Musicking

Musicking
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<P>Extending the inquiry of his early groundbreaking books, Christopher Small strikes at the heart of traditional studies of Western music by asserting that music is not a thing, but rather an activity. In this new book, Small outlines a theory of what he terms «musicking,» a verb that encompasses all musical activity from composing to performing to listening to a Walkman to singing in the shower. </P><P>Using Gregory Bateson's philosophy of mind and a Geertzian thick description of a typical concert in a typical symphony hall, Small demonstrates how musicking forms a ritual through which all the participants explore and celebrate the relationships that constitute their social identity. This engaging and deftly written trip through the concert hall will have readers rethinking every aspect of their musical worlds.</P>

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Christopher Small G.. Musicking

Musicking

Contents

Prelude. Music and Musicking

CHAPTER 1. A Place for Hearing

CHAPTER 2. A Thoroughly Contemporary Affair

CHAPTER 3. Sharing with Strangers

Interlude 1. The Language of Gesture

CHAPTER 4. A Separate World

CHAPTER 5. A Humble Bow

CHAPTER 6. Summoning Up the Dead Composer

Interlude 2. The Mother of All the Arts

CHAPTER 7. Score and Parts

CHAPTER 8. Harmony, Heavenly Harmony

Interlude 3. Socially Constructed Meanings

CHAPTER 9. An Art of the Theater

CHAPTER 10. A Drama of Relationships

CHAPTER 11. A Vision of Order

CHAPTER 12. What’s Really Going On Here?

CHAPTER 13. A Solitary Flute Player

Postlude. Was It a Good Performance. and How Do You Know?

Bibliography

Index

MUSIC / CULTURE

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Musicking

A series from Wesleyan University Press Edited by George Lipsitz, Susan McClary, and Robert Walser

.....

It will become clear as we go along how useful this verb—and especially its gerund—is (the added k is not just a caprice but has historical antecedents), and I shall use it from now on as if it were the proper English language verb that I hope it will become.

I have to make two things clear. The first is that to pay attention in any way to a musical performance, including a recorded performance, even to Muzak in an elevator, is to music. The second is related but needs to be stated separately: the verb to music is not concerned with valuation. It is descriptive, not prescriptive. It covers all participation in a musical performance, whether it takes place actively or passively, whether we like the way it happens or whether we do not, whether we consider it it interesting or boring, constructive or destructive, sympathetic or antipathetic. The word will remain useful only for so long as we keep our own value judgments clear of it. Value-laden uses that I have heard, such as “Everyone ought to music” or “You can’t call listening to a Walkman musicking,” distort its meaning, weaken its usefulness as an investigative tool, and plunge us back into futile arguments about what music or musicking is. Value judgments come later, if they come at all.

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