LEADER 01032cam0-2200325---450- 001 990004025330403321 005 20130508085900.0 010 $a3-7728-0691-0 035 $a000402533 035 $aFED01000402533 035 $a(Aleph)000402533FED01 035 $a000402533 100 $a19990604d1979----km-y0itay50------ba 101 0 $ager 102 $aDE 105 $ay---a---00--- 200 1 $aBibliographie zu Christoph Gottfried Bardili$eaus den Quellen ermittelt und historisch-kritisch erläutert$fF. W. Garbeis 210 $aStuttgart$cFriedrich Fromman$d©1979 215 $a84 p.$d22 cm 610 0 $aFilosofia tedesca$a18. sec. 610 0 $aBardili, Christoph Gottfried <1761-1808>$aBibliografia 676 $a016.193$v21$zita 700 1$aGarbeis,$bFranz Wolfgang$0152980 801 0$aIT$bUNINA$gRICA$2UNIMARC 901 $aBK 912 $a990004025330403321 952 $a016.193 BAR 1$bBIBL. 881$fFLFBC 959 $aFLFBC 996 $aBibliographie zu Christoph Gottfried Bardili$9470324 997 $aUNINA LEADER 01179nam2-2200361---4500 001 990001078400203316 005 20091103105532.0 035 $a000107840 035 $aUSA01000107840 035 $a(ALEPH)000107840USA01 035 $a000107840 100 $a20020507d1976----km|y0itay0103----ba 101 0 $aeng 102 $aUS 200 1 $aMathematical cosmology and extragalactic astronomy$fIrving Ezra Segal 210 $aNew York$cAcademic press$d1976 215 $aIX, 204 p.$cill.$d23 cm 225 2$aPure and applied mathematics$ea series of monographs and textbooks$v68 410 1$1001000334339$12001$aPure and applied mathematics$v68 606 0$aCosmologia 676 $a523.12 700 1$aSEGAL,$bIrving Ezra$047280 801 0$aIT$bsalbc$gISBD 912 $a990001078400203316 951 $a510 PAM 68$b2606/CBS$c510$D00111633 959 $aBK 969 $aSCI 979 $aALESSANDRA$b90$c20020507$lUSA01$h1508 979 $aJOHNNY$b90$c20021031$lUSA01$h1355 979 $aPATRY$b90$c20040406$lUSA01$h1715 979 $aRSIAV6$b90$c20091103$lUSA01$h1055 996 $aMathematical Cosmology and Extragalactic Astronomy$9341238 997 $aUNISA LEADER 04073nam 22007452 450 001 996248112203316 005 20151005020620.0 010 $a0-511-35340-5 010 $a1-107-17823-1 010 $a1-281-15340-0 010 $a9786611153403 010 $a0-511-35398-7 010 $a1-139-13193-1 010 $a0-511-35510-6 010 $a0-511-48191-8 010 $a0-511-35456-8 010 $a0-511-35562-9 024 7 $a2027/heb07639 035 $a(CKB)1000000000481075 035 $a(EBL)321323 035 $a(OCoLC)437193489 035 $a(SSID)ssj0000183205 035 $a(PQKBManifestationID)11170887 035 $a(PQKBTitleCode)TC0000183205 035 $a(PQKBWorkID)10195093 035 $a(PQKB)11711719 035 $a(UkCbUP)CR9780511481918 035 $a(MiAaPQ)EBC321323 035 $a(dli)HEB07639 035 $a(MiU)MIU01000000000000007432753 035 $a(EXLCZ)991000000000481075 100 $a20090216d2007|||| uy| 0 101 0 $aeng 135 $aur||||||||||| 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 14$aThe invention of "folk music" and "art music" $eemerging categories from Ossian to Wagner /$fMatthew Gelbart$b[electronic resource] 210 1$aCambridge :$cCambridge University Press,$d2007. 215 $a1 online resource (xii, 287 pages) $cdigital, PDF file(s) 225 1 $aNew perspectives in music history and criticism ;$v16 300 $aTitle from publisher's bibliographic system (viewed on 05 Oct 2015). 311 $a0-521-17834-7 311 $a0-521-86303-1 320 $aIncludes bibliographical references and index. 327 $aIntroduction; 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. 330 $aWe tend to take for granted the labels we put to different forms of music. This study considers the origins and implications of the way in which we categorize music. Whereas earlier ways of classifying music were based on its different functions, for the past two hundred years we have been obsessed with creativity and musical origins, and classify music along these lines. Matthew Gelbart argues that folk music and art music became meaningful concepts only in the late eighteenth and early nineteenth centuries, and only in relation to each other. He examines how cultural nationalism served as the earliest impetus in classifying music by origins, and how the notions of folk music and art music followed - in conjunction with changing conceptions of nature, and changing ideas about human creativity. Through tracing the history of these musical categories, the book confronts our assumptions about different kinds of music. 410 0$aNew perspectives in music history and criticism ;$v16. 517 3 $aThe Invention of 'Folk Music' & 'Art Music' 606 $aFolk music$xHistory and criticism 606 $aMusic$zEurope$y18th century$xHistory and criticism 606 $aMusic$zEurope$y19th century$xHistory and criticism 606 $aMusic$xHistoriography 615 0$aFolk music$xHistory and criticism. 615 0$aMusic$xHistory and criticism. 615 0$aMusic$xHistory and criticism. 615 0$aMusic$xHistoriography. 676 $a786.2 700 $aGelbart$b Matthew$0789653 801 0$bUkCbUP 801 1$bUkCbUP 906 $aBOOK 912 $a996248112203316 996 $aThe invention of "folk music" and "art music"$92376223 997 $aUNISA