Cook

1
Cooks Very Short Introduction to Music

• A book about thinking about music.
• A search for a common all embracing way of
  thinking and talking about music.
• ??????????????????, ?????????????????
• ??????????????
• ??????????????????????
• ????????????????????????? .

2
Cooks Very Short Introduction to Musicology

• A book about thinking about music.
• A search for a common all embracing way of
  thinking and talking about music.
• ??????????????????, ?????????????????
• ??????????????
• ??????????????????????
• ????????????????????????? .

3
Cooks Very Short Introduction to Musicology

• 1997?8?31? Mercury ????
• The Chemical Brothers Dig Your Own Hole
• Beth Orton Trailer Park
• Primal Scream Vanishing Point
• The Prodigy The Fat of the Land
• Radiohead OK Computer
• Roni Size/Reprazent New Forms
• The Spice Girls Spice
• Suede Coming Up
• John Tavener Svyati
• Mark-Anthony Turnage Your Rockaby
•  ?????????????????.

4
Cooks Very Short Introduction to Musicology

• Quote Music isn't just something nice to listen
  to. On the contrary its deeply embedded in human
  culture ... Music somehow seems to be natural, to
  exist as something apart - and yet it is suffused
  with human values, with our sense of what is good
  or bad, right or wrong. Music doesn't just
  happen, it is what we make it, and what we make
  of it. People think through music, decide whom
  they are through it, express themselves through
  it.

5
Cooks Very Short Introduction to Musicology

• Quote???????????, ???????????? (??????????????,
  ?????????????). ????????, ????????--?????????,
  ???????????, ???????????. ?????????, ??????,
  ???????. ?????????, ??????????, ????????????.

6
Musical Values 1

• Prudential Ad. c.1992. Cook deconstructs
  the ad to analyse the part (meaning) that music
  gives to it. Experiment in musical meaning.
•  
• ???????, ??, ???????, ?????, ????? Authenticity.
  ??????????, ??????????????. .
•  
•         Bond of youth created by 60s music.
•         Bond is still there today, but much more
  subtle.
•         Gulf between those in and out.
•         Deciding which music to listen to is
  significant in deciding who you are.  

7
Musical Values 2

• Authenticity???
• Blues, ??????????????????, ????????.
  ????????????? ????-??????.
• Jean-Jaques Rousseau ?????.
• Ry Cooder and ??????? Piginini.
• 50?60??, ??????????blues????????, ????????????.
• ????????, ???????????, ?????????, ?????? .
• The Monkees ????, ???? 

8
Musical Values 2

• 90s ???????? The Pet Shop Boys.
• ?????????????, ?????????, ???????? -
  ???????????????? - ??authenticity.
• ?????????????. 90????, ?????CD??? -
  ?????????????, ???????, ????????.
• ????? -????????-???????? ?????????????
  authenticity.
• ??????? - ????????? - role of servants in
  Victorian society.
• ?????authentic???, ??????????.
•  

9
?????Words and Music

• ????????????????????? ?? ??????????????????????.
   
• ????? ?? ??? - ????????-?J.S.Bach,
  Beethoven?Brahms?????? -???????????????.  
• ?19??????????, ? ?? , ?? ????????? -
  ??????? - ???????? -??, ?????  

10
?????Words and Music

• Quote?????????? ???????????? ?? (?????)
  ???????? ????????????????????????? ??????????,
  ?????????????????????? ?????????????.
  ??????????????????????????

