ISBN:
0511481918
,
0511355629
,
0511352824
,
9780511355622
,
9780511352829
,
9780511481918
Language:
English
Pages:
1 Online-Ressource (xii, 287 pages)
,
illustrations
Edition:
[Place of publication not identified] HathiTrust Digital Library 2011 Electronic reproduction
Series Statement:
New perspectives in music history and criticism
Parallel Title:
Erscheint auch als Gelbart, Matthew Invention of "folk music" and "art music"
DDC:
781.62
Keywords:
Music History and criticism 19th century
;
Music Historiography
;
Folk music History and criticism
;
Music History and criticism 18th century
;
Music ; Historiography
;
Music
;
Volksmusik
;
Musikästhetik
;
MUSIC ; Ethnic
;
MUSIC ; Genres & Styles ; Folk & Traditional
;
Folk music
;
Criticism, interpretation, etc
;
Electronic books
;
Europa
;
Europe
;
Europa
Abstract:
Introduction. The special roles of Scotland and Germany -- Function 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.
Abstract:
We tend to take for granted the labels we put to different forms of music. This study considers the origins and implications of the way in which we categorize music today. Whereas earlier ways of classifying music were based on its different functions, for the past two hundred years we have been obsessed with creativity and musical origins, and classify music along these lines. Matthew Gelbart argues that folk music and art music became meaningful concepts only in the late eighteenth and early nineteenth centuries, and only in relation to each other
Note:
Includes bibliographical references and index
,
Electronic reproduction
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