The Christopher Small Reader (Music/Culture) - Softcover

Small, Christopher

Softcover

ISBN 10: 0819576409 ISBN 13: 9780819576408

Verlag: University Press of New England, 2016

Inhaltsangabe

A rich representation of the transformative work of an influential scholar of music studies

The Christopher Small Reader is the fourth and final book in Christopher Small's legacy as a composer, pianist, teacher, friend, provocateur, and influential outsider in classical music studies. It is at once a compendium of, a complement to, and an important addition to Small's prior books: Musicking; Music, Society, Education; and Music of the Common Tongue. The Christopher Small Reader brings previously published work, some of it available in disparate locations, together with key excerpts from his three books, and other writings that remained unpublished at his passing in 2011, making available ideas that were not included in the earlier books and presenting an overview of his thought over the course of his life. The collection is a fitting capstone, providing rich insights into Small's understanding of musicking as a crucial way of relating to the world.

Hardcover is un-jacketed.

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Über die Autorin bzw. den Autor

CHRISTOPHER SMALL (1927–2011) was a senior lecturer at Ealing College of Higher Education in London until 1986 and lived in Sitges, Spain, until his death. ROBERT WALSER is a professor of music at Case Western Reserve University, author of Running with the Devil: Power, Gender, and Madness in Heavy Metal Music, and editor of Keeping Time: Readings in Jazz History.

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The Christopher Small Reader

By Robert Walser

Wesleyan University Press

Copyright © 2016 The Estate of Christopher Small
All rights reserved.

ISBN: 978-0-8195-7640-8

Contents

Editor's Introduction by Robert Walser, vii, 
Autobiography (2004; rev. 2008), 1, 
Introduction to Music, Society, Education (1977), 15, 
A Different Drummer — American Music: From Music, Society, Education (1977), 20, 
Introduction to Music of the Common Tongue (1987), 50, 
Styles of Encounter III — Jazz: From Music of the Common Tongue (1987), 62, 
Whose Music Do We Teach, Anyway? (1990), 87, 
Introduction to Musicking: Prelude: Music and Musicking (1998), 95, 
A Solitary Flute Player: From Musicking (1977), 114, 
Interview by Robert Christgau (2000), 120, 
The Sardana and Its Meanings (2003), 150, 
Why Doesn't the Whole World Love Chamber Music? (2001), 153, 
Creative Reunderstandings (2005), 173, 
Rock Concert (2002), 186, 
Exploring, Affirming, Celebrating — and Teaching (2003), 189, 
Deep and Crisp and Even (2008), 200, 
Six Aphorisms and Five Commentaries (2007), 207, 
Afterword: On Music Education (2009), 217, 
Pelicans (2009), 227, 
Afterword by Susan McClary: Remembering Neville Braithwaite, 230, 
Acknowledgments, 233, 
Index, 235, 

CHAPTER 1

Introduction to Music, Society, Education

(1977)

It is generally acknowledged that the musical tradition of post-Renaissance Europe and her offshoots is one of the most brilliant and astonishing cultural phenomena of human history. In its range and power it is perhaps to be matched by only one other intellectual achievement — the science of post-Renaissance Europe. It is understandable, therefore, if those of us who are its heirs (which includes not only the Americas and many late and present colonies of Europe but also by now a large portion of the non-western world as well) are inclined to find in the European musical tradition the norm and ideal for all musical experience, just as they find in the attitudes of western science the paradigm for the acquisition of all knowledge, and to view all other musical cultures as at best exotic and odd. It is in fact precisely this inbuilt certainty of the superiority of European culture to all others that has given Europeans, and latterly their American heirs, the confidence to undertake the cultural colonization of the world and the imposition of European values and habits of thought on the whole human race.

