The Invention of 'Folk Music' and 'Art Music': Emerging Categories from Ossian to WagnerWe 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. |
Contents
| 40 | |
Section 2 | 80 |
Section 3 | 111 |
Section 4 | 126 |
Section 5 | 153 |
Section 6 | 175 |
Section 7 | 176 |
Section 8 | 191 |
Section 9 | 204 |
Section 10 | 210 |
Section 11 | 225 |
Section 12 | 227 |
Section 13 | 256 |
Other editions - View all
The Invention of 'Folk Music' and 'Art Music': Emerging Categories from ... Matthew Gelbart No preview available - 2011 |
The Invention of 'Folk Music' and 'Art Music': Emerging Categories from ... Matthew Gelbart No preview available - 2007 |
The Invention of "folk Music" and "art Music": Emerging Categories from ... Matthew Gelbart No preview available - 2007 |
Common terms and phrases
aesthetic airs Allan Ramsay ancient art music artistic authenticity bagpipe ballads bards Beattie Beattie's Beethoven Bertrand Bronson Burney Burney's Campbell cited claims classical collection composers composition concept considered creative culture Dauney discourse discussion Dissertation early Edinburgh eighteenth century English enharmonic genus essay example figured bass folk music folk song Folklore genius genre George Thomson German Gramit Gregory harmony Haydn Herder Highland human ibid idea idealized imitation implied individual Italian James James Beattie later leading-tone London Lowland Macpherson Marx melodies Mendelssohn minstrels modality modern musicians Musik national music national song nature nineteenth century notes opera Oriental original Ossian Parenthetical citations pastoral peasants pentatonic scale Percy picturesque poems poetry popular music primitive Ramsay represented Ritson Rizzio Romantic Rousseau Schumann Scotch Scotland Scots Scottish music Scottish songs seems sense shepherds specific style Symphony theory Thomson tunes Tytler University Press Volkslied Volkston vols William word writing
Popular passages
Page 78 - Of travellers in some shady haunt, Among Arabian sands : A voice so thrilling ne'er was heard In spring-time from the cuckoo-bird, Breaking the silence of the seas Among the farthest Hebrides.
Page 41 - First follow Nature, and your judgment frame By her just standard, which is still the same: Unerring Nature, still divinely bright, One clear, unchanged, and universal light, Life, force, and beauty, must to all impart, At once the source, and end, and test of Art. Art from that fund each just supply provides; Works without show, and without pomp presides: In some fair body thus th...
Page 78 - REAPER. BEHOLD her, single in the field, Yon solitary Highland Lass! Reaping and singing by herself; Stop here, or gently pass ! Alone she cuts and binds the grain, And sings a melancholy strain; O listen! for the Vale profound Is overflowing with the sound.
Page 18 - I knew a very wise man so much of Sir Chr — 's sentiment, that he believed if a man were permitted to make all the ballads, he need not care who should make the laws of a nation.
Page 78 - Perhaps the plaintive numbers flow For old, unhappy, far-off things, And battles long ago: Or is it some more humble lay, Familiar matter of to-day? Some natural sorrow, loss, or pain, That has been, and may be again? Whate'er the theme, the maiden sang As if her song could have no ending; I saw her singing at her work, And o'er the sickle bending; — I listened, motionless and still; And, as I mounted up the hill The music in my heart I bore, Long after it was heard no more.
Page 78 - Will no one tell me what she sings? — Perhaps the plaintive numbers flow For old, unhappy, far-off things, And battles long ago: Or is it some more humble lay, Familiar matter of to-day? Some natural sorrow, loss, or pain, That has been, and may be again?
Page 86 - Gallegas, hablan las mugeres con los hombres; y es porque ellas son las que componen las coplas, sin artificio alguno; y ellas mismas inventan los tonos, ó ayres á que las han de cantar, sin tener idea del Arte Músico.
Page 64 - ... descends originally from one spring. What we have been long accustomed to call the oriental vein of poetry, because some of the earliest poetical productions have come to us from the east, is probably no more oriental than occidental...
Page 161 - ... violent is the impulse received from poetry and music. The muse, whose effusions are the amusement of a very small part of a polished nation, records, in the lays of inspiration, the history, the laws, the very religion, of savages. Where the pen and the press are wanting, the flow of numbers impresses upon the memory of posterity, the deeds and sentiments of their forefathers.
Page 155 - I took a particular delight in hearing the songs and fables that are come from father to son, and are most in vogue among the common people of the countries through which I passed ; for it is impossible that...