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The Danger of Music gathers some two decades of Richard Taruskin's writing on the arts and politics, ranging in approach from occasional pieces for major newspapers such as the New York Times to full-scale critical essays for leading intellectual journals. Hard-hitting, provocative, and incisive, these essays consider contemporary composition and performance, the role of critics and historians in the life of the arts, and the fraught terrain where ethics and aesthetics interact and at times conflict. In a series of lively postscripts written especially for this volume, Taruskin, America's "public" musicologist, addresses the debates he has stirred up by insisting that art is not a utopian escape and that artists inhabit the same world as the rest of society. Among the book's forty-two essays are two public addresses—one about the prospects for classical music at the end of the second millennium C. Does Nature Call the Tune? A Beethoven Season?
Cover of: Text and act | Richard Taruskin. Want to Read It has the best set of ACT practice tests you can get anywhere, period. The book's five.
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Show all documents The project provided me with an opportunity to conduct my own engagement with Non- Western music , which I have discussed at length in the.
People have studied it from various angles and disciplines arriving at important partial insights. In this chapter I review necessarily very selectively some of the key developments in this broad field leading to my proposition that music performance is too complex to be understood by any one approach. We need multi-modal and transdisciplinary, comprehensive accounts that are data-driven yet embrace the phenomenological and cultural if we wish to lessen the problem of verbalizing an embodied aural experience. Ultimately I argue that music performance is a complex dynamical system; as such it requires a robust and dynamic investigative approach. Previously this area of humanistic musicology was largely limited to investigating historical performing practices of the seventeenth and eighteenth centuries or earlier periods of western literate culture. At the same time, it was maintained that modern-day performances of later repertoires represented an unbroken tradition. Renowned composers and performers of the nineteenth century would hand down their understanding of stylistic requirements to their pupils in conservatoires or private studios, who in turn passed this tradition on to the next generation, in a continuous flow.
Biggs, Michael and Henrik Karlsson. Borgdorff, Henk. The Conflict of the Faculties. Perspectives on Artistic Research and Academia. Leiden: Leiden University Press. The Artistic Turn. A Manifesto.
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