2017Arts and PhilosophyMusic
Richard Taruskin photo

Richard Taruskin

  • U.S.A. / April 2, 1945
  • Musicologist
  • Professor Emeritus, University of California, Berkeley

A Musicologist and Critic of Prodigious Erudition Who Has Transformed Contemporary Perspectives on Music through Historical Research and Essays That Defy Conventional Critical Paradigms

Dr. Taruskin has pioneered a new dimension in Western music culture through musicology research that transcends conventional historiographical methodologies, issuing sharp critical analysis backed by exhaustive knowledge of many diverse fields. His unrivaled perspective has significantly influenced both performance and study, elevating the importance and creative value of critical discourse to the music world.

Profile

Brief Biography

1945
Born in New York City, U.S.A.
1975
Ph.D. in Historical Musicology, Columbia University
1975-1981
Assistant Professor of Music, Columbia University
1981-1986
Associate Professor of Music, Columbia University
1986-1997
Professor of Music, University of California, Berkeley
1997-2014
Class of 1955 Professor of Music, University of California, Berkeley
2015-
Professor Emeritus, University of California, Berkeley

Selected Awards and Honors

1980
Alfred Einstein Award
1987
The Dent Medal
1993, 2005
ASCAP Deems Taylor Award
1996
Royal Philharmonic Society Music Award
1997, 2006
Otto Kinkeldey Award
Memberships:
American Academy of Arts and Sciences, Hungarian Academy of Sciences

Selected Publications

1981

Opera and Drama in Russia as Preached and Practiced in the 1860s, UMI Research Press, 1981.

1993

Musorgsky: Eight Essays and an Epilogue, Princeton University Press, 1993.

1995

Text and Act: Essays on Music and Performance, Oxford University Press, 1995.

1996

Stravinsky and the Russian Traditions: A Biography of the Works through Mavra, University of California Press, 1996.

1997

Defining Russia Musically: Historical and Hermeneutical Essays, Princeton University Press, 1997.

2005

The Oxford History of Western Music, Oxford University Press, 2005.

2008

The Danger of Music and Other Anti-Utopian Essays, University of California Press, 2008.

2008

On Russian Music, University of California Press, 2008.

2016

Russian Music at Home and Abroad: New Essays, University of California Press, 2016.

Citation

A Musicologist and Critic of Prodigious Erudition Who Has Transformed Contemporary Perspectives on Music through Historical Research and Essays That Defy Conventional Critical Paradigms

Dr. Richard Taruskin is a musicologist and critic whose revolutionary approach to early music, modern Russian music and Western music history inspires and fascinates music scholars and music lovers worldwide.
Born in New York in 1945, Dr. Taruskin studied the Russian language at Columbia University before furthering his musicological studies at its graduate school. He joined its faculty after earning his Ph.D. In the 1980s, while writing for The New York Times, other newspapers and academic journals, he provocatively asserted that contemporary performances of early music were not true examples of “authenticity,” as was commonly claimed, but rather reflections of late 20th century aesthetics. This argument influenced the performance world of early music and even today, Dr. Taruskin’s argument underlies the varied approaches these performances tend to take.
Dr. Taruskin has left an even larger mark in the music world through his Russian music research. His books on Russian Opera, Mussorgsky and Stravinsky for example, spawned from a revolutionary method of detailed analyses alongside extensive study of contextual circumstances, including folkloristics, have radically reshaped our image of the original composers—and updated the methodology of musicology research itself.
His 6-volume The Oxford History of Western Music (2005), focusing exclusively on music in the Western literate tradition, represents a literary landmark in musicology and perhaps the largest overview of music history ever written by a single author. Under the influence of ethnomusicology and historiography which has critical approach to the writing of histories, Dr. Taruskin critically overstepped the description method based on some aesthetic and/or historical universality. He presented an enormous amount of descriptive evidence that Western music history written under homogeneous standards actually consists of an aggregation of historical matters that are minuscule and heterogeneous. His deep knowledge of diverse cultural fields allows him to make an incisive analysis of the literate tradition of Western music in the socio-cultural context. Every chapter of his first-edition Western musicology history, which exceeds 4,000 pages, is both thrilling and illuminating.
Dr. Taruskin’s critical practices and deep academic insights have changed music as we know it, pioneering a new realm of music research which can go beyond the boundary between conventional criticism and musicology, and between historical musicology and ethnomusicology.
The quality and volume of his work reveal that in music, creativity can be found not only in composition and performance, but also in meticulous discourse contextualizing the art—and that this, in itself, can contribute significantly to the world’s music cultures.
For these reasons, the Inamori Foundation is pleased to present the 2017 Kyoto Prize in Arts and Philosophy to Dr. Richard Taruskin.