11
?? Beethoven  

• 19th-century?????????????, ???????.
  ?????-???????????????????????????. 
• ????????????? ?????????????????, ??????????????,
  ????Romanticism (????) ????????????? Carl
  Dahlhouse Beethoven?Rossini???,
  ?????????????Beethoven???.   Finding your voice
  as a composer was defining yourself in relation
  to Beethoven
• The role model Beethoven???????, ??????????
  ????????????????? 
• ??, ???????????????????.  
• Critical ???????Beethoven??? - ???? - ???? -
  ????????????????, ???????, ??????.
• Romain Rolland book La vie de Beethoven 1907-
  held up Bee as a model for less heroic age. Joy
  through suffering

12
The Beethoven ?? 1

• Beethoven ?? ?? ??? thinking about music came
  out of ferment of ideas that surrounded reception
  of Beethovens music.
• ????????????? authority Ideas of authenticity
• ??????????.
• Centrality of composer - performer and listener
  given a minor role.
• ???? - ???????????????????????????????????????????
  ???, ??????????????.
• ?????? ???, ???, ????????????, ??????????? Vs
  Today listening?????????????, ?????? ??
  ???????.

13
The Beethoven ?? 2

• ?? -??Beethoven??????????, ??????????????? .
• ??? ???? ??? - role of his music after death.
  ???????? in which works of past to displayed as
  an imaginary permanent collection.
• ????????????????????? .
• Beethoven???????? ??? ?? ?????????? ??
  ????????????

14
The Beethoven ?? 2

• ???? Spirit Realm Heinrich Schenker (teacher in
  Vienna 1900-30)?????????????? music an incursion
  into a world of some higher form of reality.
• ???????? Nature ???, ????.
• ????????????????????? ?? pythagoras
  -??????????????????, ??????????????,
  ???????????????????, ????????music of the spheres
  ????? .
• Concert halls were cathedrals for music cult with
  all its own rites - dress and etiquette,
  memorisation - possessed with spirit music.
• Provided an alternative route to spiritual
  consolation - art-religion. The word was
  banished - symphony wins over opera.

15
20????????

• ??????????????? - ?????????????.
• ??????????- internet.  
• 19th century piano and sheet music were still
  central. 
• ??????????????????????????????? .  
• High and low art.  ???? ????
• ??19th ???? high ??? the Bs ??????low.  
• ????????????????? ?? ??, ??, ?????????, ????,
  ???????????????????????????????????  
• Old thinking thought that Western music equals
  progress.  
• But a sea change since 1980s

16
?????

• ????????, ????????????????
• ?????? 12-tone music ???? ?????????????.
  Schoenberg ???????????.
• 20th ?????????????? ??????????????????????? .
• ???? ???????, ?????????.
• Classical music also a niche but a much larger
  one. E.g. Classic FM.

17
?????

• ?????????Kennedy (???) ???AntonioVivaldi (???)
  ?The Four Seasons (??) ???. ?????????????????????
  ?????????????. ?????????????????????.
  (????????????????? (??) ??)
• ?????--Luciano Pavarotti (????) , Placido Domingo
  (???) ?Jose Carreras (????)--??????????????.
  ?????Giacorno Puccini?????Aria???Nessun dorma
  (??????)????? ????????.
• ????????????Henryk Gorecki?????3rd Symphony
  (?????) , ??????????-- Classic FM (???????)
  ?????, ??Madonna????????.
• ???David Helfgott (??????) ???Shine (???)??,
  ????????, ????????????????????,
  ?????????????????.

18
?????

• ??????????, ????????, ?? ?? ?????
• ???????????????????
• ???????????????, ???????????, Something in time
  but not of time ????, ??????? (???????????)
• ??????????????? ???? ??????????.

19
?????????

• ???????  
• ?????????????????
• 1.?? conservation
• 2. ??communication
• 3. ?? ?? conception - the way composers,
  performers and all others imagine or think about
  music.
•  
• Egyptian example of wanting to preserve
  everything.
• 1. Old notation does not tell all.
• 2. Problems of nuematic notation.
• 3. Example of castrati recording.
• If we don't know how music sounded at beginning
  of century, how can we for much earlier music.
• ???????????, ???????????????

20
???????

• 1.???? representing sounds
• 2.??????????????????
• ??????????,????????? . Many elements not
  included.
• ???????? tablature.??????????, ??? ? ???.
  ?????????? . Problem ????????? ???????????.
  ?????????????????????????

21
??????

