Overview of Research Issues Reception • “Reception” (whether of music or any other artistic phenomenon) is: “a term applied both to the history of social responses to art, and to an aesthetic that privileges those responses.” (Samson, Jim. 2001 "Reception." Grove Music Online. 28 Oct. 2018. http:////www.oxfordmusiconline.com/grovemusic/view/10.10 93/gmo/9781561592630.001.0001/omo-9781561592630- e-0000040600.)
MUS 690 (Barone) 2
Relevance – Social history and sociology of music • What repertoires thrive in a particular period, place, and demographic, and how and why do they do so? • What does societal response to particular music(s) tell us about a culture or societal group as a whole?
MUS 690 (Barone) 3
Who does the “reception”? – Audiences (in public or private contexts) – Professional critics (in journals, newspapers, etc.) – Musicians (in programming, teaching, etc.) – Scholars (in writing and public speaking) – Artistic institutions: opera houses, concert halls, cafes, libraries, museums (in programming, etc.) – Commercial enterprises: record companies, radio stations, publishing houses, etc. (in their business decisions)
MUS 690 (Barone) 4
What happens in “reception”? • The listener (individually or collectively) establishes a relationship to a piece of music, and assigns it meaning and value. – This is an important process, because it suggests that meaning and value do not live entirely (or at all?) in the piece of music itself, or at least that the listener is a participant in establishing the meaning and value of music. MUS 690 (Barone) 5 Problem • In your experiences, do you think it is important to know what the “reception” by listeners of a piece you write or perform is? Why might this be important? Or why not?
MUS 690 (Barone) 6
In Practice… • We usually think of “reception” as the domain of music criticism. • But music criticism is not monolithic: there are many kinds: from the most exclusive and learned, to the most popularized and casual.
MUS 690 (Barone) 7
Case: Ornette Coleman (1930–2015) • In his early L.A. years, “wherever he tried to introduce some of his more personal and innovative ideas, he met with hostility, both from audiences and from musicians.” Later, “his recording Free Jazz (Atl., 1960) for double jazz quartet … was undoubtedly the single most important influence on avant- garde jazz in the ensuing decade.” (Grove Online) MUS 690 (Barone) 8 The reception of Free Jazz • What was the contemporary reception of Coleman’s album Free Jazz, and what can this reception history tell us about music, jazz, performance, audiences, etc., in the 1960s?
MUS 690 (Barone) 9
Writing a Reception History • How do we write a reception history of Free Jazz in the 1960s? We can look at – Coleman’s own testimony about the reception of his music – The testimony of his collaborators – The testimony of managers, record company execs, recording engineers, etc. – Documented audience responses to the music (e.g., concert video)
MUS 690 (Barone) 10
Writing a Reception History • But perhaps the most commonly consulted evidence about the reception of music is its contemporary criticism (usually recorded in published form, but also as oral testimony) – We don’t read historical criticism so much to understand the musical work as to understand its relationship to the culture that it inhabits. – Reception history is less about value judgements than about how and why value judgements are made. MUS 690 (Barone) 11 Selected Jazz Research Resources • Rutgers University Library Institute of Jazz Studies https://ijsresearch.libraries.rutgers.edu/ • The Center for Jazz Studies (Columbia University) (https://jazz.columbia.edu/ ) – The Jazz Review (https://jazzstudiesonline.org/content/jazz- review) MUS 690 (Barone) 12