Lecture

Abstract of the Lecture

All Was Foreseen; Nothing Was Foreseen

Using my own exceptionally lucky career as illustrative material, I will address some issues in historiography and criticism, as well as the relationship between musicology and other aspects of musical study and practice. They include the dialectic, or interplay, between agency and contingency; the nature of causality; the proper balance between factual reportage and value-laden interpretation or critique in scholarship; the importance of discourse in the mediation of artworks, and the role of musicologists in establishing it.
In one sense mine has been a straightforward career in which I followed a path that was already clear to me in childhood. In another sense it has been a tortuous journey that has taken me into areas of inquiry I never predicted, and has given me opportunities that rarely arise for an academic scholar. My activity as a musicologist and music historian has benefitted enormously from my temporary pursuit of other musical activities that might have tempted me off the path I did pursue had chance not intervened. These have included, within music, the study of composition and a brief career as a professional performer of early music, and, outside of music, the field of Russian language, literature and culture. The opportunity to practice journalism alongside more formal academic research and writing has taught me important lessons in style and communication that I have tried to pass on to my pupils. Moreover, my idiosyncratic combination of experiences and expertise have led me to some seemingly improbable, but eventually fruitful and influential, hypotheses. The unlikelihood of my path to them leads me to reflect on the contingent and provisional nature of all human achievement.
As I used to tell my pupils, all significant creative careers require three things: aptitude (talent, ability, call it what you will), ambition (or, if you prefer a less contentious term, drive or motivation), and opportunity (also known as luck). Without any one of these, the other two will not suffice. What is true of each of us is true of all of us. In my historical writing I have therefore given what I consider due emphasis to the push and pull of strategy and contingency as determinants, along with the talents or genius of the major figures, of the course of events. To the extent that the historiography of the arts has retained traces of the romanticism that attended the birth of the discipline, these more realistic emphases have been at times controversial. Introspection is therefore a necessary reality check, and I welcome the opportunity this occasion has given me to engage in it.

Workshop

Workshop

Stravinsky’s Mavra: Lecture and Performance

date
November 12, 2017 (Sun.), 17:00 - 19:10
palce
Tokyo University of the Arts, Ueno Campus, Faculty of Music, Building IV, Hall 6
Coordinators
Seiji Choki (Professor, The University of Tokyo), Fuyuko Fukunaka (Professor, Tokyo University of the Arts)
Moderator
Seiji Choki
Organized by
Inamori Foundation, Tokyo University of the Arts (Faculty of Music)
Supported by
Kyoto Prefectural Government, Kyoto City Government, NHK
With the cooperation of
Alban Berg Gesellschaft Japan, Japan Association for the Study of Russian Language and Literature, The Japanese Society for Aesthetics, The Musicological Society of Japan

Program

17:00
Opening Address Fuyuko Fukunaka
17:05
Introduction of Laureate Seiji Choki
17:15
Laureate’s Lecture Richard Taruskin (the Laureate in Arts and Philosophy)
“Why Was Mavra Stravinsky’s First Big Flop?”
18:15
Intermission
18:30
Performance Igor Stravinsky, Mavra (1921-22/1947), text by Boris Kochno
version arranged for chamber ensemble by Paul Phillips

Parasha: Tomoko Taguchi
Vasily/Mavra: Jun Takahashi
Mother: Naomi Satake
Neighbor: Ayaka Ono

Flute: Sayuri Fukushima
Clarinets: Izumi Nishizawa, Yuki Sudo
Piano: Shoichiro Tanaka
Violin: Fumiko Kai
Doublebass: Yosuke Motoyama

Conductor: Kunitaka Kokaji
Stage Direction: Miharu Sato
Vocal Coaching: Shoichiro Tanaka
Russian Direction: Vitaly Yushmanov
Japanese Subtitles: Akihisa Yamamoto
Japanese Subtitles Supervisors: Seiji Choki, Fuyuko Fukunaka
Lighting: Yasuhiro Fujiwara (Sigma Communications)
19:05
Closing Address Shoichi Himono (Executive Managing Director, Inamori Foundation)
19:10
Closing
The performance of this work is licensed by Schott Music Co. Ltd., Tokyo on behalf of Boosey & Hawkes Music Publishers Ltd., London
PAGETOP