The Invention of 'Folk Music' and 'Art Music': Emerging Categories from Ossian to WagnerCambridge University Press, 2007 M10 11 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. 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. He examines how cultural nationalism served as the earliest impetus in classifying music by origins, and how the notions of folk music and art music followed - in conjunction with changing conceptions of nature, and changing ideas about human creativity. Through tracing the history of these musical categories, the book confronts our assumptions about different kinds of music. |
Contenido
Sección 1 | 40 |
Sección 2 | 80 |
Sección 3 | 111 |
Sección 4 | 126 |
Sección 5 | 153 |
Sección 6 | 175 |
Sección 7 | 176 |
Sección 8 | 191 |
Sección 9 | 204 |
Sección 10 | 210 |
Sección 11 | 225 |
Sección 12 | 227 |
Sección 13 | 256 |
Otras ediciones - Ver todas
The Invention of 'Folk Music' and 'Art Music': Emerging Categories from ... Matthew Gelbart Sin vista previa disponible - 2011 |
The Invention of 'Folk Music' and 'Art Music': Emerging Categories from ... Matthew Gelbart Sin vista previa disponible - 2007 |
The Invention of "folk Music" and "art Music": Emerging Categories from ... Matthew Gelbart Sin vista previa disponible - 2007 |
Términos y frases comunes
aesthetic airs Allan Ramsay ancient art music artistic authenticity bagpipe ballads bards Beattie Beattie's Beethoven Bertrand Bronson Burney Burney's Campbell cited claims classical collection composers composition concept considered creative culture Dauney discourse discussion Dissertation early Edinburgh eighteenth century English enharmonic genus essay example figured bass folk music folk song Folklore genius genre George Thomson German Gramit Gregory harmony Haydn Herder Highland human ibid idea idealized imitation implied individual Italian James James Beattie later leading-tone London Lowland Macpherson Marx melodies Mendelssohn minstrels modality modern musicians Musik national music national song nature nineteenth century notes opera Oriental original Ossian Parenthetical citations pastoral peasants pentatonic scale Percy picturesque poems poetry popular music primitive Ramsay represented Ritson Rizzio Romantic Rousseau Schumann Scotch Scotland Scots Scottish music Scottish songs seems sense shepherds specific style Symphony theory Thomson tunes Tytler University Press Volkslied Volkston vols William word writing
Pasajes populares
Página 18 - I knew a very wise man so much of Sir Chr — 's sentiment, that he believed if a man were permitted to make all the ballads, he need not care who should make the laws of a nation.