04073nam 22007452 450 99624811220331620151005020620.00-511-35340-51-107-17823-11-281-15340-097866111534030-511-35398-71-139-13193-10-511-35510-60-511-48191-80-511-35456-80-511-35562-92027/heb07639(CKB)1000000000481075(EBL)321323(OCoLC)437193489(SSID)ssj0000183205(PQKBManifestationID)11170887(PQKBTitleCode)TC0000183205(PQKBWorkID)10195093(PQKB)11711719(UkCbUP)CR9780511481918(MiAaPQ)EBC321323(dli)HEB07639(MiU)MIU01000000000000007432753(EXLCZ)99100000000048107520090216d2007|||| uy| 0engur|||||||||||txtrdacontentcrdamediacrrdacarrierThe invention of "folk music" and "art music" emerging categories from Ossian to Wagner /Matthew Gelbart[electronic resource]Cambridge :Cambridge University Press,2007.1 online resource (xii, 287 pages) digital, PDF file(s)New perspectives in music history and criticism ;16Title from publisher's bibliographic system (viewed on 05 Oct 2015).0-521-17834-7 0-521-86303-1 Includes bibliographical references and index.Introduction; 1. Function to origin: national identity and national genius emerge, c. 1700-1780; 2. From pastoral to picturesque: nature, art, and genre in the later eighteenth century; 3. Genius versus Art in the creative process: 'national' and 'cultivated' music as categories, 1760-1800; 4. The invention of folk modality, 1775-1840; 5. 'Folk' and 'tradition': authenticity as musical idiom from the late eighteenth century onward; 6. Organic 'art music' and individual original genius: aestheticizing the folk collective; 7. Local nation and universal folk: the legacy of geography in musical categories; 8. Folk and art music in the modern western world.We tend to take for granted the labels we put to different forms of music. This study considers the origins and implications of the way in which we categorize music. Whereas earlier ways of classifying music were based on its different functions, for the past two hundred years we have been obsessed with creativity and musical origins, and classify music along these lines. Matthew Gelbart argues that folk music and art music became meaningful concepts only in the late eighteenth and early nineteenth centuries, and only in relation to each other. He examines how cultural nationalism served as the earliest impetus in classifying music by origins, and how the notions of folk music and art music followed - in conjunction with changing conceptions of nature, and changing ideas about human creativity. Through tracing the history of these musical categories, the book confronts our assumptions about different kinds of music.New perspectives in music history and criticism ;16.The Invention of 'Folk Music' & 'Art Music'Folk musicHistory and criticismMusicEurope18th centuryHistory and criticismMusicEurope19th centuryHistory and criticismMusicHistoriographyFolk musicHistory and criticism.MusicHistory and criticism.MusicHistory and criticism.MusicHistoriography.786.2Gelbart Matthew789653UkCbUPUkCbUPBOOK996248112203316The invention of "folk music" and "art music"2376223UNISA01217nam0 22002531i 450 UON0052199820240116123200.40420240116f |0itac50 baitaIT|||| |||||Artigianato a RomaComune di Roma, Assessorato Attuazione piani industriali e artigianali e interventi in agricolturaricerca svolta dalla cooperativa CO.D.R:E.S. per incarico del Comune di Roma[S.n.t.]litostampa nomentanaRoma, s.d.)156 p.24 cm.Donazione prof.ssa Amalia SignorelliIT-UONSI F. Signorelli5 C761ARTIGIANATORomaUONC102469FI680Artigianato22Comune di Roma, Assessorato Attuazione piani industriali e artigianali e interventi in agricolturaUONV2941421591664ITSOL20240220RICASIBA - SISTEMA BIBLIOTECARIO DI ATENEOUONSIUON00521998SIBA - SISTEMA BIBLIOTECARIO DI ATENEOSI F. Signore5 C 761 SI 49574 5 Donazione prof.ssa Amalia SignorelliArtigianato a Roma3906006UNIOR