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The Gould Variations: Technology, Philosophy

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The Gould Variations: Technology, Philosophy The Gould Variations: Technology, Philosophy And Criticism in Glenn Gould‘s Thought and Musical Practice by Juha Markus Mantere M.A., University of Tampere, 1998 PhD., University of Tampere, 2006 Thesis Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music at Brown University May 2011 © Copyright 2011 by Juha Markus Mantere This dissertation by Juha M. Mantere is accepted in its present form by the Department of Music as satisfying the dissertation requirement for the degree of Doctor of Philosophy Date _____________________ ____________________________ Rose Rosengard Subotnik, Advisor Recommended to the Graduate Council Date _____________________ _____________________________ Marc Perlman, Reader Date_____________________ ______________________________ David Josephson, Reader Date_____________________ ______________________________ James Alan Williams, Reader Approved by the Graduate Council Date_____________________ ________________________________ Peter M. Weber, Dean of the Graduate School iii Curriculum Vitae Born: April 19, 1971, Helsinki, Finland Education PhD in Ethnomusicology, University of Tampere, 2006 PhD Candidate, Brown University, 2001 – Graduate student (in residence at Brown 1999–2001) Coursework for the PhD finished in 6/2001 Oral preliminary examinations passed with distinction 12/2001 Written preliminary examinations passed with distinction 12/2000 M.A. in Ethnomusicology, University of Tampere, 1998 B.A. in Piano Performance, Conservatory of Tampere, 1996 Professional Experience University Teaching Academic Coordinator, Doctoral Program of Music, Theatre and Dance, Sibelius Acad- emy, Helsinki, Finland, 2007 – Academic Assistant, Department of Music Anthropology, University of Tampere, 2003 – 2007 Part-time Teacher in Musicology, Department of Musicology, University of Helsinki 2002 Teaching Assistant, Brown University, U.S.A., Rhode Island 2000 – 2001 Acting Lecturer in Music Education, University of Oulu, 1998 – 1999 iv Other Teaching Part-time piano teacher in various music institutes in Finland 1996 – 2005 Participation in Production of Publications Editor-in-Chief for Musiikki 2008 – (the only peer-reviewed journal in musicology in Finland) Editor-in-Chief for Etnomusikologian vuosikirja (The Yearbook for Ethnomusicology) 2005 (with Antti-Ville Kärjä), 2006, and 2007 (with Heikki Uimonen) Editor of Musiikin suunta 4/2002 (with Toni Honkala and Marko Niemelä), 4/2003, and 4/2005 Member of the Editorial Board of Musiikkikasvatus (the only referee-journal in Finnish Music Education) 2008 – Referee for Peer-Reviewed publications Musiikki, Etnomusikologian vuosikirja, Musiik- kikasvatus, and Journal of the Royal Musicological Association (2003-) University Positions Academic Coordinator, Doctoral Program of Music, Theatre and Dance, Sibelius Academy, Helsinki, Finland 2007 – Present Advising of graduate students in three special areas: music philosophy, ethnomusicologi- cal study of Classical music, and the history of piano performance Taught courses in scholarly skills, academic writing and New musicology Academic Assistant, Department of Music Anthropology, University of Tampere, 2003 – 2007 Courses designed and taught: Introduction to Fieldwork Text Seminar in Ethnomusicology Introduction to the History of Western Art Music Assigned teaching in: Thesis seminar v University of Helsinki, Adjunct Faculty, Department of Musicology, 2002–2003 Designed and taught: Adorno‘s Philosophy of Music Brown University, Teaching Assistant 2000–2001 Assisted teaching in: Music 101, under Rose Rosengard Subotnik Led several lab sections, delivered lectures and graded assignments Mozart‘s Life and Music, under David Josephson Led several lab sections, delivered lectures and graded assignments Acting Lecturer in Music Education, University of Oulu 1998 – 1999 Designed and taught: Keyboard harmony Piano pedagogy for Music educators Awards Fulbright-scholarship $ 23.000 for graduate studies in the U.S. in the academic year 1999–2000 Publications (selected) Mantere, Markus 2000a. ‖Etnomusikologia, etnografia ja taidemusiikin tutkimus.‖ [Eth- nomusicology, Ethnography and the Research of Classical Music]. Etnomusikologian vuosikirja 12 (2000). (Edited by Jarkko Niemi.) Saarijärvi: Suomen Etnomusikologinen Seura, 22–42. Mantere, Markus 2000b. ‖Gould ja Adorno: dialogeja tradition kanssa.‖ [Gould and Adorno: Dialogues With Tradition]. Musiikki 3–4/2000, 223–245. Mantere, Markus 2002a. ‖Glenn Gould ja musiikin uudelleenluomisen imperatiivi.‖ [Glenn Gould and the Imperative of the Re-Creation of Music]. Musiikki 2/2002, 5–27. Mantere, Markus 2002b. ‖Kontrapunktissa maailman kanssa: eristäytymisen teema Glenn Gouldin musiikillisessa ajattelussa.