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Music and the Middle Class: The Social Structure of Concert Life in London, Paris and Vienna between 1830 and 1848
by William WeberFirst published in 1975, Music and the Middle Class made a trail-blazing contribution to the social history of music, bringing together sociological and historical methods that have subsequently become accepted as central to the discipline of musicology. Moreover, the major themes of the book are ones which scholars today continue to grapple with: the nature of the middle class(es) and their role in cultural definition; the concept of taste publics distinct from social status; and the establishment of the musical canon. This classic text is reissued here in Ashgate's Music in Nineteenth-Century Britain series, though of course the book ranges beyond its study of London to discuss in detail the contrasting concert life of Paris and Vienna. This edition features a substantial new preface which takes into account the significant work that has been done in this field since the book first appeared, and provides a unique opportunity to assess the impact the book has had on our thinking about the European middle class and its role in musical life.
Music and the Middle Class: The Social Structure of Concert Life in London, Paris and Vienna between 1830 and 1848
by William WeberFirst published in 1975, Music and the Middle Class made a trail-blazing contribution to the social history of music, bringing together sociological and historical methods that have subsequently become accepted as central to the discipline of musicology. Moreover, the major themes of the book are ones which scholars today continue to grapple with: the nature of the middle class(es) and their role in cultural definition; the concept of taste publics distinct from social status; and the establishment of the musical canon. This classic text is reissued here in Ashgate's Music in Nineteenth-Century Britain series, though of course the book ranges beyond its study of London to discuss in detail the contrasting concert life of Paris and Vienna. This edition features a substantial new preface which takes into account the significant work that has been done in this field since the book first appeared, and provides a unique opportunity to assess the impact the book has had on our thinking about the European middle class and its role in musical life.
Music on Demand: Composers and Careers in the Hollywood Film Industry
by Robert R. FaulknerIn this remarkable study, Robert R. Faulkner shows that the Hollywood film industry, like most work communities, is dominated by a highly productive and visible elite who exercise major influence on the control of available resources, career chances, and access to opportunity. Faulkner traces a network of connections that bind together filmmakers (employers) and composers (employees) and reveals how work is allocated among composers and the division of labor within the Hollywood film community, using statistical analysis and highly revealing personal interviews. One of the very first empirical studies in the ""new economic sociology,"" Music on Demand shows the dynamics of markets constituted by the interaction between buyers and artistic talent (the producers and directors of feature films) and the sellers of artistic talent (the composers of film scores).Faulkner's interviews with those composers considered to be elite and those on the industry's periphery reveal how they perceive their careers, how they define commercial artistic success, and how they establish, or try to establish, those vital connections with filmmakers. Now available in paperback, this pioneering study will be of compelling interest to researchers in culture studies as well as readers interested in learning more about this little-known world.
Music on Demand: Composers and Careers in the Hollywood Film Industry
by Shmuel N. EisenstadtIn this remarkable study, Robert R. Faulkner shows that the Hollywood film industry, like most work communities, is dominated by a highly productive and visible elite who exercise major influence on the control of available resources, career chances, and access to opportunity. Faulkner traces a network of connections that bind together filmmakers (employers) and composers (employees) and reveals how work is allocated among composers and the division of labor within the Hollywood film community, using statistical analysis and highly revealing personal interviews. One of the very first empirical studies in the ""new economic sociology,"" Music on Demand shows the dynamics of markets constituted by the interaction between buyers and artistic talent (the producers and directors of feature films) and the sellers of artistic talent (the composers of film scores).Faulkner's interviews with those composers considered to be elite and those on the industry's periphery reveal how they perceive their careers, how they define commercial artistic success, and how they establish, or try to establish, those vital connections with filmmakers. Now available in paperback, this pioneering study will be of compelling interest to researchers in culture studies as well as readers interested in learning more about this little-known world.
Music Therapy (PDF)
by Rachel Darnley-SmithThis book is a detailed introduction to music therapy, and should be of particular interest to intending students of the subject and those wishing to pursue a career within the profession. It should be of considerable use to all with a general interest in the subject as well those making a career on music therapy' - The Organ I found this a useful book in terms of its clarity and carefully thought out structure. It is a rich source of information and of ideas which are extremely important for the potential music therapy trainee to think about; it also makes valuable reading for more experienced therapists, bringing our minds back to some central questions about the nature of our work.. Whatever stage you may be at in your life as a music therapist, it will refresh your mind and your practice' - Eleanor Richards, Nordic Journal of Music Therapy From the Foreword: Rachel Darnley-Smith and Helen M Patey have managed so well to tell their story of music therapy offering the framework of theory, training and professional practice, and the complimentary value of Analytical Music Therapy and Creative Music Therapy within improvization.
