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Books > Arts & Architecture > Music
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Class, Control, and Classical Music (Paperback)
Loot Price: R955
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Class, Control, and Classical Music (Paperback)
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Why is classical music predominantly the preserve of the white
middle classes? Contemporary associations between classical music
and social class remain underexplored, with classical music
primarily studied as a text rather than as a practice until recent
years. In order to answer this question, this book outlines a new
approach for a socio-cultural analysis of classical music, asking
how musical institutions, practices, and aesthetics are shaped by
wider conditions of economic inequality, and how music might enable
and entrench such inequalities or work against them. This approach
is put into practice through a richly detailed ethnography which
locates classical music within one of the cultures that produces it
- middle-class English youth - and foregrounds classical music as
bodily practice of control and restraint. Drawing on the author's
own background as a classical musician, this closely observed
account examines youth orchestra and youth choir rehearsals as a
space where young people learn the unspoken rules of this culture
of weighty tradition and gendered control. It highlights how the
middle-classes' habitual roles - boundary drawing around their
protected spaces and reproducing their privilege through education
- can be traced within the everyday spaces of classical music.
These practices are camouflaged, however, by the ideology of
'autonomous art' that classical music carries. Rather than solely
examining the social relations around the music, the book
demonstrates how this reproductive work is facilitated by its very
aesthetic, of 'controlled excitement', 'getting it right',
precision, and detail. This book is of particular interest at the
present moment, thanks to the worldwide proliferation of El
Sistema-inspired programmes which teach classical music to children
in underserved areas. While such schemes demonstrate a resurgence
in defending the value of classical music, there has been a lack of
debate over the ways in which its socio-cultural heritage shapes
its conventions today. This book locates these contestations within
contemporary debates on class, gender and whiteness, making visible
what is at stake in such programmes.
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