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SUMMARY:Scripting social interaction: Improvisation\, performance\, and We
 stern 'art' music - Professor Nicholas Cook\, Faculty of Music
DTSTART:20110209T163000Z
DTEND:20110209T180000Z
UID:TALK24870@talks.cam.ac.uk
CONTACT:Ewa Illakowicz
DESCRIPTION:For historical and political as much as aesthetic reasons\, a 
 firm line is often drawn between jazz improvisation\, which is seen as emb
 odying utiopian  values of social interaction\, and the performance of Wes
 tern 'art' music\, seen either as embodying establishment hegemonies or as
  having no social content at all. In this paper I deconstruct the oppositi
 on between improvisation and performance\, and explore the extent to which
  classical music\, too\, can be understood as staging different kinds of s
 ocial interaction. This performative approach entails thinking about music
 al scores in a manner very different from the conventional textual model (
 I draw a comparison with architects' sketches)\, and also entails an aesth
 etic shift comparable to that of Nicolas Bourriaud's 'relational aesthetic
 s': classical music is understood not\, or not simply\, in terms of the co
 nstruction of individual\, subjective experience\, but as a means of const
 ructing social relationships between all those involved in it.\n\n\nNichol
 as Cook took up the 1684 Professorship of Music at the University of Cambr
 idge in 2009\, having previously directed the AHRC Research Centre for the
  History and Analysis of Recorded Music at Royal Holloway\, University of 
 London. His most recent book\, The Schenker Project: Culture\, Race\, and 
 Music Theory in Fin-de-siècle Vienna\, won the SMT's Wallace Berry Award\
 , and he is now completing Changing the Music Object: Analysing Performanc
 e. He is a Fellow of the British Academy and of Academia Europaea.
LOCATION:Faculty of Education\, 184 Hills Road\, Cambridge\, room GS1
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