尼古拉斯·库克是剑桥大学音乐学荣誉教授，曾在香港、悉尼、南安普顿和伦敦工作，著作包括《音乐分析指南》（1987年）、《音乐、想象和文化》（1990年）、《贝多芬：第九交响曲》（1993年）、Analysis Through Composition (1996年)、《音乐多媒体分析》（1998年）、已经或即将用16种语言发行的Music: A Very Short Introduction（1998年），《申克项目：维也纳19世纪晚期的文化、种族和音乐理论》（2007年）赢得了华莱士·贝里奖，库克最新出版的著作《谱面之外:音乐表演》（2013年）描述了他在录制音乐历史与分析研究中心（AHRC）的工作经历，最近他又完成了一项针对“韦伯恩钢琴变奏曲Op.27”的研究，该研究综合了计算分析和文化历史。他为AHRC写的Music as Creative Practice一书由牛津大学出版社出版，目前，他参与的项目“音乐邂逅：关系音乐学研究”正处于收尾阶段，他因此成为英国学院沃尔夫森研究教授，他还于2001年被选为英国国家学术院成员。
Nicholas Cook is Emeritus Professor of Music at the University of Cambridge, having previously worked in Hong Kong, Sydney, Southampton, and London. His books include A Guide to Musical Analysis (1987); Music, Imagination, and Culture (1990); Beethoven: Symphony No. 9 (1993); Analysis Through Composition (1996), Analysing Musical Multimedia (1998), and Music: A Very Short Introduction (1998), which is published or forthcoming in sixteen languages. The Schenker Project: Culture, Race, and Music Theory in Fin-de-siècle Vienna (2007) won the SMT's Wallace Berry Award. His most recent published book, based on his work as Director of the AHRC Research Centre for the History and Analysis of Recorded Music, is Beyond the Score: Music as Performance (2013), while he recently completed an article-length study of recordings of Webern's Piano Variations Op. 27 that combines computational analysis with cultural history. His contribution to the AHRC Research Centre for Music as Creative Practice, Music as Creative Practice, is in production with Oxford University Press, and he is currently finalising a project entitled 'Music encounters: Studies in relational musicology', for which he was awarded a British Academy Wolfson Research Professorship. He was elected Fellow of the British Academy in 2001.
捣碎的古典音乐
Mashed-up classics
早在1995年，斯科特·伯纳姆（Scott Burnham）就表明了他对“贝多芬式英雄”在多大程度上为传统古典音乐和理论的思考，甚至对于普通音乐来说也是如此。在这篇文章中，我认为我们对这一传统的思考仍然是歪曲的，我试图恢复“贝多芬式英雄”使我们忽视的维也纳古典音乐的诸多方面。首先我会讲解数字多媒体实践中的拼贴操作，这种操作与“贝多芬式英雄”发展起来的音乐理论几乎完全相反，还会展示它们到底多大程度的适用于传统古典音乐。这使得换种形式倾听经典音乐成为可能。我首先着重于贝多芬在议会期间的作品，研究贝多芬的学者一般认为这些作品有异寻常，然后扩大了这一论点：严格来说，“贝多芬式英雄”几乎使所有古典音乐变得不同寻常。我以这种方式来理解许多当代人的看法，他们的足迹可能存在于文学作品中，但是这些看法已被基本不合时代的历史学所束缚。
It was back in 1995 that Scott Burnham showed how far the 'Beethove Hero' paradigm had set the agenda for subsequent musicological and theoretical thinking about the Classical tradition, and even about music more generally. In this paper I argue that our thinking about that tradition is still skewed, and I do this by attempting to recover aspects of Viennese classics to which the 'Beethoven Hero' paradigm has made us deaf. I take as my starting point the practices of collage embodied in digital multimedia—practices almost diametrically opposed to those of music theory as it developed within the 'Beethoven Hero' paradigm—and show the extent to which they apply to music of the classical tradition. This makes it possible to see, and hear, familiar music in a new light. I focus initially on Beethoven's works of the Congress period, which Beethoven scholars have traditionally seen as anomalies, but then broaden the argument: considered strictly, the 'Beethoven Hero' paradigm makes practically all classical music anomalous. In this way I am to make sense of a host of contemporary perceptions whose traces may be found in the literature, but which have been sidelined by a retrospective and largely anachronistic historiography.
