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John Rink
Ong Teng Cheong Visiting Professor in Music 2012/2013
John Rink is Professor of Musical Performance Studies at the University of Cambridge and a Fellow of St John’s College, Cambridge. He studied at Princeton University, King's College London, and the University of Cambridge, and he holds the Concert Recital Diploma and Premier Prix in piano from the Guildhall School of Music & Drama. He has produced six books for Cambridge University Press, including The Practice of Performance (1995), Chopin: The Piano Concertos (1997), Musical Performance (2002), and Annotated Catalogue of Chopin's First Editions (with Christophe Grabowski; 2010). He is also a co-editor of the Cambridge Companion to Recorded Music (2009). John Rink directs the £2.1 million AHRC Research Centre for Musical Performance as Creative Practice (www.cmpcp.ac.uk), which is based at the University of Cambridge in partnership with King's College London, University of Oxford, and Royal Holloway, University of London. His own CMPCP project – Creative Learning and ‘Original’ Musical Performance – is being pursued in association with the Royal College of Music and the Guildhall School of Music & Drama. He is one of four Series Editors of The Complete Chopin – A New Critical Edition, and he directs the Online Chopin Variorum Edition, funded by the Mellon Foundation (www.ocve.org.uk). John Rink’s research on musical performance began with an undergraduate dissertation at Princeton on ‘Analytic Process in Performance’. After completing his doctoral work on Chopin’s improvisatory music, he took an active role in promoting performance studies within musicology and has since developed a reputation as one of the world's foremost specialists in the field. His influential book The Practice of Performance argued for a holistic approach to performance studies, given the broad range of factors underlying the act of performanceand more specifically the performer’s conception of music. A similar strategy was adopted in Musical Performance, in which the primary emphasis was placed on the experience of music in and through time. This remains one of his main preoccupations, hence his ongoing attention to the modelling of musical shape and gesture. |
