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