The invention of "folk music" and "art music" :: emerging categories from Ossian to Wagner /
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 obs...
Gespeichert in:
| 1. Verfasser: | |
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| Format: | Elektronisch E-Book |
| Sprache: | English |
| Veröffentlicht: |
Cambridge ; New York :
Cambridge University Press,
©2007.
|
| Schriftenreihe: | New perspectives in music history and criticism.
|
| Schlagworte: | |
| Online-Zugang: | Volltext |
| Zusammenfassung: | 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. |
| Beschreibung: | 1 online resource (xii, 287 pages) : illustrations |
| Format: | Master and use copy. Digital master created according to Benchmark for Faithful Digital Reproductions of Monographs and Serials, Version 1. Digital Library Federation, December 2002. |
| Bibliographie: | Includes bibliographical references and index. |
| ISBN: | 9780511481918 0511481918 9780511355622 0511355629 9780511352829 0511352824 0521178347 9780521178341 1107178231 9781107178236 1281153400 9781281153401 9786611153403 6611153403 0511353987 9780511353987 1139131931 9781139131933 0511355106 9780511355103 |
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| 100 | 1 | |a Gelbart, Matthew. |0 http://id.loc.gov/authorities/names/no2008005095 | |
| 245 | 1 | 4 | |a The invention of "folk music" and "art music" : |b emerging categories from Ossian to Wagner / |c Matthew Gelbart. |
| 260 | |a Cambridge ; |a New York : |b Cambridge University Press, |c ©2007. | ||
| 300 | |a 1 online resource (xii, 287 pages) : |b illustrations | ||
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| 490 | 1 | |a New perspectives in music history and criticism | |
| 504 | |a Includes bibliographical references and index. | ||
| 505 | 0 | |a 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. | |
| 588 | 0 | |a Print version record. | |
| 506 | |3 Use copy |f Restrictions unspecified |2 star |5 MiAaHDL | ||
| 520 | |a 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. | ||
| 533 | |a Electronic reproduction. |b [Place of publication not identified] : |c HathiTrust Digital Library, |d 2011. |5 MiAaHDL | ||
| 538 | |a Master and use copy. Digital master created according to Benchmark for Faithful Digital Reproductions of Monographs and Serials, Version 1. Digital Library Federation, December 2002. |u http://purl.oclc.org/DLF/benchrepro0212 |5 MiAaHDL | ||
| 583 | 1 | |a digitized |c 2011 |h HathiTrust Digital Library |l committed to preserve |2 pda |5 MiAaHDL | |
| 546 | |a English. | ||
| 630 | 0 | 7 | |a Europa |2 gnd |0 http://d-nb.info/gnd/1114854468 |
| 650 | 0 | |a Folk music |x History and criticism. | |
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| 650 | 0 | |a Music |z Europe |y 19th century |x History and criticism. | |
| 650 | 0 | |a Music |x Historiography. |0 http://id.loc.gov/authorities/subjects/sh85088793 | |
| 650 | 6 | |a Musique folklorique |x Histoire et critique. | |
| 650 | 6 | |a Musique |z Europe |y 18e siècle |x Histoire et critique. | |
| 650 | 6 | |a Musique |z Europe |y 19e siècle |x Histoire et critique. | |
| 650 | 6 | |a Musique |x Historiographie. | |
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| 650 | 7 | |a MUSIC |x Genres & Styles |x Folk & Traditional. |2 bisacsh | |
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Datensatz im Suchindex
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| contents | 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. |
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| dewey-search | 781.62 |
| dewey-sort | 3781.62 |
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| discipline | Musikwissenschaft |
| era | 1700-1899 fast Geschichte 1700-1900. swd |
| era_facet | 1700-1899 Geschichte 1700-1900. |
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| spelling | Gelbart, Matthew. http://id.loc.gov/authorities/names/no2008005095 The invention of "folk music" and "art music" : emerging categories from Ossian to Wagner / Matthew Gelbart. Cambridge ; New York : Cambridge University Press, ©2007. 1 online resource (xii, 287 pages) : illustrations text txt rdacontent computer c rdamedia online resource cr rdacarrier data file New perspectives in music history and criticism Includes bibliographical references and index. 