Norman Cook
Biographic Data
| ID | 110617 |
|---|---|
| NAME | Norman Cook |
| GIVEN NAMES | Norman |
| FAMILY NAME | Cook |
| SIGNATURE | COOK N |
| AFFILIATIONS | University of Southampton |
| ORCID | 0000-0002-6390-6884 |
| VERIFIED | Yes |
| TOTAL WORKS | 41 |
| TOTAL CITATIONS | 56 |
| AUTHOR COUNT | 41 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 1933 |
| LATEST PUBLICATION YEAR | 2024 |
| H-INDEX | 3 |
Music, Encounter, Togetherness
Music in a global world
‘Music in a global world’ discusses the relationship of music to colonization and globalization. In the colonies music contributed to the legitimizing of hegemony, while at home it functioned as a means of representing foreign cultures, generally portraying them as both different and inferior. This illustrates how music can serve the ends of cultural and political ideologies, but it can equally be a means to neutralize, resist, or interrogate pow…
Music in the moment
‘Music in the moment’ focuses on music’s existence in real time. On the printed page, music is a series of notes fixed in the same relationships for all time. But as played and heard, music is a world of ‘endless movement, not discrete “forms” but continuous “forming”’—a world of lived experience that expresses human relationships in their most essential, stripped-down form.. Improvisation plays an important role in both jazz and classical music.…
Music 2.0
‘Music 2.0’ explains the role technology plays in all music: digital technology is simply its most recent manifestation. It is important to consider the impact on personal musical consumption of digital technology, including the development of streaming libraries and music recommendation systems, and on the development of internet communities based on digital participation; a result has been the development of a distinctive ‘digital style’, illus…
Thinking in music
‘Thinking in music’ examines how the culture of music involves a system of established metaphors that culture members share—what may be loosely called a language. This is the condition of writing, talking, or thinking about music, but more than that, it is the condition of music’s existence as cultural practice and product. Musicians internalize properties of instruments and notations: these are key ways musicians think not just about but in musi…
The presence of the past
‘The presence of the past’ traces a number of key ideas going back to the 18th century that still condition music and thinking about it today, largely focusing on classical music, but situating it in relation to popular culture. A distinction needs to be drawn between ‘classical’ (small-C) and ‘Classical’ (big-C) music: Classical (big-C) music is a narrower term referring to a particular series of developments centred on Vienna and the Austro-Hun…
In Praise of Symbolic Poverty
Music: A Very Short Introduction
Music: A Very Short Introduction is a study of music and thinking about music, focusing on its social, cultural, and historical dimensions. It draws on a wealth of accessible examples, ranging from Beethoven to Chinese zither music. This VSI also discusses the nature of music as a real-time performance practice; the role of music in social and political action; and the nature of musical thinking, including the roles played in it by instruments, n…
Inventing Tradition: Webern's Piano Variations in Early Recordings
Webern's Piano Variations Op. 27 were first performed two years before the outbreak of the Second World War, but it was only after the war – and in very different aesthetic and ideological circumstances – that a performance tradition developed. Through a combination of computer‐assisted close reading and contextual analysis of the first movement, this article traces the competing stylistic and ideological directions of early performances – one de…
Classical music and the politics of space
Sound Law and the Scholar
In this article I recount my own dealings, as a musicologist, with copyright, including participation in a British Academy Review on copyright and research in the humanities and social sciences; narrate and analyze the record companies' partially successful campaign to extend the copyright term on sound recordings in the European Union; and speculate on the extent to which copyright on music, rather than the provision of services around music, is…
Beethoven: Symphony No. 9
The Ghost in the Machine: Towards a Musicology of Recordings
This article introduces the other contributions to this second issue of Musicae Scientiae devoted to the work of the AHRC Research Centre for the History and Analysis of Recorded Music (CHARM), and sets them into the larger context of musicological research into recorded musical performance. There is consideration of musicology's historically odd relationship to performance, including the historically informed performance movement and what is ref…
The Cambridge Companion to Recorded Music
From the cylinder to the download, the practice of music has been radically transformed by the development of recording and playback technologies. This Companion provides a detailed overview of the transformation, encompassing both classical and popular music. Topics covered include the history of recording technology and the businesses built on it; the impact of recording on performance styles; studio practices, viewed from the perspectives of p…
Performance Analysis and Chopin's Mazurkas
Reporting on work carried out in conjunction with Andrew Earis and Craig Sapp, this paper introduces recently developed approaches to the analysis of recorded music, illustrating them in terms of selected Chopin mazurkas. Topics covered include the stylistic characterisation and aesthetic values of Paderewski's playing of Op. 17 No. 4, contrasted with performances from the last quarter of the twentieth century, as well as relationships between di…
Between Science and Art: Approaches to Recorded Music
Interpretation and performance in Bryn Harrison's être-temps
