moment
131(17)
Philip V. Bohlman
9 Duetting with Bartok and others: Iva Bittova's post-revival 'personal folk music'
148(16)
Julie Brown
10 Writing on living composers and the problem of advocacy: failure and the experimental work of Mauricio Kagel
164(16)
Bjorn Heile
11 Music and epistemological humility: looking back to (and forward with) Paul Bekker
180(14)
Matthew Pritchard
12 Towards an ecological history of music
194(16)
Ross Cole
Afterword: knowing Nick 210(6)
Eric Clarke
Index 216
Ananay Aguilar is Policy Advisor at Cambridge Enterprise and Affiliated Researcher at the Centre for Intellectual Property and Information Law (CIPIL) at the University of Cambridge. She previously held a Leverhulme Early Career Fellowship, also at the University of Cambridge, focusing on music copyright and policy.

Ross Cole is a Junior Research Fellow at the University of Cambridge. His research interests extend from the late nineteenth century up to the present, with a particular focus on popular culture and experimentalism. His first book, The Folk: Music, Modernity, and the Political Imagination, is forthcoming with University of California Press.

Matthew Pritchard is Lecturer in Musical Aesthetics at the University of Leeds. He has published on aspects of music aesthetics from c. 17501930 in Germany, and is working on a book examining the aesthetics of this period through the lens of the history of emotions. He also writes on and translates the songs and musical essays of Rabindranath Tagore.

Eric Clarke is Heather Professor of Music at the University of Oxford, and a professorial fellow of Wadham College. He has published on topics in the psychology of music and related areas. His books include Empirical Musicology (2004), Ways of Listening (2005), Music and Mind in Everyday Life (2010), Music and Consciousness (2011), and Distributed Creativity (2017).