First 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.

A bold application of the concept of "canonical" works to the development of French operatic and concert life in the eighteenth and nineteenth centuries. This long-awaited book by a leading historian of European music life offers a fresh reading of concert and operatic life by showing how certain musical works in eighteenth- and nineteenth-century France came to be considered "canonic": that is, admirable and worthy of being taken as models. In a series of interlinked essays, William Weber draws particular attention to the ways in which such reputations could shift in different eras and circumstances. The first chapter outlines how such a surge of reputation came about for Jean-Baptiste Lully after his death in 1687, followed a century later by one for the operas of Christoph-Willibald Gluck and Niccolò Piccinni. Next, Beverly Wilcox contributes a crucial chapter exploring how a canon of sacred works evolved at the Concert Spirituel between 1725 and 1790. Subsequent chapters detail the rise of an "incipient canon" for Joseph Haydn's music in the 1780s; a new operatic canon centered on works of Gioachino Rossini and Giacomo Meyerbeer; a century-long canonic repertory at the theater of the Opéra-Comique; and, between 1860 and 1914, frequent concert performances of excerpts from Wagner's operas, sometimes along with excerpts from Meyerbeer's. Throughout, Weber and Wilcox demonstrate how the French musical press reflected musical taste, and also shaped it, across two centuries.

First 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.

Opera has always been a vital and complex mixture of commercial and aesthetic concerns, of bourgeois politics and elite privilege. In its long heyday in the eighteenth and nineteenth centuries, it came to occupy a special place not only among the arts but in urban planning, too - this is, perhaps surprisingly, often still the case. The Oxford Handbook of the Operatic Canon examines how opera has become the concrete edifice it was never meant to be, by tracing its evolution from a market entirely driven by novelty to one of the most canonic art forms still in existence. Throughout the book, a lively assembly of musicologists, historians, and industry professionals tackle key questions of opera's past, present, and future. Why did its canon evolve so differently from that of concert music? Why do its top ten titles, all more than a century old, now account for nearly a quarter of all performances worldwide? Why is this system of production becoming still more top-heavy, even while the repertory seemingly expands, notably to include early music? Topics range from the seventeenth century to the present day, from Russia to England and continental Europe to the Americas. To reflect the contested nature of many of them, each is addressed in paired chapters. These complement each other in different ways: by treating the same geographical location in different periods, by providing different national or regional perspectives on the same period, or by thinking through similar conceptual issues in contrasting or changing contexts. Posing its questions in fresh, provocative terms, The Oxford Handbook of the Operatic Canon challenges scholarly assumptions in music and cultural history, and reinvigorates the dialogue with an industry that is, despite everything, still growing.

Stud Horse And Jack Man By Choice, Artist By Necessity.

This scarce antiquarian book is a selection from Kessinger Publishing's Legacy Reprint Series. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment to protecting, preserving, and promoting the world's literature. Kessinger Publishing is the place to find hundreds of thousands of rare and hard-to-find books with something of interest for everyone!

Published From Ancient Manuscripts, With An Introduction, Notes, And A Glossary.

The Natural Process of Quitting Forever was written over a period of years. It started when I was seeing people who wanted to avoid 12 Step attendances while still wanting to end alcohol and drug problems. The book we were using generated questions and was not specific about quitting forever. I was tape recording and video taping the sessions for my review. I noticed I was answering the same questions over again with different people. I wrote down what I was telling them and started using the essays when I talked with new people. I always encouraged people to criticize what was written for clarity and content. At a point in time, I had enough written where I comb bound the papers with a table of contents and started selling my book. I kept editing and revising and adding to the book until it reached the point of what you are reading today. Author House afforded me the opportunity to publish professionally what I had been publishing and selling using my desktop publishing program with comb binding. It was written talking to people about quitting forever all alcohol and drug use while they read the book for that purpose. People are quitting forever by reading the book The Natural Process of Quitting Forever. It was not something I sat down and wrote but was written because people quitting forever told me it was helpful information leading them along their path to recovery. Check out my web site: quittingforever.org where I explain core concepts using cartoon like graphic illustration with verbal and written explanation. The web site also has some short video explanations by me.

Published From Ancient Manuscripts, With An Introduction, Notes, And A Glossary.