The majority of studies of performance focus on the tonal and metric music of the common-practice period, studied at the moment of performance rather than over a period of rehearsal, and usually divorced from the context of real rehearsal and performance (schedules, audiences, auditoria). This paper reports part of a larger project in which three newly commissioned works for solo piano have been studied from the moment that the performer received…
Prompting Performance: Text, Script, and Meaning in Bryn Harrison's être-temps
Taking as its focus a piano solo work by the British composer Bryn Harrison, this article focuses on the manner in which complex rhythmic notation functions not (or not simply) to specify a sound object, but to prompt a performative interaction between pianist and score-an interaction that needs to be renewed on each occasion of performance. It is based on documentation of the first performance, given by Philip Thomas, including recorded rehearsa…
Empirical Musicology
The study of music is always, to some extent, empirical, in that it involves testing ideas and interpretations against some kind of external reality. But in musicology, the kinds of empirical approaches familiar in the social sciences have played a relatively marginal role, being generally restricted to inter-disciplinary areas such as psychology and sociology of music. Rather than advocating a new kind of musicology, Empirical Musicology provide…
Anthony Pople (1955–2003)
On Qualifying Relativism
Between Process and Product: Music and/as Performance
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 …
At the Borders of Musical Identity: Schenker, Corelli and the Graces
Analysing Musical Multimedia
Analysing Musical Multimedia is the first book to put forward a general theory of the manner in which different media - music, words, moving picture, and dance - work together to create multimedia. Though generally associated with contemporary developments, in particular music video and film, a general theory of musical multimedia also encompasses traditional genres such as song and opera. Critical writing in these areas, however, is genre-specif…
Any Old Music
Music: A Very Short Introduction
Music: A Very Short Introduction is a study of music and thinking about music, focusing on its social, cultural, and historical dimensions. It draws on a wealth of accessible examples, ranging from Beethoven to Chinese zither music. This VSI also discusses the nature of music as a real-time performance practice; the role of music in social and political action; and the nature of musical thinking, including the roles played in it by instruments, n…
Between Process and Product: Music and/as Performance
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 …
Music and meaning in the commercials
What does music mean, if anything? The question is one of the hardy perennials of musical aesthetics, and there is no shortage of answers to it. Indeed, there is a plethora of seemingly unrelated answers. We can talk about music's internal structure, about its symmetries and directional motions, about patterns of implication and their realisation or lack of realisation; moving from 'the music itself' to listeners' reponses, approaches like this o…
Inventing Tradition: Webern's Piano Variations in Early Recordings
Webern's Piano Variations Op. 27 were first performed two years before the outbreak of the Second World War, but it was only after the war – and in very different aesthetic and ideological circumstances – that a performance tradition developed. Through a combination of computer‐assisted close reading and contextual analysis of the first movement, this article traces the competing stylistic and ideological directions of early performances – one de…
Prompting Performance: Text, Script, and Meaning in Bryn Harrison's être-temps
Taking as its focus a piano solo work by the British composer Bryn Harrison, this article focuses on the manner in which complex rhythmic notation functions not (or not simply) to specify a sound object, but to prompt a performative interaction between pianist and score-an interaction that needs to be renewed on each occasion of performance. It is based on documentation of the first performance, given by Philip Thomas, including recorded rehearsa…
Music Theory and 'Good Comparison: A Viennese Perspective
Most contemporary theorists feel uncomfortable about ascribing significance to inaudible relationships in music; we tend to assume that there should be some meaningful relationship between analysis and auditory experience. There is no obligatory reason why this should be so. The idea that what is significant in music should coincide with what is perceptible in it is not a universal one; according to Dahlhaus1 this is no more than a dogma of the l…
Britannia: A History of Roman Britain
Sound Law and the Scholar
In this article I recount my own dealings, as a musicologist, with copyright, including participation in a British Academy Review on copyright and research in the humanities and social sciences; narrate and analyze the record companies' partially successful campaign to extend the copyright term on sound recordings in the European Union; and speculate on the extent to which copyright on music, rather than the provision of services around music, is…
Heinrich Schenker, Polemicist: A Reading of the Ninth Symphony Monograph
Are Measured Differences Between the Formants of Men, Women and Children Due to F0 Differences
Formant measurements show sex and age differences in the formant patterns of a single vowel category. Comparisons of the formant frequency values of men, women and children indicate low, middle and high values, respectively (Chiba & Kajiyama 1941, Potter & Steinberg 1950, Peterson & Barney 1952). The differences are found for all vowel categories, and they have generally been interpreted as a consequence of different vocal tract size
Analysis
Structure and Performance Timing in Bach's C Major Prelude (WTCI): An Empirical Study
