The Gould Variations: Technology, Philosophy and Criticism by Juha Markus Mantere

By Juha Markus Mantere

This booklet makes a speciality of 3 features in Glenn Gould’s (1932-1982) musical inspiration and perform: Gould’s embody of song know-how, his notions of the ontology of song and musical interpretation, and where of his idea in Canadian highbrow heritage. Focusing not just on Gould’s writings on track know-how but in addition on these of Marshall McLuhan (1911-1980) and Jean Le Moyne (1913-1996), this e-book presents a clean viewpoint on Gould’s considering, which used to be embedded in and keenly alert to the highbrow global outdoors track. The e-book additionally touches on Gould’s public reception, his nationwide iconicity, in Canadian literature and Hollywood video clips. Gould’s stardom is mentioned as a phenomenon as a rule linked to modern pop culture.

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Additional resources for The Gould Variations: Technology, Philosophy and Criticism in Glenn Gould's Musical Thought and Practice (European University Studies)

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There is no justified reason for why ethnography should not be used to research archival material. In spite of this fact, previously pointed out by Philip Bohlman (1997) and Comaroff & Comaroff (1992), there is very little ethnography done on Classical music, and none I am familiar with (for instance Kingsbury 1988 and Nettl 1995) use historical research material.

This “force of statements,” as far as I understand Said here, has to do with the consequences of the reception of published texts: on the one hand, texts are at work through constructing the representation of their object through the public nature of them; on the other hand, however, texts are intertextual entities irrevocably tied into a signifying relationship with history and their time and place. ” While the term will get a more thorough grounding in the coming chapters, it is sufficient to say at this point that criticism, in my view, is about meaning – his34 torical, cultural, and aesthetic, in short all the meaning that Gould’s ideas about music and music making evoke in my contextually sensitive interpretation of his musicianship.

Another important source for Gould’s writings is the collection The Art of Glenn Gould, edited by John P. L. Roberts in 1999. Roberts uses material almost entirely previously unpublished: manuscripts and drafts for Gould’s public lectures and radio programs, program notes for Gould’s public concerts, as well as transcripts of interviews for newspapers and radio. One of the most substantial essays Gould ever produced is included: “Forgery and Imitation in the Creative Process” (1963), which has been published even before Roberts’s collection in the GlennGouldmagazine in 1996.

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