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This collection of essays is the first book-length study of music
history and cosmopolitanism, and is informed by arguments that
culture and identity do not have to be viewed as primarily located
in the context of nationalist narratives. Rather than trying to
distinguish between a true cosmopolitanism and a false
cosmopolitanism, the book presents studies that deepen
understanding of the heritage of this concept - the various ways in
which the term has been used to describe a wide range of activity
and social outlooks. It ranges over a two hundred-year period, and
more than a dozen countries, revealing how musicians and audiences
have responded to a common humanity by embracing culture beyond
regional or national boundaries. Among the various topics
investigated are: musical cosmopolitanism among composers in Latin
America, the Ottoman Empire, and Austro-Hungarian Empire;
cosmopolitan popular music historiography; cosmopolitan musical
entrepreneurs; and musical cosmopolitanism in the metropolises of
New York and Shanghai.
The study of the business of opera has taken on new importance in
the present harsh economic climate for the arts. This book presents
research that sheds new light on a range of aspects concerning
marketing, audience development, promotion, arts administration and
economic issues that beset professionals working in the opera
world. The editors' aim has been to assemble a coherent collection
of essays that engage with a single theme (business), but differ in
topic and critical perspective. The collection is distinguished by
its concern with the business of opera here and now in a globalized
market. This includes newly commissioned operas, sponsorship, state
funding, and production and marketing of historic operas in the
twenty-first century.
The study of the business of opera has taken on new importance in
the present harsh economic climate for the arts. This book presents
research that sheds new light on a range of aspects concerning
marketing, audience development, promotion, arts administration and
economic issues that beset professionals working in the opera
world. The editors' aim has been to assemble a coherent collection
of essays that engage with a single theme (business), but differ in
topic and critical perspective. The collection is distinguished by
its concern with the business of opera here and now in a globalized
market. This includes newly commissioned operas, sponsorship, state
funding, and production and marketing of historic operas in the
twenty-first century.
The songbooks of the 1830-40s were printed in tiny numbers, and
small format so they could be hidden in a pocket, passed round or
thrown away. Collectors have sought 'these priceless chapbooks',
but only recently a collection of 49 songbooks has come to light.
This collection represents almost all of the known songbooks from
the period.
The songbooks of the 1830-40s were printed in tiny numbers, and
small format so they could be hidden in a pocket, passed round or
thrown away. Collectors have sought 'these priceless chapbooks',
but only recently a collection of 49 songbooks has come to light.
This collection represents almost all of the known songbooks from
the period.
The songbooks of the 1830-40s were printed in tiny numbers, and
small format so they could be hidden in a pocket, passed round or
thrown away. Collectors have sought 'these priceless chapbooks',
but only recently a collection of 49 songbooks has come to light.
This collection represents almost all of the known songbooks from
the period.
Why do we feel justified in using adjectives such as romantic,
erotic, heroic, melancholic, and a hundred others when speaking
about music? How do we locate these meanings within particular
musical styles? These are questions that have occupied Derek
Scott's thoughts and driven his critical musicological research for
many years. In this selection of essays, dating from 1995-2010, he
returns time and again to examining how conventions of
representation arise and how they become established. Among the
themes of the collection are social class, ideology, national
identity, imperialism, Orientalism, race, the sacred and profane,
modernity and postmodernity, and the vexed relationship of art and
entertainment. A wide variety of musical styles is discussed,
ranging from jazz and popular song to the symphonic repertoire and
opera.
The research presented in this volume is very recent, and the
general approach is that of rethinking popular musicology: its
purpose, its aims, and its methods. Contributors to the volume were
asked to write something original and, at the same time, to provide
an instructive example of a particular way of working and thinking.
The essays have been written with a view to helping graduate
students with research methodology and the application of relevant
theoretical models. The team of contributors is an exceptionally
strong one: it contains many of the pre-eminent academic figures
involved in popular musicological research, and there is a spread
of European, American, Asian, and Australasian scholars. The volume
covers seven main themes: Film, Video and Multimedia; Technology
and Studio Production; Gender and Sexuality; Identity and
Ethnicity; Performance and Gesture; Reception and Scenes and The
Music Industry and Globalization. The Ashgate Research Companion is
designed to offer scholars and graduate students a comprehensive
and authoritative state-of-the-art review of current research in a
particular area. The companion's editor brings together a team of
respected and experienced experts to write chapters on the key
issues in their speciality, providing a comprehensive reference to
the field.
First published in 1989, The Singing Bourgeois challenges the myth
that the 'Victorian parlour song' was a clear-cut genre. Derek
Scott reveals the huge diversity of musical forms and styles that
influenced the songs performed in middle class homes during the
nineteenth century, from the assimilation of Celtic and
Afro-American culture by songwriters, to the emergence of forms of
sacred song performed in the home. The popularity of these domestic
songs opened up opportunities to women composers, and a chapter of
the book is dedicated to the discussion of women songwriters and
their work. The commercial success of bourgeois song through the
sale of sheet music demonstrated how music might be incorporated
into a system of capitalist enterprise. Scott examines the early
amateur music market and its evolution into an increasingly
professionalized activity towards the end of the century. This new
updated edition features an additional chapter which provides a
broad survey of music and class in London, drawing on sources that
have appeared since the book's first publication. An overview of
recent research is also given in a section of additional notes. The
new bibliography of nineteenth-century British and American popular
song is the most comprehensive of its kind and includes information
on twentieth-century collections of songs, relevant periodicals,
catalogues, dictionaries and indexes, as well as useful databases
and internet sites. The book also features accompanying
downloadable resources of songs from the period.