Musical Migrations: Transnationalism and Cultural Hybridity in Latin/o America, Volume I
by F. Aparicio C. JàquezA dynamic and original collection of essays on the transnational circulation and changing social meanings of Latin music across the Americas. The transcultural impact of Latin American musical forms in the United States calls for a deeper understanding of the shifting cultural meanings of music. Musical Migrations examines the tensions between the value of Latin popular music as a metaphor for national identity and its transnational meanings as it traverses national borders, geocultural spaces, audiences, and historical periods. The anthology analyzes, among others, the role of popular music in Caribbean diasporas in the United States and Europe, the trans-Caribbean identities of Salsa and reggae, the racial, cultural, and ethnic hybridity in rock across the Americas, and the tensions between tradition and modernity in Peruvian indigenous music, mariachi music in the United States, and in Trinidadian music.
Musik in Baden-Württemberg: Jahrbuch 2003 / Band 10
by Gesellschaft für Musikgeschichte in Baden-WürttembergDas Jahrbuch 2003 hat zwei Schwerpunkte: zum einen mit Beiträgen u.a. über Meingosus Gaelle, Justin Heinrich Knecht und Samuel Gottlieb Auberlen die Kirchenmusiktradition im 18. und 19. Jahrhundert, zum anderen das Repertoire der Stuttgarte Hofoper im 19. Jahrhundert mit Beiträgen über Berlioz und Auber.
Neue Musik als spekulative Theologie: Religion und Avantgarde im 20. Jahrhundert
by Clytus GottwaldGeistliche Musik des 20. Jahrhunderts. An der Schnittstelle von Philosophie, Religion und Komposition arbeiten die Autoren jene umfassende Reflexivität heraus, durch die Neue Musik zur spekulativen Theologie wird. Die brillante Argumentation reicht dabei von Strawinsky, Penderecki und Bernd Alois Zimmermann bis zu Lachenmann, Messiaen und Stockhausen.
New York Ricans from the Hip Hop Zone (New Directions in Latino American Cultures)
by R. RiveraNew York Puerto Ricans have been an integral part of hip hop culture since day one: from 1970s pioneers like Rock Steady Crew's Jo-Jo, to recent rap mega-stars Big Punisher (R.I.P.) and Angie Martinez. Yet, Puerto Rican participation and contributions to hip hop have often been downplayed and even completely ignored. And when their presence has been acknowledged, it has frequently been misinterpreted as a defection from Puerto Rican culture and identity, into the African American camp. But nothing could be further from the truth. Through hip hop, Puerto Ricans have simply stretched the boundaries of Puerto Ricanness and latinidad.
Nineteenth-Century British Music Studies: Volume 3
by Peter HortonSelected from papers given at the third biennial conference on Music in Nineteenth-Century Britain, this volume, in common with its two predecessors, reflects the interdisciplinary character of the topic. The introductory essay by Julian Rushton foregrounds some of the questions that are key to this area of study: what is the nineteenth century? what is British music? and did London influence the continent? The essays which follow are divided into broad thematic groups covering aspects of gender, church music, national identity, and local and national institutions. This collection illustrates that while nineteenth-century British music studies is still in its infancy as a field of research, it is one that is burgeoning and contributing to our understanding of British social and cultural life of the period.
Nineteenth-Century British Music Studies: Volume 3
by Peter HortonSelected from papers given at the third biennial conference on Music in Nineteenth-Century Britain, this volume, in common with its two predecessors, reflects the interdisciplinary character of the topic. The introductory essay by Julian Rushton foregrounds some of the questions that are key to this area of study: what is the nineteenth century? what is British music? and did London influence the continent? The essays which follow are divided into broad thematic groups covering aspects of gender, church music, national identity, and local and national institutions. This collection illustrates that while nineteenth-century British music studies is still in its infancy as a field of research, it is one that is burgeoning and contributing to our understanding of British social and cultural life of the period.
Operetta: A Theatrical History
by Richard Traubner"Operetta: A Theatrical History" is considered the classic history of this important musical theater form. Traubner's book, first published in 1983, is still recognized as the key history of the people and productions that made operetta a worldwide phenomenon. Beginning in mid-19th century Europe, the book covers all of the key developments in the form, including the landmark works by Strauss and his followers, Gilbert & Sullivan, Franz Lehar, Rudolf Friml, Victor Herbert, and many more. The book perfectly captures the champagne-and-ballroom atmosphere of the greatest works in the genre. It will appeal to all fans of musical theatre history.
