Looking Back at Ourselves: The Problem with the Musical Work-Concept

Strohm, Reinhard

doi:10.5949/liverpool/9780853238256.003.0007

Cited by 30 publications

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“…Analysis itself, as Nicholas Cook has argued (1999) can be 'performed'. The assumption of music as 'work', as a universalised and autonomous concept, has also been deeply questioned (see for example Goehr 1992 andStrohm 2000).…”

Section: Music As a Discipline And Two Definitionsmentioning

confidence: 98%

How critical is music theory?

Lucia

2007

Critical Arts

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In this article I address the problem of locating 'music theory' within contemporary critical theories in the social sciences and humanities. I show how two kinds of music theory can be distinguished: music theory as an interpretative and 'critical' set of theories used mainly in music analysis, and theory of music as an 'uncritical' set of practical tools for both composition and analysis. I trace the origins of such theories and the separation between the two, and argue that theory of music as a prerequisite for practice comes from a notion of theory inculcated by music pedagogy in the nineteenth century, entrenched through the external examinations of London-based conservatoires. I show how the ethos of such examinations became lodged in the musical consciousness of South Africans as one of many colonial traces, but I argue that, unlike other aspects of colonialism, theory of music did not become adapted in the process of colonization, but has remained something of an anomaly in music teaching and practice. Especially, it has remained a different kind of 'theory' in critical discourse in the social sciences and humanities. Music theory in South Africa, too, has not undergone the kind of transforming process as other 'critical' theories have although it has far more possibilities for critique, but has remained a somewhat limited tool for music analysis in South African scholarship.

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Section: Music As a Discipline And Two Definitionsmentioning

confidence: 98%

How critical is music theory?

Lucia

2007

Critical Arts

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“…La stylisation historique qui fonde cette approche a été discutée. Stroehm (2000) soutient que là où Goehr voit une rupture faisant émerger la notion moderne d'oeuvre à la fin du xviii e siècle, la recherche historiographique discerne une chronologie plus complexe et plus chaotique, en remontant dans le temps. Et il importe tout autant de prolonger l'enquête historique dans l'autre direction, à l'aval historique du moment clé identifié, pour vérifier la nature graduelle des transformations au cours du xix e siècle.…”

Section: L'invention Par Le Travailunclassified

Y a-t-il une sociologie possible de l'œuvre musicale ? Adorno et au-delà

Menger¹

2010

l'Année Sociologique

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Tous droits réservés pour tous pays.La reproduction ou représentation de cet article, notamment par photocopie, n'est autorisée que dans les limites des conditions générales d'utilisation du site ou, le cas échéant, des conditions générales de la licence souscrite par votre établissement. Toute autre reproduction ou représentation, en tout ou partie, sous quelque forme et de quelque manière que ce soit, est interdite sauf accord préalable et écrit de l'éditeur, en dehors des cas prévus par la législation en vigueur en France. Il est précisé que son stockage dans une base de données est également interdit.

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“…-Saxophonists were presented with a ten-minute-long video that described the HypeSax, its construction, assemblage and main capabilities. 210 -As a second step, they were asked to assemble the HypeSax onto a saxophone. This is done in order to assess whether the design presents any initial barriers that would prevent the user from approaching the HypeSax intuitively, a condition that facilitates engagement with creativity.…”

Section: The Activitiesmentioning

confidence: 99%

Integrating Score, Performance, and Medium in the work-concept: The HypeSax as a Case Study

Flores¹

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This thesis presents a novel music-technology project, the HypeSax, which affords new roles to the saxophone and enhances its sound capacities. This document presents a discussion of the musical ideas and design criteria behind the development of this new instrument, addressing issues of embodiment that arise from the use of new technologies, and of what this new medium means in the discussion of the ontology of the musical work. This project is intended to research the medium through a case study, in which the medium becomes the central focus of my compositional decisions. As part of this project, a body of new musical works, associated with the HypeSax, was created. These compositions and the creative process from which they originated are analysed in relation to the HypeSax, questioning if the musical work is limited to the composition or if other processes such as the development of the medium, which in this case is the HypeSax, can be considered part of its ontology. The desire to understand and define the ontology of the musical work has led musicians, musicologists and philosophers to formulate multiple propositions that observe perspectives of creation and reception, as well as different ways in which these interact. This thesis proposes the integration of a new element in the conversation of the work-concept: the medium. The argument presented is that, in light of compositional practices in the twenty-first century, the creative work begins when musicians design instruments, software, audio setups, and other new technologies, actively transforming the medium through which their work works are created. Despite the fact that the medium has always been in close relation with the composition, performance and reception of the work, it has not been considered an element in the ontology of the work. Nevertheless, it becomes impossible to ignore the importance of the medium as new technologies facilitate its manipulation as a part of the creative process. New works featuring the HypeSax are discussed, as well as how this novel medium provides the affordances and possibilities that allow the creation of said works. This case study serves to demonstrate the importance of the medium in the context of a new tripartite model of the work-concept where score, performance and medium are integrated, in a non-hierarchical structure, as one inseparable reality of music.

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Looking Back at Ourselves: The Problem with the Musical Work-Concept

Cited by 30 publications

References 0 publications

How critical is music theory?

How critical is music theory?

Y a-t-il une sociologie possible de l'œuvre musicale ? Adorno et au-delà

Integrating Score, Performance, and Medium in the work-concept: The HypeSax as a Case Study

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