This collection of essays is the first book-length study of music
history and cosmopolitanism, and is informed by arguments that
culture and identity do not have to be viewed as primarily located
in the context of nationalist narratives. Rather than trying to
distinguish between a true cosmopolitanism and a false
cosmopolitanism, the book presents studies that deepen
understanding of the heritage of this concept - the various ways in
which the term has been used to describe a wide range of activity
and social outlooks. It ranges over a two hundred-year period, and
more than a dozen countries, revealing how musicians and audiences
have responded to a common humanity by embracing culture beyond
regional or national boundaries. Among the various topics
investigated are: musical cosmopolitanism among composers in Latin
America, the Ottoman Empire, and Austro-Hungarian Empire;
cosmopolitan popular music historiography; cosmopolitan musical
entrepreneurs; and musical cosmopolitanism in the metropolises of
New York and Shanghai.
The past ten years have witnessed an enormous growth of interest in questions of music history and music meaning, together with their respective relationships to culture and society. From Jacques Attali and Michel Foucault to Lydia Goehr and Portia Maultsby, this reader includes over 35 extracts from works which broke new ground in exploring the cultural and social significance of music at the end of the twentieth century.
Academic attention has focused on America's influence on European
stage works, and yet dozens of operettas from Austria and Germany
were produced on Broadway and in the West End, and their impact on
the musical life of the early twentieth century is undeniable. In
this ground breaking book, Derek B. Scott examines the cultural
transfer of operetta from the German stage to Britain and the USA
and offers a historical and critical survey of these operettas and
their music. In the period 1900-1940, over sixty operettas were
produced in the West End, and over seventy on Broadway. A study of
these stage works is important for the light they shine on a
variety of social topics of the period - from modernity and gender
relations to new technology and new media - and these are
investigated in the individual chapters. This book is also
available as Open Access on Cambridge Core.
This book is a cultural history of the nineteenth-century songster:
pocket-sized anthologies of song texts, usually without musical
notation. It examines the musical, social, commercial and aesthetic
functions songsters served and the processes by which they were
produced and disseminated, the repertory they included, and the
singers, printers and entrepreneurs that both inspired their
manufacture and facilitated their consumption. Taking an
international perspective, chapters focus on songsters from
Ireland, North America, Australia and Britain and the varied public
and private contexts in which they were used and exploited in oral
and print cultures.
Those whose thoughts of musical theatre are dominated by the
Broadway musical will find this book a revelation. From the 1850s
to the early 1930s, when urban theatres sought to mount glamorous
musical entertainment, it was to operetta that they turned. It was
a form of musical theatre that crossed national borders with ease
and was adored by audiences around the world. This collection of
essays by an array of international scholars examines the key
figures in operetta in many different countries. It offers a
critical and historical study of the widespread production of
operetta and of the enthusiasm with which it was welcomed.
Furthermore, it challenges nationalistic views of music and
approaches operetta as a cosmopolitan genre. This Cambridge
Companion contributes to a widening appreciation of the music of
operetta and a deepening knowledge of the cultural importance of
operetta around the world.
The phrase "popular music revolution" may instantly bring to mind
such twentieth-century musical movements as jazz and rock 'n' roll.
In Sounds of the Metropolis, however, Derek Scott argues that the
first popular music revolution actually occurred in the nineteenth
century, illustrating how a distinct group of popular styles first
began to assert their independence and values. He explains the
popular music revolution as driven by social changes and the
incorporation of music into a system of capitalist enterprise,
which ultimately resulted in a polarization between musical
entertainment (or "commercial" music) and "serious" art. He focuses
on the key genres and styles that precipitated musical change at
that time, and that continued to have an impact upon popular music
in the next century. By the end of the nineteenth century, popular
music could no longer be viewed as watered down or more easily
assimilated art music; it had its own characteristic techniques,
forms, and devices. As Scott shows, "popular" refers here, for the
first time, not only to the music's reception, but also to the
presence of these specific features of style. The shift in meaning
of "popular" provided critics with tools to condemn music that bore
the signs of the popular-which they regarded as fashionable and
facile, rather than progressive and serious. A fresh and persuasive
consideration of the genesis of popular music on its own terms,
Sounds of the Metropolis breaks new ground in the study of music,
cultural sociology, and history.
The songbooks of the 1830-40s were printed in tiny numbers, and
small format so they could be hidden in a pocket, passed round or
thrown away. Collectors have sought 'these priceless chapbooks',
but only recently a collection of 49 songbooks has come to light.
This collection represents almost all of the known songbooks from
the period.
Perspectives on Ideology, Identity, and Musical Style demonstrates how different musical styles construct ideas of class, sexuality, and ethnic identity. This book will serve as a model for musicologists who want to take a postmodern approach to their inquiries. The clear and lively arguments are supported by ninety musical examples taken from such diverse sources as opera, symphonic music, jazz, and nineteenth- and twentieth-century popular songs. Derek Scott offers new insights on a range of "high" and "low" musical styles, and the cultures that produced them.
The past ten years have witnessed an enormous growth of interest in questions of music history and music meaning, together with their respective relationships to culture and society. From Jacques Attali and Michel Foucault to Lydia Goehr and Portia Maultsby, this reader includes over 35 extracts from works which broke new ground in exploring the cultural and social significance of music at the end of the twentieth century.
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