Operetta: A Theatrical History
by Richard Traubner"Operetta: A Theatrical History" is considered the classic history of this important musical theater form. Traubner's book, first published in 1983, is still recognized as the key history of the people and productions that made operetta a worldwide phenomenon. Beginning in mid-19th century Europe, the book covers all of the key developments in the form, including the landmark works by Strauss and his followers, Gilbert & Sullivan, Franz Lehar, Rudolf Friml, Victor Herbert, and many more. The book perfectly captures the champagne-and-ballroom atmosphere of the greatest works in the genre. It will appeal to all fans of musical theatre history.
Oprah, Celebrity and Formations of Self
by S. WilsonOprah Winfrey has transcended her status as talk show host to become a cultural icon of some considerable stature. This book explores the nature of Oprah's celebrity persona and considers the relevance that she has to contemporary audiences. The stories recounted by guests, and the ways in which confessional discourse works to produce a particular relationship between Oprah, her guests and the audience members are considered within the context of contemporary American culture.
Pop Music - Technology and Creativity: Trevor Horn and the Digital Revolution
by Timothy WarnerThis highly original and accessible book draws on the author‘s personal experience as a musician, producer and teacher of popular music to discuss the ways in which audio technology and musical creativity in pop music are inextricably bound together. This relationship, the book argues, is exemplified by the work of Trevor Horn, who is widely acknowledged as the most important, innovative and successful British pop record producer of the early 1980s. In the first part of the book, Timothy Warner presents a definition of pop as distinct from rock music, and goes on to consider the ways technological developments, such as the transition from analogue to digital, transform working practices and, as a result, impact on the creative process of producing pop. Part two analyses seven influential recordings produced by Trevor Horn between 1979 and 1985: 'Video Killed the Radio Star' (The Buggles), 'Buffalo Gals' (Malcolm McClaren),'Owner of a Lonely Heart' (Yes), 'Relax' (Frankie Goes to Hollywood), 'Slave to the Rhythm' (Grace Jones), and albums by The Art of Noise and Propaganda. These records reveal how the creative use of technology in the modern pop recording studio has informed Horn‘s work, a theme that is then explored in an extensive interview with Horn himself.
Pop Music - Technology and Creativity: Trevor Horn and the Digital Revolution (Ashgate Popular And Folk Music Ser.)
by Timothy WarnerThis highly original and accessible book draws on the author‘s personal experience as a musician, producer and teacher of popular music to discuss the ways in which audio technology and musical creativity in pop music are inextricably bound together. This relationship, the book argues, is exemplified by the work of Trevor Horn, who is widely acknowledged as the most important, innovative and successful British pop record producer of the early 1980s. In the first part of the book, Timothy Warner presents a definition of pop as distinct from rock music, and goes on to consider the ways technological developments, such as the transition from analogue to digital, transform working practices and, as a result, impact on the creative process of producing pop. Part two analyses seven influential recordings produced by Trevor Horn between 1979 and 1985: 'Video Killed the Radio Star' (The Buggles), 'Buffalo Gals' (Malcolm McClaren),'Owner of a Lonely Heart' (Yes), 'Relax' (Frankie Goes to Hollywood), 'Slave to the Rhythm' (Grace Jones), and albums by The Art of Noise and Propaganda. These records reveal how the creative use of technology in the modern pop recording studio has informed Horn‘s work, a theme that is then explored in an extensive interview with Horn himself.
A Professional Guide to Audio Plug-ins and Virtual Instruments
by Mike CollinsIf you are an audio professional needing a complete reference to the complex world of plug-ins and virtual instruments, look no further. Mike Collins, author of Pro Tools for Music Production, has meticulously surveyed the scene, showing what's available and how they integrate into the various host platforms. The book explains the differences between TDM, RTS, MAS and VST plug-ins, how they can be used with different MIDI + Audio programs and shows the range of options available. It also explains virtual instruments and how these can be used as either plug-ins or stand alone products. A must for every recording studio. The book combines explanations, overviews and key concepts with practical considerations and hands-on examples. The reader will gain a broad understanding of the options available, how they work and the possibilities for integration with systems as well as the end result. The book also includes a section on how to write your own plug-ins and a suggested standard plug-ins portfolio for those wanting to get started quickly.