‖ [In Counterpoint with the World Outside: Isolation vi as an Ideal in Glenn Gould‘s Musical Thought]. Etnomusikologian vuosikirja 14 (2002). (Edited by Antti-Ville Kärjä.) Saarijärvi: Suomen Etnomusikologinen Seura, 64–90. Mantere, Markus 2003. ‖Teknologia ja kodittomat taideteokset: Glenn Gouldin ajatuksia musiikin tulkinnasta sen teknisen uusinnettavuuden aikakaudella.‖ [Technology and Homeless Musical Works: Glenn Gould‘s Ideas of the Interpretation of Music in the Age of Music‘s Technological Reproduction]. Etnomusikologian vuosikirja 15 (2003). (Edited by Antti-Ville Kärjä.). Vaasa: Suomen Etnomusikologinen Seura, 191–212. Mantere, Markus 2005a. ―Kohti musiikkikokemuksen esteettistä teoriaa.‖ [Towards an Aesthetic Theory of a Musical Experience]. Musiikin filosofia ja estetiikka: Kirjoituksia taiteen ja populaarin merkityksistä. (Edited by Juha Torvinen & Alfonso Padilla). Hel- sinki: Yliopistopaino, 183–203. Mantere, Markus 2005b. ‖Northern Ways to Think About Music: Glenn Gould‘s Idea of North as an Aesthetic Category.‖ Intersections: Canadian Journal of Music Vol. 25/1–2, 86–112. Mantere, Markus 2006. Glenn Gould: Viisi näkökulmaa pianistin muusikkouteen ja kult- tuuriseen reseptioon. [Glenn Gould: Five Perspectives on the Pianist‘s Musical Thought and Cultural Reception]. Helsinki: Yliopistopaino. Conference Presentations ―Through the Headphones into the Heart of Music,‖ delivered to European Sociological Association, Paris 2002. ―North as a Metaphor in Glenn Gould‘s Musical Thought,‖ delivered to the International Congress of Musical Signification, Paris 2005. ―The Idea of North as an Aesthetic Category in Glenn Gould‘s Musical Thought,‖ delivered at Music and the Idea of North, University of Leeds, 2008. vii ACKNOWLEDGEMENTS I have been working on this thesis for a long time. Life has taken me through unexpected routes and finishing graduate studies at Brown University has been all but straight- forward business for me. However, in spite of a decade-long period engaged in the re- search of my topic, the Canadian pianist Glenn Gould (1932–1982) has not lost his grip on me as an intellectual challenge. Ever since my first serious encounter with Glenn Gould‘s musicianship in 1999, I have always thoroughly enjoyed scrutinizing the thought and musical practice of this fascinating intellectual whose new and fresh ideas concerning the making of music initially provoked my musicological interest. I am very grateful to the members of my dissertation committee, David Josephson, Marc Perlman and Alan Williams for their insightful comments concerning my work at its var- ious stages over the years, as well as for their encouragement to work on this exceptional topic. David, being a Canadian intellectual himself, was an invaluable source of useful information when I was planning this research project. Most of all, I wish to thank my advisor Rose Rosengard Subotnik, whose intellectual presence and support I have had the priviledge to enjoy for over more than a decade. Rose‘s help in the last stages of this work has been enormous, and her committed contribution to my development as a musi- cologist is something for which I will be eternally grateful. In short, Rose has been the best advisor there ever could have been for me. viii I also wish to thank friends and musicological role models in Finland and in the United States. These colleagues of mine have given useful comments on my work at congresses, symposia and seminars. Lawrence Kramer helped me in long discussions I had with him in Turku, Finland, to begin to understand the complex relationship between sound and image. Eero Tarasti taught me everything I know about musical semiotics during the years I studied with him at the University of Helsinki. Pirkko Moisala has been an impor- tant teacher who has supported me in my early career in the ethnomusicological study of Classical music and through her knowledgeable comments on my earlier writings on Gould. I owe all these more experienced senior colleagues my heartfelt gratitude. I have had the luck of being employed in the difficult field of musicology since I left res- idence at Brown in 2001. In my current position as the coordinator of the Graduate Pro- gram of Music, Theatre and Dance at Sibelius Academy, Finland, I have had the best and most supportive boss in the world: Dr. Vesa Kurkela. He has, over the years, given me his unwavering support in all matters musicological – first as teacher and later as senior colleague. As far as the finishing of this work is concerned, Vesa, as the chair of the pro- gram, let me take some time off from my administrative work to wrap it all up. I must also express my heartfelt gratitude to the staff at the Library and Archives Canada in Ottawa for making my research trip there in
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