Musicking on the Shores of Multiplicity and Complexity
2007; Taylor & Francis; Volume: 13; Issue: 4 Linguagem: Inglês
10.1080/13534640701682859
ISSN1460-700X
Autores Tópico(s)Music Technology and Sound Studies
ResumoClick to increase image sizeClick to decrease image size Notes 1. Henry Adams, The Education of Henry Adams (New York: The Modern Library, 1931), p. 449. 2. Gilles Deleuze and Félix Guattari, A Thousand Plateaus: Capitalism and Schizophrenia (London: Athlone Press, 1988), pp. 482–83. 3. Christopher Small, Musicking: The Meanings of Performance and Listening (Hanover: Wesleyan University Press, 1998), p. 9. 4. Michael D. Ayers, ed., Cybersounds: Essays on Virtual Music Culture (New York: Peter Lang Publishing, 2006), p. 2. 5. See Mitchel Resnick, Turtles, Termites, and Traffic Jams (Cambridge, MA: MIT Press, 1994). 6. For those who doubt the importance of music in the burgeoning network society one need only think of the preponderance of sounds that circulate daily over the internet. 7. Walter Ong, Orality and Literacy: The Technologizing of the Word (London: Routledge, 1988), p. 32. 8. For a detailed and insightful discussion of the limitations of transcription, see Peter Winkler, ‘Writing Ghost Notes: The Poetics and Politics of Transcription’, in Keeping Score: Music, Disciplinarity, Culture, ed. David Schwarz, Anahid Kassabian and Lawrence Siegel (Charlottesville, VA: University Press of Virgina, 1997), pp. 169–203. 9. For more on this issue see Wim Van Der Meer, ‘The Location of Music: Towards a Hybrid Musicology’, Tijdschrift, 10 (2005), pp. 57–71. 10. For instance, dance and music in many traditional African societies are not only interrelated, they are inseparable. 11. We also extend the word ‘music’ metaphorically to signify beauty or pleasure in other domains (as in, ‘that's music to my ears’). In the nineteenth century the word ‘musical’ also carried with it for many the connotation of effeminate or homosexual. 12. Benoit Mandelbrot, The Fractal Geometry of Nature (New York: W.H. Freeman, 1982). 13. Charles Keil, ‘Participatory Discrepancies and the Power of Music’, Cultural Anthropology, 2:3 (1987), pp. 275–83 (p. 279). 14. See David Huron, Sweet Anticipation: Music and the Psychology of Expectation (Cambridge, MA: MIT Press, 2006). 15. Fritjof Capra, The Web of Life (New York: Doubleday, 1996), p. 39. 16. Rishab Aiyer Ghosh, ed., Code: Colloborative Ownership and the Digital Economy (Cambridge, MA: MIT Press, 2005), p. 1. 17. Rishab Aiyer Ghosh, Code: Colloborative Ownership and the Digital Economy, p. 1. 18. The initial impetus for exploring musicking in this multidimensional way came from an unpublished article by José Luiz Fiadeiro sent to me by the author titled ‘The Many Faces of Complexity in Software Design’. 19. José Luiz Fiadeiro, ‘The Many Faces of Complexity in Software Design’, p. 7. 20. For more on this general orientation see Sasha Barab and Jonathan Plucker, ‘Smart People or Smart Contexts? Cognition, Ability, and Talent Development in an Age of Situated Approaches to Knowing and Learning’, Educational Psychologist, 37 (2002), pp. 165–82. 21. These practices are traditionally passed on though oral/aural pedagogy though more recently they can be found in notated form as well. 22. José Luiz Fiadeiro, ‘The Many Faces of Complexity in Software Design’, p. 17. 23. José Luiz Fiadeiro, ‘The Many Faces of Complexity in Software Design’, p. 8. 24. Lydia Goehr, The Imaginary Museum of Musical Works (Oxford: Clarendon Press, 1992). 25. David Roberts, ‘Record Reviews’, Contact, 18 (1977–1978), pp. 39–40. 26. See Mark Katz, Capturing Sound: How Technology Has Changed Music (Berkeley: University of California Press, 2005) and Emily Thompson, The Soundscape of Modernity: Architectural Acoustics and the Culture of Listening in America, 1900–1933 (Cambridge, MA: MIT Press, 2002). 27. José Luiz Fiadeiro, ‘The Many Faces of Complexity in Software Design’, p. 11. 28. I have in mind here people like John Zorn, George E. Lewis, William Parker, Evan Parker and the late Derek Bailey, among others. For insightful interviews with these and other artists see Lloyd Peterson, Music and the Creative Spirit: Innovations in Jazz, Improvisation, and the Avant‐Garde (Oxford: Scarecrow, 2006). 29. For instance, the virtuoso classical violinist Joshua Bell expressed to Gene Weingarten in a recent Washington Post article (‘Pearls Before Breakfast,’ April 8, 2007) that ‘genius’ is an overused word: It can be applied to some of the composers whose work he plays, but not to him. His skills are largely interpretive and to imply otherwise would be unseemly and inaccurate. 30. Robert Axelrod and Michael D. Cohen, Harnessing Complexity: Organizational Implications of a Scientific Frontier (New York: Basic Books, 2000), p. 30. 31. Karl Weick, ‘Improvisation as a Mindset for Organizational Analysis’, Organization Science, 9:5 (1998), pp. 543–55. 32. Michael Zack, ‘Jazz Improvisation and Organizing: Once More from the Top’, Organization Science, 11:2 (2000), pp. 227–34. 33. José Luiz Fiadeiro, ‘The Many Faces of Complexity in Software Design’, p. 14. 