Three Responses to Lydia Goehr’s Essay

Goehr, Lydia; Assis, Paulo de

doi:10.2307/j.ctv4rfrd0.10

Cited by 2 publications

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“…This is no less true of the ontology that lay at the basis of musicology. Lydia Goehr (2007) has shown how this "work-based" ontology, which conceives of music in terms of discrete ideal objects represented in writing, came about not only because of the aesthetic changes described by Tomlinson, but also changes in musical practice and the socio-economic position of composers in Europe. In the scholarship on improvised music, this relation between ontology and practice has been much more explicit.…”

Section: Ethnomusicology and Relational Musicologymentioning

confidence: 99%

“…3 Although I am aware of the interest in ontology in contemporary anthropological theory, and will relate ethnography and ontology later in the text, my interest in ontology initially arose because of developments in musicology. Lydia Goehr's The Imaginary Museum of Musical Works (2007[1992) argued that the work-based ontology of music was a historically emergent, culturally specific regulative ideal rather than a natural category. The targets of her criticism were not primarily musicologists (whose work-based methodologies she did include in her critique) but philosophers, who saw the question 'what is a musical work' as being particularly interesting for analytic philosophy, as it implies an ideal object that is nonetheless created at a specific point in time and knows various instantiations in performance that are different to each other as much as to its notation.…”

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The Instant Composers Pool: Music Notation and the Mediation of Improvising Agency

Schuiling¹

2016

cadernosaa

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This article relates the recent development of a "relational musicology" to debates about participatory art and relational aesthetics. I present results from an ethnographic study of the Dutch improvising music collective the Instant Composers Pool, founded in 1967 and still performing. With a background in jazz, experimental music and performance art, this group developed an improvisatory musical practice in which musical notations are freely used. These pieces mediate the social and creative agency of the musicians in the group. As such, they provide a case for reconsidering the nature of musical notation, and the distinction between composition and improvisation, which have been foundational for the academic study of music, and constitutive for a distinction between the aesthetic and the social. I employ the concept of "microtopia" to describe not only the way in which artistic practices subvert such conventional categories, but also to account for the value of ethnographic fieldwork to take such practices as inspiration for disciplinary innovation.

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Section: Ethnomusicology and Relational Musicologymentioning

confidence: 99%

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confidence: 99%

The Instant Composers Pool: Music Notation and the Mediation of Improvising Agency

Schuiling¹

2016

cadernosaa

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“…Teoskäsitystä ja musiikkiteoksen keskeistä painoarvoa länsimaisessa taidemusiikissa on tarkastellut muun muassa LydiaGoehr (1994Goehr ( & 1997.…”

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Rakenteiden törmäys. Taiteellinen toimintatutkimus Teatterikorkeakoulun ja Sibelius-Akatemian yleisökontaktikurssista

Vehviläinen

Lehtonen

2021

Trio

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Colliding structures: Artistic action research on audience contact course at the Sibelius and Theatre Academies. This article focuses on a period between 2018–2019 when students from the Sibelius Academy were invited to take part in an audience contact course offered by the Theatre Academy. The experiment was carried out as an artistic activity analysis. During the course, theatre and music students formed working groups which encountered people from different habitation units and organized art workshops for them. Based on their experiences, the groups prepared performances which they performed in the health care and social security units as well as in prisons. We focus especially on what we term ‘structural collisions’ taking place between different practices: firstly, we examine the collision between Uniarts students and reception center workers in organizing art workshops. Another structural collision we discuss rose from the collaboration between different academies. We consider how representatives of different art genres discuss the work concept of a collaboration-based performance and how different work concepts define the agency of the artists within a work-group-based artistic process. The aim is to offer visions on how the Theatre Academy and the Sibelius Academy might develop collaborative communal art education at the Uniarts Helsinki.

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Three Responses to Lydia Goehr’s Essay

Cited by 2 publications

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The Instant Composers Pool: Music Notation and the Mediation of Improvising Agency

The Instant Composers Pool: Music Notation and the Mediation of Improvising Agency

Rakenteiden törmäys. Taiteellinen toimintatutkimus Teatterikorkeakoulun ja Sibelius-Akatemian yleisökontaktikurssista

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