• ?????????????????????? ???????DAT??????????  
• ????????????????????????
• ?????????????????????? ????.
• ?? staff notation ???????? ?????? - you have to
  know the tradition and context for it to work. 
• ??????????? - melograph of Charles Seeger - not
  used.
• ????????????????????????? (??????????????????,
  ??) , ?????????.  
• ?????????????????, ???????????, ??????????????
  ?????????????. ??????????????????????

22
???????

• ???????????????????????, ????????? - how various
  individuals relate to one another.  
• ????????, ??????????.  
• ??????????????? .  
• Mozart?Beethoven?????????? - could see their
  music at a glance (fundamental idea that was
  never lost sight of) - as complete entity.  
• Pretended that notation was not integral to
  compositional process.
• But - this idealised process is a sham, as
  revealed in Bees sketch books - this idea
  represents how 19th-century composers ought to
  have composed.  
• Key role of piano in composition of 19th century.

23
The paradox of music

• Hermeneutics - (???) ???????????.
• ???????????????????, ?????????? - ???? -
  ?????????, ?????????????.
• ??????????, ????????, ????????, ???????,
  ???????????.
• ????? is built out of a confusion of imaginary
  objects and temporal experiences.
• ????????????, ??????
• Dawkins ?????? - ???????????? -
  ??????????????????. - ?????.

24
????? Representation

• ??????????????? - hermeneutic criticism.??????
  ???.  
• An inclusive approach to Music is what is now
  needed.
• Nkosi Sikelel Africa -???????????.
• ???????????????? - ????????????????????-????
• ??????????? -????, ???, ??? e.g. Hammerclavier
  ?????? .
• ?????????????? - ????, ??, ??, ????????????????.
  
• ?????????????. ??????

25
Music and the Academy 

• Kerman's book of 1985 Contemplating Music - a
  social history of musicology was an attack on
  current state of musicology. He advocated a
  critical approach to the discipline - not the
  prevailingly unreflective or positivist approach.
  
• Difference between what musicology means in Am
  and Brit/Aust. Problems of authority in music
  the preserve of Academies - producing
  authoritative versions - but did not go on to
  critically engage with work. Historical
  contextualising needed to connect with the music
  as music.

26
And how to get out of the crisis

• 1. Historical performance movement - musicologist
  had a real contribution. What authenticity meant
  to them. But then historical performance
  referred to the approach you brought to music -
  how composer intended it? But it put
  performance at centre of activity.
• 2. Contribution of ethnomusicologists was to get
  real - had to be self-critical - political
  situations of real importance. e.g. Beta Israel
  communities of Africa/Ethiopia.

27
Music and Gender 

•  
• Part of the repositioning of Academies and
  critical theory. Used to placing theory above
  practice. Music education a battle ground. The
  key area in the repositioning was gender studies.
  Study of music (composer dominated) appeared to
  be without wome. New ways of writing on music
  had to be developed that recognize the activities
  of women.

28
Outing Music

• Work of Susan McClary - Bee as rape - first
  theme imposes its key on the second.
•      Schubert a composer of gay music?
•   The myth of pure music passes off male
  heterosexual values as universal while pretending
  that gender does not come into it.
•   The new' Musicology - central to this is
  rejection of music's claim to be autonomous of
  the world around it and in particular to provide
  direct, unmediated access to absolute values of
  truth and beauty.
•     The new Musicology aims to expose ideology
  and demonstrate that music is replete with social
  and political meaning - worldly.
•     Example of Schuman's song cycle Frauenliebe
  und leben in the context of a performance of the
  time - Performative meaning.
•  

29
Conclusion  

• Music not a phenomenon of the natural world but a
  human construction - artifice disguised as
  nature.
• End with Prudential ad. - so much of the
  message comes from the music - makes it seem
  natural.
•  
•  Music has unique powers as an agent of
  ideology.
•  
•   We need to understand its workings, not just
  to hear music.
•  
•   Read it for its significance as an intrinsic
  part of culture - of society of you and me.