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Author: D R M Irving
Publisher: Oxford University Press
ISBN: 0197632181
Category : Music
Languages : en
Pages : 353
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Book Description
In this book, author D. R. M. Irving traces the emergence of such large-scale categories as "European music" and "Western music," showing how they originate from self-fashioning in contexts of intercultural comparison outside the European continent rather than the resolution of national aesthetic differences within it. Taken as a whole, this study demonstrates how reductive labels for the musics of a continent or a hemisphere often imply homogeneity and essentialism, and how a renewed critique of primary sources can help dismantle historiographical constructs that arose within narratives of musical pasts involving Europe.
Author: D R M Irving
Publisher: Oxford University Press
ISBN: 0197632181
Category : Music
Languages : en
Pages : 353
Get Book Here
Book Description
In this book, author D. R. M. Irving traces the emergence of such large-scale categories as "European music" and "Western music," showing how they originate from self-fashioning in contexts of intercultural comparison outside the European continent rather than the resolution of national aesthetic differences within it. Taken as a whole, this study demonstrates how reductive labels for the musics of a continent or a hemisphere often imply homogeneity and essentialism, and how a renewed critique of primary sources can help dismantle historiographical constructs that arose within narratives of musical pasts involving Europe.
Author: D. R. M. Irving
Publisher: Oxford University Press
ISBN: 0197632203
Category : Music
Languages : en
Pages : 353
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Book Description
Musical representations of Europe in myth and allegory are well known, but when and under what circumstances did the words "European" and "music" become linked together? What did the resulting term mean in music before 1800 and how did it evolve into the label "Western music," which features so prominently in pedagogical and scholarly discourses? In The Making of European Music in the Long Eighteenth Century, author D. R. M. Irving traces the emergence of such large-scale categories in Western European thought. Beginning in the 1670s, Jesuit missionaries in China began to refer to "European music," and for the next hundred years the term appeared almost exclusively in comparison with musics from other parts of the world. It entered common use from the 1770s, and in the 1830s became synonymous with a new concept of "Western music." Western European writers also associated these terms with notions of "progress" and "perfection." Meanwhile, changing ideas about "modern" Europe's cultural relationship with classical antiquity, together with theories that systematically and condescendingly racialized people from other continents, influenced the ways that these scholars imagined and interpreted musical pasts around the globe. Irving weaves his analyses throughout the book's historical examinations, suggesting that "European music" originates from self-fashioning in contexts of intercultural comparison outside the continent, rather than from the resolution of national aesthetic differences within it. He shows that "Western music" as understood today arose in line with the growth of Orientalism and increasing awareness of musics of "the East." All such reductive terms often imply homogeneity and essentialism, and Irving asks what a reassessment of their beginnings might mean for music history. Taken as a whole, the book shows how a renewed critique of primary sources can help dismantle historiographical constructs that arose within narratives of musical pasts involving Europe.
Author: Anna Maria Busse Berger
Publisher: Univ of California Press
ISBN: 0520400569
Category : History
Languages : en
Pages : 348
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Book Description
A free ebook version of this title is available through Luminos, University of California Press's Open Access publishing program. Visit www.luminosoa.org to learn more. Although the history of Indonesian music has received much attention from ethnomusicologists and Western composers alike, almost nothing has been written on the interaction of missionaries with local culture. This study represents the first attempt to concentrate on the musical dimension of missionary activities in Indonesia. In fourteen essays, a group of distinguished scholars show the complexity of the topic: while some missionaries did important scholarship on local music, making recordings and attempting to use local music in services, others tried to suppress whatever they found. Many were collaborating closely with anthropologists who admitted freely that they could not have done their work without them. And both parties brought colonial biases into their work. By grappling with these realities and records, this book is a collective effort to decolonize the project of making music histories.
Author: Nicholas Mathew
Publisher: University of Chicago Press
ISBN: 0226819841
Category : Music
Languages : en
Pages : 252
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Book Description
Analyzing the final three decades of Haydn’s career, this book uses the composer as a prism through which to examine urgent questions across the humanities. In this far-reaching work of music history and criticism, Nicholas Mathew reimagines the world of Joseph Haydn and his contemporaries, with its catastrophic upheavals and thrilling sense of potential. In the process, Mathew tackles critical questions of particular moment: how we tell the history of the European Enlightenment and Romanticism; the relation of late eighteenth-century culture to incipient capitalism and European colonialism; and how the modern market and modern aesthetic values were—and remain—inextricably entwined. The Haydn Economy weaves a vibrant material history of Haydn’s career, extending from the sphere of the ancient Esterházy court to his frenetic years as an entrepreneur plying between London and Vienna to his final decade as a venerable musical celebrity, during which he witnessed the transformation of his legacy by a new generation of students and acolytes, Beethoven foremost among them. Ultimately, Mathew asserts, Haydn’s historical trajectory compels us to ask what we might retain from the cultural and political practices of European modernity—whether we can extract and preserve its moral promise from its moral failures. And it demands that we confront the deep histories of capitalism that continue to shape our beliefs about music, sound, and material culture.
