Entre o processo e o produto: música e/enquanto performance

Nicholas Cook; Fausto Borém

doi:10.35699/2317-6377.2006.55216

Authors

Nicholas Cook Royal Holloway, University of London
Fausto Borém Federal University of Minas Gerais

DOI:

https://doi.org/10.35699/2317-6377.2006.55216

Keywords:

performance theory, musical work, text, script, musical analysis

Abstract

The text-based orientation of traditional musicology and theory hampers thinking about music as a performance art. Music can be understood as both process and product, but it is the relationship between the two that defines “performance” in the Western “art” tradition. Drawing on interdisciplinary performance theory (particularly theatre studies, poetry reading, and ethnomusicology), I set out issues and outline approaches for the study of music as performance; by thinking of scores as “scripts” rather than “texts,” I argue, we can understand performance as a generator of social meaning.

Author Biographies

Nicholas Cook , Royal Holloway, University of London

Nicholas Cook, elected a Fellow of the British Academy in 2001, is an Associate Researcher and Professor in the Department of Music at Royal Holloway, University of London, where he coordinates the CHARM research group (Centre for the History and Analysis of Recorded Music). He was editor of the Journal of the Royal Musical Association, co-editor of the Cambridge History of Twentieth-Century Music (2004), and is currently an Associate Editor of Musicae Scientiae. He has lectured at universities in Hong Kong, Sydney, and Southampton. His academic work is interdisciplinary, including books and articles related to aesthetics, sociology, psychology, and analysis of both classical and popular music. Among his books published by Oxford University Press are A Guide to Musical Analysis (1987), Music, Imagination, and Culture (1990), Beethoven: Symphony No. 9 (1993), Analysis through Composition (1996), Analysing Musical Multimedia (1998), Rethinking Music (1999; co-edited with Mark Everist), and Empirical Musicology: Aims, Methods, Prospects (2004; co-edited with Eric Clarke), as well as Music: A Very Short Introduction (1998), the latter published in over 10 languages. His most recent book is The Schenker Project: Culture, Race, and Music Theory in Fin-de-Siècle Vienna. He is currently writing the book In Real Time: Music as Performance and researching performance analysis in recordings of Chopin's Mazurkas.
Fausto Borém , Federal University of Minas Gerais

Fausto Borém is a Professor at the School of Music at UFMG and a researcher at CNPq. He coordinates the research groups ECAPMUS (Studies in Motor Control and Learning in Musical Performance) and PPPMUS ("Pearls" and "Pickles" of Musical Performance). He created and edits the journal Per Musi and established the Master's program in Music at UFMG. He publishes work in the fields of performance, composition, musicology, ethnomusicology, and music education. As a double bassist, he has received several awards in Brazil and abroad.

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