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.
Table of Contents
Introduction: a hedgehog in fox’s clothing
Matthew Pritchard, Ross Cole, and Ananay Aguilar
PART I: MEDIA, NOTATION, AND PERFORMANCE
1. Transforming Musical (Multi)media: Virtual Reality and the Goals of Music Research in the 21st-Century Humanities
2. Playing Along to What? Video Game Music and the Metaphor Model
3. ‘A Repertoire of Means for Imagining Music’: Notation Cultures and the Musical Imagination
4. Rethinking Classical Sound Recordings: Creativities Beyond the Score
5. Between Practice and Theory: Performance Studies and/as Artistic Research
6. Moral Judgement in Response to Performances of Western Art Music
PART II: MEANINGS AND VALUES IN HISTORY
7. Vocality, Orality, and Disciplinarity: A Case Study of Gendered Categorizations in the Ancient Near East
8. ‘All This Requires but a Moment of Open Revelation’! Johann Gottfried Herder, Robert Lachmann, and the Global Musicological Moment
Philip V. Bohlman
9. Duetting with Bartók and Others: Iva Bittová’s Post-Revival ‘Personal Folk Music’
10. Writing on Living Composers and the Problem of Advocacy: Failure and the Experimental Work of Mauricio Kagel
11. Music and Epistemological Humility: Looking Back to (and Forward with) Paul Bekker
12. Towards an Ecological History of MusicRoss Cole
Afterword: Knowing Nick
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. 1750–1930 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).