We should not, however, allow the brilliance of the western musical tradition to blind us to its limitations and even areas of downright impoverishment. We may be reluctant to think of our musical life, with its great symphony orchestras, its Bach, its Beethoven, its mighty concert halls and opera houses, as in any way impoverished, and yet we must admit that we have nothing to compare with the rhythmic sophistication of Indian, or what we are inclined to dismiss as "primitive" African music, that our ears are deaf to the subtleties of pitch inflection of Indian raga or Byzantine church music, that the cultivation of bel canto as the ideal of the singing voice has shut us off from all but a very small part of the human voice's sound possibilities or expressive potential, such as are part of the everyday resources of a Balkan folk singer or an Eskimo, and that the smooth mellifluous sound of the romantic symphony orchestra drowns out the fascinating buzzes and distortions cultivated alike by African and medieval European musicians.

It is only comparatively recently that Europeans have developed sufficient interest in these and other musical cultures to hear in them anything more than quaintness or cacophony; we were in the position of the fish in Albert Einstein's metaphor, not aware of the water because it knows nothing of any other medium. Today, partly through our increasing knowledge of other musical cultures, we have the opportunity to become aware of our own tradition as a medium surrounding and supporting us and shaping our perceptions and attitudes as the needs of hydrodynamics shape the fish's body; this book is in part an attempt to examine the western musical tradition through this experience as well as in itself, to see it through the mirror of these other musics as it were from the outside, and in so doing to learn something of the inner unspoken nature of western culture as a whole. We shall try to look beneath the surface of the music, beneath the "message," if any, which the composer consciously intended (and even the fact that a message is intended may be in itself significant), to its basic technical means, its assumptions, which we usually accept unawares, on such matters as the nature of sound, the manner of listening, the passing of time, as well as its social situation and relations, to see what lies hidden there.

For it is in the arts of our, or indeed of any, culture, that we see not only a metaphor for, but also a way of transcending, its otherwise unspoken and unexamined assumptions. Art can reveal to us new modes of perception and feeling, which jolt us out of our habitual ways; it can make us aware of possibilities of alternative societies whose existence is not yet. Many writers and critics have undertaken, in the visual and plastic arts and in literature, to make plain the social implications of their chosen arts; it is to me perpetually surprising that so few writers have made any comparable attempt in music, whose criticism and appreciation exists for the most part in a social vacuum. Perhaps it is the lack of explicit subject matter in music that frightens people off. I make the attempt here with much trepidation, but feel it imperative, not merely for the sake of constructing yet another aesthetic of music (though even to do this in a way that takes note of the musical experience of other cultures would be a worthwhile project) but because of what I believe to be the importance and urgency from the social and especially the educational point of view of what I have learnt from my explorations. In following these explorations in this book the reader will notice that I occasionally return to the same point more than once; I must ask the reader to regard these repetitions not as signs of simple garrulousness but rather as nodal points in that network structure which my argument resembles more than it resembles a straight logic-line. The explorer (to introduce a metaphor which will become familiar) in a strange territory may cross and re-cross the same point many times, but will come towards it from a different direction each time as he traverses the terrain, and, if he is lucky, will each time obtain a new point of view. And if I appear to leave the subject and introduce irrelevancies I must ask the reader to trust me eventually to make relationships plain.

I shall begin my investigation with an exposition of what I see as the principal characteristics of western classical music, and of the conventions, both social and technical, of that music. I shall try to show how both western classical music and western science speak of very deep-rooted states of mind in Europeans, states of mind which have brought us to our present uncomfortable, if not downright dangerous condition in our relations with one another and with nature. I shall suggest that education, or rather schooling, as at present conceived in our society has worked to perpetuate those states of mind by which we see nature as a mere object for use, products as all-important regardless of the process by which they are obtained, and...

Details zur Ausgabe

• Verlag: University Press of New England
• Erscheinungsdatum: 2016
• Sprache: Englisch
• ISBN 10: 0819576409
• ISBN 13: 9780819576408
• Einband: Taschenbuch
• Anzahl der Seiten: 224
• Kontakt zum Hersteller: Nicht verfügbar
• Verantwortliche Person: Nicht verfügbar