The Invention of 'Folk Music' and 'Art Music'
Emerging Categories from Ossian to Wagner
$38.00 ( ) USD
- Author: Matthew Gelbart, Fordham University, New York
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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. 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.Read more
- Shows the relation of musical thought to many other fields, including history and anthropology, and suggests causes and effects between them
- Gives a history of labelling and conceptualizing music
- The book is designed around major themes within the overall chronological narrative, to assist the reader
Reviews & endorsements
Review of the hardback: 'The Invention of 'Folk Music' and 'Art Music' is an important work with a wealth of interesting things to say to students of the Enlightenment and the Romantic Revival. It represents a major contribution to the field.' William Donaldson, author of The Highland Pipe and Scottish Society, 1750–1950, Eighteenth-Century ScotlandSee more reviews
Review of the hardback: 'In the enormity of its subject matter and breadth of its learning - delightfully leavened by and almost colloquial writing style that somehow manages to combine informality with precision - The Invention of 'Folk Music' and 'Art Music' is an indispensable addition to the general history of Western musical culture.' Julian Onderdonk, Current Musicology
Review of the hardback: 'This excellent book is part of a series entitled 'New Perspectives in Music History and Criticism' dedicated to creating 'a greater space for music in the ongoing discourse among the human sciences … Reading such sound scholarship was a great pleasure. Gilbert has used a wide range of sources judiciously and intelligently. His rational and humane approach allows him to draw out what is best in the work of even some contentious scholars … this rich and suggestive book should benefit anyone who wishes to understand the intellectual background to studies of tradition, and I highly recommend it.' Paul Cowdell, Folklore
Review of the hardback: '… crammed Russian doll-like with information … an important contribution to understanding how national doctrines become international paradigms, how the 'origins of music' originated, and how we as musicologists originated, too.' Music and Letters
Review of the hardback: '… this thoughtful and important book … brings forward a vital development in the history of European musical thought which should be of abiding interest to scholars everywhere …' Journal for the Society of Musicology in Ireland
'… a very fine book that wants to be widely read - by musicologists, ethnomusicologists, and literary scholars interested in pursuing the historical interconnections between their fields.' Journal of the American Musicological Society
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- Date Published: December 2007
- format: Adobe eBook Reader
- isbn: 9780511352829
- availability: This ISBN is for an eBook version which is distributed on our behalf by a third party.
Table of Contents
1. Function to origin: national identity and national genius emerge, c.1700–80
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
6. Organic 'art music' and individual original genius: aestheticizing the folk collective
7. Local nation and universal folk: the legacy of geography in musical categories
8. Folk and art music in the modern western world.
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