A Professional Guide to Audio Plug-ins and Virtual Instruments (PDF)
by Mike CollinsIf you are an audio professional needing a complete reference to the complex world of plug-ins and virtual instruments, look no further. Mike Collins, author of Pro Tools for Music Production, has meticulously surveyed the scene, showing what's available and how they integrate into the various host platforms. The book explains the differences between TDM, RTS, MAS and VST plug-ins, how they can be used with different MIDI + Audio programs and shows the range of options available. It also explains virtual instruments and how these can be used as either plug-ins or stand alone products. A must for every recording studio. The book combines explanations, overviews and key concepts with practical considerations and hands-on examples. The reader will gain a broad understanding of the options available, how they work and the possibilities for integration with systems as well as the end result. The book also includes a section on how to write your own plug-ins and a suggested standard plug-ins portfolio for those wanting to get started quickly.
Programming the Absolute: Nineteenth-Century German Music and the Hermeneutics of the Moment
by Berthold HoecknerProgramming the Absolute discusses the notorious opposition between absolute and program music as a true dialectic that lies at the heart of nineteenth-century German music. Beginning with Beethoven, Berthold Hoeckner traces the aesthetic problem of musical meaning in works by Schumann, Wagner, Liszt, Mahler, and Schoenberg, whose private messages and public predicaments are emblematic for the cultural legacy of this rich repertory. After Romanticism had elevated music as a language "beyond" language, the ineffable spurred an unprecedented proliferation of musical analysis and criticism. Taking his cue from Adorno, Hoeckner develops the idea of a "hermeneutics of a moment," which holds that musical meaning crystallizes only momentarily--in a particular passage, a progression, even a single note. And such moments can signify as little as a fleeting personal memory or as much as the whole of German music. Although absolute music emerged with a matrix of values--the integrity of the subject, the aesthetic autonomy of art, and the intrinsic worth of high culture--that are highly contested in musicology today, Hoeckner argues that we should not completely discard the ideal of a music that continues to offer moments of transcendence and liberation. Passionately and artfully written, Hoeckner's quest for an "essayistic musicology" displays an original intelligence willing to take interpretive risks. It is a provocative contribution to our knowledge about some of Europe's most important music--and to contemporary controversies over how music should be understood and experienced.
Programming the Absolute: Nineteenth-Century German Music and the Hermeneutics of the Moment
by Berthold HoecknerProgramming the Absolute discusses the notorious opposition between absolute and program music as a true dialectic that lies at the heart of nineteenth-century German music. Beginning with Beethoven, Berthold Hoeckner traces the aesthetic problem of musical meaning in works by Schumann, Wagner, Liszt, Mahler, and Schoenberg, whose private messages and public predicaments are emblematic for the cultural legacy of this rich repertory. After Romanticism had elevated music as a language "beyond" language, the ineffable spurred an unprecedented proliferation of musical analysis and criticism. Taking his cue from Adorno, Hoeckner develops the idea of a "hermeneutics of a moment," which holds that musical meaning crystallizes only momentarily--in a particular passage, a progression, even a single note. And such moments can signify as little as a fleeting personal memory or as much as the whole of German music. Although absolute music emerged with a matrix of values--the integrity of the subject, the aesthetic autonomy of art, and the intrinsic worth of high culture--that are highly contested in musicology today, Hoeckner argues that we should not completely discard the ideal of a music that continues to offer moments of transcendence and liberation. Passionately and artfully written, Hoeckner's quest for an "essayistic musicology" displays an original intelligence willing to take interpretive risks. It is a provocative contribution to our knowledge about some of Europe's most important music--and to contemporary controversies over how music should be understood and experienced.
Proof through the Night: Music and the Great War (PDF)
by Glenn WatkinsCarols floating across no-man's-land on Christmas Eve 1914; solemn choruses, marches, and popular songs responding to the call of propaganda ministries and war charities; opera, keyboard suites, ragtime, and concertos for the left hand - all provided testimony to the unique power of music to chronicle the Great War and to memorialize its battles and fallen heroes in the first post-Armistice decade. In this striking book, Glenn Watkins investigates these variable roles of music primarily from the angle of the Entente nations' perceived threat of German hegemony in matters of intellectual and artistic accomplishment - a principal concern not only for Europe but also for the United States, whose late entrance into the fray prompted a renewed interest in defining America as an emergent world power as well as a fledgling musical culture. He shows that each nation gave 'proof through the night' - ringing evidence during the dark hours of the war - not only of its nationalist resolve in the singing of national airs but also of its power to recall home and hearth on distant battlefields and to reflect upon loss long after the guns had been silenced. Watkins' eloquent narrative argues that twentieth-century Modernism was not launched full force with the advent of the Great War but rather was challenged by a new set of alternatives to the prewar avant-garde. His central focus on music as a cultural marker during the First World War of necessity exposes its relationship to the other arts, national institutions, and international politics. From wartime scores by Debussy and Stravinsky to telling retrospective works by Berg, Ravel, and Britten; from "La Marseillaise" to "The Star-Spangled Banner," from "It's a Long Way to Tipperary" to "Over There," music reflected society's profoundest doubts and aspirations. By turns it challenged or supported the legitimacy of war, chronicled misgivings in miniature and grandiose formats alike, and inevitably expressed its sorrow at the final price exacted by the Great War. "Proof through the Night" concludes with a consideration of the post-Armistice period when, on the classical music front, memory and distance forged a musical response that was frequently more powerful than in wartime.
