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Invention of 'Folk Music' and 'Art Music' Emerging Categories from Ossian to Wagner

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ISBN-10: 0521863031

ISBN-13: 9780521863032

Edition: 2007

Authors: Matthew Gelbart

List price: $103.00
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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. He examines how cultural nationalism served as the earliest impetus in classifying music by origins, and how the notions of folk music and art…    
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Book details

List price: $103.00
Copyright year: 2007
Publisher: Cambridge University Press
Publication date: 10/11/2007
Binding: Hardcover
Pages: 300
Size: 6.14" wide x 9.21" long x 0.67" tall
Weight: 1.320
Language: English

List of music examples
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
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