Vincent Meelberg

Netherlands °1970
affiliation: Radboud University Nijmegen, Leiden University
en

Vincent Meelberg (1970) is senior lecturer and researcher at Radboud University Nijmegen, the Netherlands, Department of Cultural Studies, and at the Academy for Creative and Performing Arts in Leiden and The Hague. He studied double bass at the Conservatoire of Rotterdam, and received his MA both in musicology and in philosophy at Utrecht University. He wrote his dissertation on the relation between narrativity and contemporary music at Leiden University, Department of Literary Studies. Vincent Meelberg has published in several journals and has contributed chapters to several edited books, both in English and Dutch. In addition, he has written several books: New Sounds, New Stories: Narrativity in Contemporary Music, which was published in 2006 by Leiden University Press, Meer dan ontspanning alleen: Over het belang van muziek [More than Mere Entertainment: On the Importance of Music] (co-authors Roger Scruton and Martin Hoondert), published by Damon, and Kernthema’s in het muziekonderzoek [Key Themes in Music Studies], published by Boom in 2010. Furthermore, he co-edited, together with Barry Truax and Marcel Cobussen, the Routledge Companion to Sounding Art (2017). He is founding editor of the online Journal of Sonic Studies. His current research focuses on the relation between sound, interaction, and creativity. Beside his academic activities he is active as a double bassist in several jazz groups, as well as a sound designer.


research

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research expositions (collaborated)

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comments

Exposition: Moving to Become Better: The Embodied Performance of Musical Groove (01/01/2011) by Vincent Meelberg
Vincent Meelberg 01/03/2012 at 22:31

First of all, I would like to thank the peer reviewers for their valuable comments. And since JAR offers the authors the possibility to publicly respond to the reviews, I would like to address some the issues raised by the peer reviewers.


The question whether Moving to Become Better is a composition or an exercise is an interesting one. Since my performance practice mainly concerns improvised music, I don't really make a clear distinction between musical performance, musical investigation and musical experimentation. I don't expect the audience to do so, either. Failing, or the risk of failing, is an intrinsic part of improvised music. Hence, I am not afraid that the audience would perceive the disappearance of the groove as a mistake or a bad thing, but only as an interesting musical event (but perhaps I'm too idealistic or naieve here). So yes, it could be considered an exercise (although I would prefer the term "experiment"), but an audience used to improvised music would probably not mistake it as "failed" music.


Furthermore, I find it surprising that Taina Riikonen believes I treat the body as a surplus. I would say that my account verges on suggesting the opposite: that cognition is a surplus. I don't really understand why she arrives at that conclusion, but I do agree with her that an elaboration of embodied methods would be preferrable, and that a stronger focus on bodily interaction, and on the question "what does the body do," would be welcome. This is something I plan to do for a future project.




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