There are not many things about which most music analysts will agree; but one of them is that there should be a close relationship between the analysis of music and its performance. Edward T. Cone's (1962:36) statement on this subject is perhaps the most frequently quoted: 'an analysis', he said, 'is a direction for a performance'. But it makes equally good sense to reverse Cone's formulation and say that a performance is a direction for an analy…
Roman remains from West Wickham, Kent
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A Statue of Christ from the Ruins of Mercers’ Hall
A Statue from the Memories
Britannia: A History of Roman Britain
Music As Heard: A Study in Applied Phenomenology
Liszt - 100 Years on
Structure and Performance Timing in Bach's C Major Prelude (WTCI): An Empirical Study
There are not many things about which most music analysts will agree; but one of them is that there should be a close relationship between the analysis of music and its performance. Edward T. Cone's (1962:36) statement on this subject is perhaps the most frequently quoted: 'an analysis', he said, 'is a direction for a performance'. But it makes equally good sense to reverse Cone's formulation and say that a performance is a direction for an analy…
But Also Forte
Music Theory and 'Good Comparison: A Viennese Perspective
Most contemporary theorists feel uncomfortable about ascribing significance to inaudible relationships in music; we tend to assume that there should be some meaningful relationship between analysis and auditory experience. There is no obligatory reason why this should be so. The idea that what is significant in music should coincide with what is perceptible in it is not a universal one; according to Dahlhaus1 this is no more than a dogma of the l…
Analysis
The Editor and the Virtuoso, or Schenker versus Bülow
It so happens that almost all the music which Schenker edited had previously appeared in editions by Hans von Bülow. On each occasion, Bülow's edition provoked from Schenker what he himself described as his ‘frequent and energetic criticism’. Examining the basis of these criticisms may lead us to a better understanding of Schenker's own editorial work – work which had an importance within Schenker's total output that theorists, if not musicologis…
Music, Imagination and Culture
Just Listening
Are Measured Differences Between the Formants of Men, Women and Children Due to F0 Differences
Formant measurements show sex and age differences in the formant patterns of a single vowel category. Comparisons of the formant frequency values of men, women and children indicate low, middle and high values, respectively (Chiba & Kajiyama 1941, Potter & Steinberg 1950, Peterson & Barney 1952). The differences are found for all vowel categories, and they have generally been interpreted as a consequence of different vocal tract size
Music and meaning in the commercials
What does music mean, if anything? The question is one of the hardy perennials of musical aesthetics, and there is no shortage of answers to it. Indeed, there is a plethora of seemingly unrelated answers. We can talk about music's internal structure, about its symmetries and directional motions, about patterns of implication and their realisation or lack of realisation; moving from 'the music itself' to listeners' reponses, approaches like this o…
Heinrich Schenker, Polemicist: A Reading of the Ninth Symphony Monograph
Analysing Musical Multimedia
Analysing Musical Multimedia is the first book to put forward a general theory of the manner in which different media - music, words, moving picture, and dance - work together to create multimedia. Though generally associated with contemporary developments, in particular music video and film, a general theory of musical multimedia also encompasses traditional genres such as song and opera. Critical writing in these areas, however, is genre-specif…
Any Old Music
At the Borders of Musical Identity: Schenker, Corelli and the Graces
On Qualifying Relativism
Between Process and Product: Music and/as Performance
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 …
Empirical Musicology
The study of music is always, to some extent, empirical, in that it involves testing ideas and interpretations against some kind of external reality. But in musicology, the kinds of empirical approaches familiar in the social sciences have played a relatively marginal role, being generally restricted to inter-disciplinary areas such as psychology and sociology of music. Rather than advocating a new kind of musicology, Empirical Musicology provide…
Anthony Pople (1955–2003)
Interpretation and performance in Bryn Harrison's être-temps
The majority of studies of performance focus on the tonal and metric music of the common-practice period, studied at the moment of performance rather than over a period of rehearsal, and usually divorced from the context of real rehearsal and performance (schedules, audiences, auditoria). This paper reports part of a larger project in which three newly commissioned works for solo piano have been studied from the moment that the performer received…
Prompting Performance: Text, Script, and Meaning in Bryn Harrison's être-temps
Taking as its focus a piano solo work by the British composer Bryn Harrison, this article focuses on the manner in which complex rhythmic notation functions not (or not simply) to specify a sound object, but to prompt a performative interaction between pianist and score-an interaction that needs to be renewed on each occasion of performance. It is based on documentation of the first performance, given by Philip Thomas, including recorded rehearsa…
Art (31 works) · Musicology and Musical Analysis (24 works) · Psychology (16 works) · Visual arts (15 works) · Aesthetics (13 works) · Computer Science (12 works) · Diverse Musicological Studies (12 works) · History (12 works) · Musical (11 works) · Philosophy (11 works)