In this Book

  • Taking It to the Bridge: Music as Performance
  • Book
  • Nicholas Cook and Richard Pettengill
  • 2013
  • Published by: University of Michigan Press
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summary

The overriding aim of this groundbreaking volume—whether the subject is vocal ornamentation in 19th-century opera or the collective improvisation of the Grateful Dead—is to give new recognition to performance as the core of musical culture. The collection brings together renowned scholars from performance studies and musicology (including Philip Auslander, David Borgo, Daphne Brooks, Nicholas Cook, Maria Delgado, Susan Fast, Dana Gooley, Philip Gossett, Jason King, Elisabeth Le Guin, Aida Mbowa, Ingrid Monson, Roger Moseley, Richard Pettengill, Joseph Roach, and Margaret Savilonis), with the intent of sparking a productive new dialogue on music as performance. Taking It to the Bridge is on the one hand a series of in-depth studies of a broad range of performance artists and genres, and on the other a contribution to ongoing methodological developments within the study of music, with the goal of bridging the approaches of musicology and performance studies, to enable a close, interpretive listening that combines the best of each. At the same time, by juxtaposing musical genres that range from pop and soul to the classics, and from world music to games and web-mediated performances, Taking It to the Bridge provides an inventory of contrasted approaches to the study of performance and contributes to its developing centrality within music studies.

Table of Contents

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  1. Cover
  2. p. 1
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  1. Title Page, Copyright Page
  2. pp. 2-5
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  1. Contents
  2. pp. v-vi
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  1. Editors’ Preface
  2. pp. vii-x
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  1. A Backward-Looking Foreword
  2. pp. xi-xvi
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  1. Introduction
  2. pp. 1-19
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  1. U2 3D: Concert Films and/as Live Performance
  2. pp. 20-36
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  1. Performing Collective Improvisation: The Grateful Dead’s “Dark Star”
  2. pp. 37-51
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  1. Jazz Improvisation as a Social Arrangement
  2. pp. 52-69
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  1. Bridging the Unbridgeable? Empirical Musicology and Interdisciplinary Performance Studies
  2. pp. 70-85
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  1. The Written and the Sung: Ornamenting Il barbiere di Siviglia
  2. pp. 86-101
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  1. Enacting the Revolution: Thalberg in 1848
  2. pp. 102-124
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  1. Cutting Loose: Burying “The First Man of Jazz”
  2. pp. 125-134
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  1. Abbey Lincoln’s Screaming Singing and the Sonic Liberatory Potential Thereafter
  2. pp. 135-154
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  1. Got to Get Over the Hump: The Politics of Glamin the Work of Labelle and Parliament
  2. pp. 155-179
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  1. “Bring the Pain”: Post-Soul Memory, Neo-Soul Affect, and Lauryn Hill in the Black Public Sphere
  2. pp. 180-203
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  1. Don’t Stop ’til You Get Enough: Presence, Spectacle, and Good Feeling in Michael Jackson’s This Is It
  2. pp. 204-236
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  1. Carles Santos: “Music in the Theatre”
  2. pp. 237-261
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  1. Tchekisse: Neba Solo’s Senufo Counterpoint in Action
  2. pp. 262-278
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  1. Playing Games with Music (and Vice Versa): Ludomusicological Perspectives on Guitar Hero and Rock Band
  2. pp. 279-318
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  1. Beyond Performance: Transmusicking in Cyberspace
  2. pp. 319-348
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  1. Afterword: Music as Performance: The Disciplinary Dilemma Revisited
  2. pp. 349-358
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  1. Contributors
  2. pp. 359-364
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  1. Index
  2. pp. 365-381
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