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Musical Genre and Romantic Ideology: Belonging in the Age of Originality: AMS STUDIES IN MUSIC SERIES

Autor Matthew Gelbart
en Limba Engleză Hardback – 18 noi 2022
European Romanticism gave rise to a powerful discourse equating genres to constrictive rules and forms that great art should transcend; and yet without the categories and intertextual references we hold in our minds, “music” would be meaningless noise. Musical Genre and Romantic Ideology teases out that paradox, charting the workings and legacies of Romantic artistic values such as originality and anti-commercialism in relation to musical genre. Genre's persistent power was amplified by music's inevitably practical social, spatial, and institutional frames. Furthermore, starting in the nineteenth century, all music, even the most anti-commercial, was stamped by its relationship to the marketplace, entrenching associations between genres and target publics (whether based on ideas of nation, gender, class, or more subtle aspects of identity). These newly strengthened correlations made genre, if anything, more potent rather than less, despite Romantic claims. In case studies from across nineteenth-century Europe engaging with canonical music by Bizet, Chopin, Verdi, Wagner, and Brahms, alongside representative genres such as opéra-comique and the piano ballade, Matthew Gelbart explores the processes through which composers, performers, critics, and listeners gave sounds, and themselves, a sense of belonging. He examines genre vocabulary and discourse, the force of generic titles, how avant-garde music is absorbed through and into familiar categories, and how interpretation can be bolstered or undercut by genre agreements. Even in a modern world where transcription and sound recording can take any music into an infinite array of new spatial and social situations, we are still locked in the Romantics' ambivalent tussle with genre.
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Specificații

ISBN-13: 9780190646929
ISBN-10: 0190646926
Pagini: 552
Dimensiuni: 239 x 164 x 40 mm
Greutate: 0.95 kg
Editura: Oxford University Press
Colecția OUP USA
Seria AMS STUDIES IN MUSIC SERIES

Locul publicării:New York, United States

Recenzii

Musical Genre and Romantic Ideology is a tour de force. By dint of extraordinarily comprehensive historical research and sophisticated theoretical insights, Matthew Gelbart demonstrates how and why genre mattered deeply in the nineteenth century, even when it seemed absent, challenged, or denied - and why, even today, we cannot escape the shadow of Romantic understandings of musical genre.
'Why should we care about genre?' The question, posed in the Prologue, is explored in depth over the course of this fascinating, erudite book. The concentration on nineteenth-century music, immediately thought-provoking, yields spectacular results, offering new perspectives on music we may have thought we knew very well indeed. ... a vital contribution to the continuing debates about music and the social world it inhabits.
Defining genre generously and Romanticism unromantically, Gelbart proves two crucial points: that genres never stopped shaping musical experiences, and that Romantic aesthetics still haunt our relations to artworks, media, and one another. Gelbart has read everything. He always finds the perfect musical example, the salient anecdote, the pithy quote. By confronting entrenched ideologies with the reality of what actually happened, he provides a wholly new picture of musical cultures we can't-and shouldn't-stop caring about.
Taking his cue from various literary reflections on the enabling power of genre, Mathew Gelbart revisits one of the fundamental questions about music: how do we classify and describe works, groups of works and parts of works? Moving from Wagner, to Verdi, Brahms, Chopin, and Bizet, Gelbart offers radical new ways of talking about genre and its implications.
Matthew Gelbart assimilates a broad range of genre theory and adds his own nuances spurred on by the specifics of the Romantic music that forms the basis of the study. As such, he highlights how genre is one the ties that binds Western art music of the 19th century to contemporary popular music as well as to other types of music. Musical Genre and Romantic Ideology is impeccably researched and a pleasure to read.

Notă biografică

Matthew Gelbart is Associate Professor of Music at Fordham University. Following his previous book The Invention of "Folk Music" and "Art Music": Emerging Categories from Ossian to Wagner and his work on nineteenth-century European music and twentieth-century popular music, he is interested in how we make meaning from music through categories and identities.