ISBN:
0521863031
,
9780521863032
,
0511354568
,
9780511354564
Language:
English
Pages:
xii, 287 p. S.
,
24 cm
Edition:
Online-Ausg. Ann Arbor, Mich. University of Michigan, Scholarly Publishing Office 2011 Includes both TIFF files and keyword searchable text ([ACLS Humanities E-Book]) Electronic text and image data Mode of access: Intranet
Series Statement:
New perspectives in music history and criticism
Series Statement:
ACLS Humanities E-Book
Parallel Title:
Print version The Invention of "Folk Music" and "Art Music" : Emerging Categories from Ossian to Wagner
DDC:
781.62
Keywords:
Music History and criticism 18th century
;
Folk music History and criticism
;
Music History and criticism 19th century
;
Music Historiography
Abstract:
Includes bibliographical references and index
Abstract:
A study tracing the origins and implications of the categories 'folk music' and 'art music'
Description / Table of Contents:
Cover; Half-title; Series-title; Title; Copyright; Contents; Music Examples; Acknowledgements; Introduction; 1 Function to origin: national identity and national genius emerge, c. 1700-1780; 2 From pastoral to picturesque: nature, art, and genre in the later eighteenth century; 3 Genius versus art in the creative process: ""national"" and ""cultivated"" music as categories, 1760-1800; 4 The invention of folk modality, 1775-1840; 5 ""Folk"" and ""tradition"": authenticity as musical idiom from the late eighteenth century onward
Description / Table of Contents:
6 Organic ""art music"" and individual original genius: aestheticizing the folk collective7 Local nation and universal folk: the legacy of geography in musical categories; 8 Folk and art musics in the modern Western world; Index
Description / Table of Contents:
Introduction. The special roles of Scotland and GermanyFunction to origin : national identity and national genius emerge, c. 1700-1780. High-middle-low as function : genre and style into the eighteenth century. The quest for origins begins. Scotland's profile comes forward on the international stage : the "Scotch" songs and tunes. David Rizzio versus James I : myths for their respective times -- From pastoral to picturesque: nature, art, and genre in the later eighteenth century. Nature as genre : the pastoral and the Scottish before 1760. Nature versus civilization : universalism and progress. Nature as the other : the anthropologizing of music. Nature and "the folk" : the "ancient and Oriental" come to Europe through Scotland. Nature in music : Jean-Jacques Rousseau. Nature and the picturesque : the noble savage in the Highland landscape -- Genius versus art in the creative process : "national" and "cultivated" music as categories, 1760-1800. The minstrels and bards of old. James Beattie and a new myth of origin : "national music" and the "people". Revolution : Beattie's influence. "National" versus "cultivated" music as predecessors to "folk" and "art" music. Herder -- The invention of folk modality, 1775-1840. Before Burney. An ancient and Oriental modality. Today Scotland, tomorrow the world. Credibility and dignity : folk-modal study comes of age. The insider as outsider. The legacy : folk modality since 1850 -- "Folk" and "tradition" : authenticity as musical idiom from the late eighteenth century onward. Establishing tradition as part of oral culture. Theories of origin and theories of transmission in dissonance. From fixed texts to variant "sets" : the conception of modern folk "works". Tradition as social reaction : musical implications of the "folk" ideology. Authenticity as idiom. Werktreue and tradition : printed forms of the national music "work". A final myth of origin for traditional music : the benefits of obscurity -- Organic "art music" and individual original genius : aestheticizing the folk collective. Herder and German idealism : conceiving a new organic, synthetic "art". Creative issues in aestheticizing the folk. A tale of two receptions, Part 1 : the problem of originality. A tale of two receptions, Part 2 : composing "as the folk" -- Local nation and universal folk : the legacy of geography in musical categories. Ubiquitous categories : the geographical spread of folk and art music. Universalism as idiom : from "national music" to "national art music". Between center and periphery : "northern" music. Some approaches to "national music" from the German center -- Folk and art musics in the modern Western world. A final ripple : folk music and art music encounter popular music. Our current terminology. Implications for viewing the eighteenth century and before. Implications for viewing the nineteenth century. Implications for viewing the twentieth century, and for thinking about music in today's world.
Note:
Includes bibliographical references and index
,
Electronic text and image data Mode of access: Intranet
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