Author: Jennifer Milam
Publisher: Rutgers University Press
ISBN: 1644532336
Category : Art
Languages : en
Pages : 241
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Book Description
"This volume considers how ideas were made visible through the making of art and visual experiences occasioned by reception during the long eighteenth century. Contributors consider the approach taken by individual artists and the material formation of concepts in different contexts by asking new questions of artworks that are implicated by the need to see ideas in painted, sculpted, illustrated, designed, and built forms. The first four essays work with ideas about material objects and identity formation, while the last four essays address the intellectual work that can be expressed through or performed by objects. Making Ideas Visible in the Eighteenth Century thus introduces new visual materials and novel conceptual models into traditional accounts of the intellectual history of the Enlightenment."--Cover page 4.
Author: Deborah Simonton
Publisher: Routledge
ISBN: 1134419066
Category : History
Languages : en
Pages : 417
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Book Description
This landmark publication collects the essays of the leading women's historians and provides the most coherent overview of women's role and place in Western Europe from the beginning of the eighteenth century to the twentieth century.
Author: Marina Ritzarev
Publisher: Routledge
ISBN: 1351568590
Category : Music
Languages : en
Pages : 453
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Book Description
Little is known outside of Russia about the nation's musical heritage prior to the nineteenth century. Western scholarship has tended to view the history of Russian music as not beginning until the end of the eighteenth century. Marina Ritzarev's work shows this interpretation to be misguided. Starting from an examination of the rich legacy of Russian music up to 1700, she explores the development of music over the course of the eighteenth century, a period of especially intense Westernization and secularization. The book focuses on what is characteristic and crucial to Russian music during this period, rather than seeking to provide a comprehensive survey. The musical culture of the time is discussed against the rich background of social, political and cultural life, tying together many of the phenomena that used to be viewed separately. The book highlights the importance of previously marginalized sectors - serf culture, choral sacred culture, the contribution of foreign musicians, the significant influence of Freemasonry, the role of Ukrainian and West-European cultures and so on - as well as casting new light on the well-researched topic of Russian opera. Much new archival material is introduced, and revised biographies of the two leading eighteenth-century Russian composers, Maxim Berezovsky and Dmitry Bortniansky, are provided, as well as those of the serf composer Stepan Degtyarev and the Italian Giuseppe Sarti. The book places eighteenth-century Russian music on the European map, and will be of particular importance for the study of European musical cultures remote from such centres as Italy, Germany-Austria and France. Eighteenth-century Russian music is organically linked with its past and future and its contributory role in forming the Russian national identity and developing the Russian idiom is clarified.
Author: Gary McPherson
Publisher: Oxford University Press
ISBN: 0190056282
Category : Education
Languages : en
Pages : 737
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Book Description
Takes an interdisciplinary approach that draws on the most authoritative insights from psychology, performance science, musicology, psychology, education, science, medicine, and music education. Includes leaders in the fields of music psychology, performance science, musicology, psychology, education, music medicine, science, and music education over two volumes. Within all chapters, authors have selected the most important scientific and artistic material relevant to their topics. Volume 1 includes parts on Development and Learning, Proficiencies, Performance Practices, and Psychology. Book jacket.
Author: Gary McPherson
Publisher: Oxford University Press
ISBN: 0190056304
Category : Music
Languages : en
Pages : 737
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Book Description
The two-volume Oxford Handbook of Music Performance provides a resource that musicians, scholars and educators will use as the most important and authoritative overview of work within the areas of music psychology and performance science. The 80 experts from 13 countries who prepared the 53 chapters in this handbook are leaders in the fields of music psychology, performance science, musicology, psychology, education and music education. Chapters in the Handbook provide a broad coverage of the area with considerable expansion of the topics that are normally covered in a resource of this type. Designed around eight distinct sections - Development and Learning, Proficiencies, Performance Practices, Psychology, Enhancements, Health & Wellbeing, Science, and Innovations - the range and scope of The Oxford Handbook of Music Performance is much wider than other publications through the inclusion of chapters from related disciplines such as performance science (e.g., optimizing performance, mental techniques, talent development in non-music areas), and education (e.g., human development, motivation, learning and teaching styles) as well as the attention given to emerging critical issues in the field (e.g., wellbeing, technology, gender, diversity, inclusion, identity, resilience and buoyancy, diseases, and physical and mental disabilities). Within each chapter, authors have selected what they consider to be the most important scientific and artistic material relevant to their topic. They begin their chapters by surveying theoretical views on each topic and then, in the final part of the chapter, highlight practical implications of the literature that performers will be able to apply within their daily musical lives.
Author: Colin Lawson
Publisher: Cambridge University Press
ISBN: 1316184420
Category : Music
Languages : en
Pages : 1066
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Book Description
The intricacies and challenges of musical performance have recently attracted the attention of writers and scholars to a greater extent than ever before. Research into the performer's experience has begun to explore such areas as practice techniques, performance anxiety and memorisation, as well as many other professional issues. Historical performance practice has been the subject of lively debate way beyond academic circles, mirroring its high profile in the recording studio and the concert hall. Reflecting the strong ongoing interest in the role of performers and performance, this History brings together research from leading scholars and historians and, importantly, features contributions from accomplished performers, whose practical experiences give the volume a unique vitality. Moving the focus away from the composers and onto the musicians responsible for bringing the music to life, this History presents a fresh, integrated and innovative perspective on performance history and practice, from the earliest times to today.
