Heiner Goebbels and Curatorial Composing after Cage
From Staging Works to Musicalising Encounters

Musical value has shifted from the staging of works in concert halls to the curatorial composing of public encounters.

Ed McKeon (Author)

9781009337601, Cambridge University Press

Paperback / softback, published 24 November 2022

86 pages
22.8 x 15.2 x 0.5 cm, 0.15 kg

'… presents a compelling case for curatorial composing as a method and ethics of music curating. … McKeon's analyses of Cage and Goebbels, along with the rich philosophical references he weaves through his reflections, are inspiring.' Heloisa Amaral, Journal of Sonic Studies

This Element introduces the notion of curatorial composing to account for certain musical practices that emerged from the 1960s as the founding concepts of music as an art – instituted in the modern era – were systematically dismantled. It raises the key question of how musical value and authority might be produced without recourse to an external principle, origin, transcendental framework, or other foundation. It argues that these practices do not dismiss the issue of value or simply relativise it but shift the paradigm to a curatorial concern for composing public encounters and staging events. The Element shows that Lydia Goehr's elaboration of the work-concept provides a framework that was transformed by John Cage in his work from 0'00” (1962) onwards. The Element then introduces Heiner Goebbels' practice and focus on his role as Artistic Director of the Ruhrtriennale (2012–14), which it argues was an extension of his curatorial composing.

1. Musical elements
2. The work-concept and its limits
3. Variable time: cage after Schoenberg
4. Heiner Goebbels: questioning authority
5. Spaces of appearance
6. After words
References.

Subject Areas: Individual composers & musicians, specific bands & groups [AVH], 20th century & contemporary classical music [AVGC6], Theory of music & musicology [AVA]