Quarter Notes and Bank Notes: The Economics of Music Composition in the Eighteenth and Nineteenth Centuries (The Princeton Economic History of the Western World (PDF) #13)
by F. M. SchererIn 1700, most composers were employees of noble courts or the church. But by the nineteenth century, Chopin, Schumann, Brahms, Verdi, and many others functioned as freelance artists teaching, performing, and selling their compositions in the private marketplace. While some believe that Mozart's career marks a clean break between these two periods, this book tells the story of a more complex and interesting transition. F. M. Scherer first examines the political, intellectual, and economic roots of the shift from patronage to a freelance market. He describes the eighteenth-century cultural "arms race" among noble courts, the spread of private concert halls and opera houses, the increasing attendance of middle-class music lovers, and the founding of conservatories. He analyzes changing trends in how composers acquired their skills and earned their living, examining such impacts as demographic developments and new modes of transportation. The book offers insight into the diversity of composers' economic aspirations, the strategies through which they pursued success, the burgeoning music publishing industry, and the emergence of copyright protection. Scherer concludes by drawing some parallels to the economic state of music composition in our own times. Written by a leading economist with an unusually broad knowledge of music, this fascinating account is directed toward individuals intrigued by the world of classical composers as well as those interested in economic history or the role of money in art.
Representing African Music: Postcolonial Notes, Queries, Positions
by Kofi AgawuThe aim of this book is to stimulate debate by offering a critique of discourse about African music. Who writes about African music, how, and why? What assumptions and prejudices influence the presentation of ethnographic data? Even the term "African music" suggests there is an agreed-upon meaning, but African music signifies differently to different people. This book also poses the question then, "What is African music?" Agawu offers a new and provocative look at the history of African music scholarship that will resonate with students of ethnomusicology and post-colonial studies. He offers an alternative "Afro-centric" means of understanding African music, and in doing so, illuminates a different mode of creativity beyond the usual provenance of Western criticism. This book will undoubtedly inspire heated debate--and new thinking--among musicologists, cultural theorists, and post-colonial thinkers. Also includes 15 musical examples.
Representing African Music: Postcolonial Notes, Queries, Positions
by Kofi AgawuThe aim of this book is to stimulate debate by offering a critique of discourse about African music. Who writes about African music, how, and why? What assumptions and prejudices influence the presentation of ethnographic data? Even the term "African music" suggests there is an agreed-upon meaning, but African music signifies differently to different people. This book also poses the question then, "What is African music?" Agawu offers a new and provocative look at the history of African music scholarship that will resonate with students of ethnomusicology and post-colonial studies. He offers an alternative "Afro-centric" means of understanding African music, and in doing so, illuminates a different mode of creativity beyond the usual provenance of Western criticism. This book will undoubtedly inspire heated debate--and new thinking--among musicologists, cultural theorists, and post-colonial thinkers. Also includes 15 musical examples.
Salomon and the Burneys: Private Patronage and a Public Career
by Ian WoodfieldJohann Peter Salomon, the celebrated violinist and impresario, made his debut in England in March 1781. History has credited Salomon with bringing Haydn to London, yet as Ian Woodfield reveals in this monograph, Salomon's introduction of the composer to the London musical scene owed as much to luck as to skilful planning. Haydn's engagement in London proved to be a much-needed uplift to Salomon's career which, as Woodfield illustrates, had been on the wane for a number of years. In addition to its reassessment of Salomon's uneven career in London during the 1780s, this book throws light on the general relationship between public and private spheres of professional music-making at the time, and on the relationship between the social and professional attributes required of musicians if they were to be successful. Nowhere are these tensions better illustrated than in the letters and journals of the Burney family, especially those of Susan Burney, which are drawn on in the book to provide a vivid picture of the fiercely competitive musical world of eighteenth-century London.