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

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

By Juha Markus Mantere

This e-book specializes in 3 points in Glenn Gould’s (1932-1982) musical concept and perform: Gould’s embody of song know-how, his notions of the ontology of tune and musical interpretation, and where of his idea in Canadian highbrow heritage. Focusing not just on Gould’s writings on track expertise but additionally on these of Marshall McLuhan (1911-1980) and Jean Le Moyne (1913-1996), this publication offers a clean standpoint on Gould’s pondering, which was once embedded in and keenly alert to the highbrow global outdoor track. The ebook additionally touches on Gould’s public reception, his nationwide iconicity, in Canadian literature and Hollywood videos. Gould’s stardom is mentioned as a phenomenon most commonly linked to modern pop culture.

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

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Theoretically, however, we share the same point of departure: a hermeneutic urge to understand a creative individual within a wide cultural, historical and ideological context. As has already become obvious, I am not postulating a causal relationship between the texts and their contexts – Gould did not think, play music and write as he did because of his living in the post-World War Canada but because he wanted to share some of his world with his audience. Nor am I trying to grasp a certain Zeitgeist in Canadian cultural history.

Musician’s interpretation. 12 Gould’s significance in Canadian cultural history in the last half of the 20th century has been enormous. 13 The Library and Archives Canada has its own Glenn Gould Archive, which houses almost all that Gould left us: writings, recordings, and memorabilia. Gould has become a national icon in Canada, very much to the same extent as the composer Jean Sibelius to us Finns. Gould is widely known all over the world, perhaps most in France, Germany, and even Japan. Bazzana (2003, 11) is right in his observation that much of the interest in Gould derives from the fact that Gould was always more than a piano player.

H Haggin is highly interesting because it is one of the forums where Gould brings his musical and aesthetic preferences into the open. Research on Gould Gould, unlike most musicians in Classical music, has already been an object of serious scholarship. The first PhD dissertation on Gould is Elizabeth Angilette’s Glenn Gould – The Philosopher at the Keyboard (1992). Angilette’s work is akin to my own in one important sense: it focuses on Gould’s writings and radio and television programs and not so much on his music.

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