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. Print version record. Use copy Restrictions unspecified star MiAaHDL 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. Electronic reproduction. [Place of publication not identified] : HathiTrust Digital Library, 2011. MiAaHDL Master and use copy. Digital master created according to Benchmark for Faithful Digital Reproductions of Monographs and Serials, Version 1. Digital Library Federation, December 2002. http://purl.oclc.org/DLF/benchrepro0212 MiAaHDL digitized 2011 HathiTrust Digital Library committed to preserve pda MiAaHDL English. Europa gnd http://d-nb.info/gnd/1114854468 Folk music History and criticism. Music Europe 18th century History and criticism. Music Europe 19th century History and criticism. Music Historiography. http://id.loc.gov/authorities/subjects/sh85088793 Musique folklorique Histoire et critique. Musique Europe 18e siècle Histoire et critique. Musique Europe 19e siècle Histoire et critique. Musique Historiographie. MUSIC Ethnic. bisacsh MUSIC Genres & Styles Folk & Traditional. bisacsh Folk music fast Music Historiography fast Music fast Europe fast https://id.oclc.org/worldcat/entity/E39PBJxCxPbbk4CPJDQJb4r6rq Volksmusik gnd http://d-nb.info/gnd/4063854-6 Musikästhetik gnd http://d-nb.info/gnd/4040808-5 Europa gnd http://d-nb.info/gnd/4015701-5 1700-1899 fast Geschichte 1700-1900. swd Criticism, interpretation, etc. fast has work: The invention of "folk music" and "art music" (Text) https://id.oclc.org/worldcat/entity/E39PCG3GT6TXYWvXTHRTDQqJ6q https://id.oclc.org/worldcat/ontology/hasWork Print version: Gelbart, Matthew. Invention of "folk music" and "art music". Cambridge, UK ; New York : Cambridge University Press, 2007 0521863031 (DLC) 2008295498 (OCoLC)141381969 New perspectives in music history and criticism. http://id.loc.gov/authorities/names/n93107873 FWS01 ZDB-4-EBA FWS_PDA_EBA https://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&AN=213357 Volltext |
| spellingShingle | Gelbart, Matthew The invention of "folk music" and "art music" : emerging categories from Ossian to Wagner / New perspectives in music history and criticism. 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. Europa gnd http://d-nb.info/gnd/1114854468 Folk music History and criticism. Music Europe 18th century History and criticism. Music Europe 19th century History and criticism. Music Historiography. http://id.loc.gov/authorities/subjects/sh85088793 Musique folklorique Histoire et critique. Musique Europe 18e siècle Histoire et critique. Musique Europe 19e siècle Histoire et critique. Musique Historiographie. MUSIC Ethnic. bisacsh MUSIC Genres & Styles Folk & Traditional. bisacsh Folk music fast Music Historiography fast Music fast Volksmusik gnd http://d-nb.info/gnd/4063854-6 Musikästhetik gnd http://d-nb.info/gnd/4040808-5 |
| subject_GND | http://d-nb.info/gnd/1114854468 http://id.loc.gov/authorities/subjects/sh85088793 http://d-nb.info/gnd/4063854-6 http://d-nb.info/gnd/4040808-5 http://d-nb.info/gnd/4015701-5 |
| title | The invention of "folk music" and "art music" : emerging categories from Ossian to Wagner / |
| title_auth | The invention of "folk music" and "art music" : emerging categories from Ossian to Wagner / |
| title_exact_search | The invention of "folk music" and "art music" : emerging categories from Ossian to Wagner / |
| title_full | The invention of "folk music" and "art music" : emerging categories from Ossian to Wagner / Matthew Gelbart. |
| title_fullStr | The invention of "folk music" and "art music" : emerging categories from Ossian to Wagner / Matthew Gelbart. |
| title_full_unstemmed | The invention of "folk music" and "art music" : emerging categories from Ossian to Wagner / Matthew Gelbart. |
| title_short | The invention of "folk music" and "art music" : |
| title_sort | invention of folk music and art music emerging categories from ossian to wagner |
| title_sub | emerging categories from Ossian to Wagner / |
| topic | Europa gnd http://d-nb.info/gnd/1114854468 Folk music History and criticism. Music Europe 18th century History and criticism. Music Europe 19th century History and criticism. Music Historiography. http://id.loc.gov/authorities/subjects/sh85088793 Musique folklorique Histoire et critique. Musique Europe 18e siècle Histoire et critique. Musique Europe 19e siècle Histoire et critique. Musique Historiographie. MUSIC Ethnic. bisacsh MUSIC Genres & Styles Folk & Traditional. bisacsh Folk music fast Music Historiography fast Music fast Volksmusik gnd http://d-nb.info/gnd/4063854-6 Musikästhetik gnd http://d-nb.info/gnd/4040808-5 |
| topic_facet | Europa Folk music History and criticism. Music Europe 18th century History and criticism. Music Europe 19th century History and criticism. Music Historiography. Musique folklorique Histoire et critique. Musique Europe 18e siècle Histoire et critique. Musique Europe 19e siècle Histoire et critique. Musique Historiographie. MUSIC Ethnic. MUSIC Genres & Styles Folk & Traditional. Folk music Music Historiography Music Europe Volksmusik Musikästhetik Criticism, interpretation, etc. |
| url | https://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&AN=213357 |
| work_keys_str_mv | AT gelbartmatthew theinventionoffolkmusicandartmusicemergingcategoriesfromossiantowagner AT gelbartmatthew inventionoffolkmusicandartmusicemergingcategoriesfromossiantowagner |