34. In interesting ways the notion of sustainability as a defining element of musicking‐in‐the‐world appears to apply equally well to the music of many indigenous cultures (e.g. BaAka, Kaluli, Aboriginals, Native Americans) as it does to contemporary network music. 35. José Luiz Fiadeiro, ‘The Many Faces of Complexity in Software Design’, p. 14. 36. Quoted in David Toop, Haunted Weather: Music, Silence, and Memory (London: Serpent's Tail, 2004), p. 242. 37. David Toop, Haunted Weather: Music, Silence, and Memory, p. 242. 38. See Barry Blesser and Linda‐Ruth Salter, Spaces Speak, Are You Listening?: Experiencing Aural Architecture (Cambridge, MA: MIT Press, 2007) and Curtis Roads, Microsound (Cambridge, MA: MIT Press, 2001). 39. Margaret Schedel, ‘Editorial’, Organized Sound, 10:3 (2000), pp. 181–83 (p. 182). See also the special issue of Contemporary Music Review, 24:6 (2005) on internet music. 40. Tim Perkins, liner notes to The Hub (Artifact Recordings CD 1002) (1989). 41. See David Borgo, Sync or Swarm: Improvising Music in a Complex Age (New York: Continuum, 2005). 42. Mark C. Taylor, The Moment of Complexity: Emerging Network Culture (Chicago: University of Chicago Press, 2003), p. 3. 43. The most common answer to this historical oversight maintains that nonlinear studies needed to wait for the advent of the digital computer to be able to model easily and accurately the long‐term behaviour of complex equations. In his book In the Wake of Chaos: Unpredictable Order in Dynamical Systems, Stephen H. Kellert admits that this may be a partial answer, but he also argues that the overriding social interest in the exploitation of nature contributed to the institutional disregard of physical systems not readily amenable to analysis and manipulation. Kellert is only one of many philosophers of science who are currently seeking to tease out the cultural biases that often profoundly affect notions within the scientific community about what makes for interesting and worthwhile science. See Stephen H. Kellert, In the Wake of Chaos: Unpredictable Order in Dynamical Systems (Chicago: University of Chicago Press, 1993), p. 119–58. 44. For a critique of this ‘elephant’ in jazz pedagogy see David Borgo, ‘Free Jazz in the Classroom: An Ecological Approach to Music Education’, Jazz Perspectives, 1:1 (2007), pp. 61–88. 45. Rather than view improvisation as a specialized activity and something that simply augments a more traditional music education, as often happens now, we may wish to – riffing again on Stanislaw Ulam's pithy remark about nonlinearity – view improvisation as the study of all ‘non‐notated’ aspects of music. From this perspective, improvisation is not simply an alternative approach to composition but rather an integral part of all musicking activities. 46. In an unpublished paper (‘The Composition‐Instrument: musical emergence and interaction’), Norbert Herber argues for a coalescence of ‘composition’ and ‘instrument’ by examining the synergies between experimental electro‐acoustic, improvised, interactive and generative music and practices based on file sharing, electronic instrument construction and computer game design. 47. Joel Ryan, liner notes to or Air: Variations on the Music of Evan Parker, [17/10/2007]. 48. Musicking has of course always had an intimate relationship with technology broadly conceived. 49. For more on the disappearance of improvisation from Western art music practice see Angeles Sancho‐Velazquez, ‘The Legacy of Genius: Improvisation, Romantic Imagination, and the Western Musical Canon’ (Unpublished doctoral thesis, UCLA, 2001). 50. David Weinberger, Everything is Miscellaneous: The Power of the New Digital Disorder (New York: Times Books, 2007). 51. One significant challenge for the musical third order is to develop types of musical metadata that are musical and not simply words about music. 52. Marshall McLuhan, Understanding Media (New York: Mentor Books, 1964), p. 45. See also William Duckworth, Virtual Music: How the Web Got Wired for Sound (New York and London: Routledge, 2005). 53. Margaret Schedel, ‘Editorial’, Organized Sound, 10:3 (2000), pp. 181–83 (p. 183). 54. See Stephen Mithen, The Singing Neanderthal. The Origins of Music, Language and Body (London: Weidenfeld & Nicolson, 2005). Musicking, for our ancestors, may have enhanced cooperative survival, promoted group identity and collective thinking, and allowed an avenue for resolving intergroup conflict. Musicking is also an essential part of the infant‐caregiver relationship. Not only is ‘motherese’ (a more musical use of language when addressing infants) a human universal, but musicking with small children establishes a form of mutual coupling and an intentional framework that may allow for subsequent language acquisition (by assisting with proper speech segmentation) and for the development of a theory of mind (through gaze following, among other things). For more on the developing field of biomusicology see the special issues of Cognition, 100 (2006), Music Perception, 24:1 (2006) and The World of Music, 48:2 (2007).
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