Idea of Art Music in a Commercial World, 1800-1930
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A32=Catherine Hennessy Wolter
A32=Christina Bashford
A32=David Wright
A32=Denise Gallo
A32=Fiona M. Palmer
A32=George Biddlecombe
A32=Michela Ronzani
A32=Nicholas Vazsonyi
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art and music history
art history
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B01=Christina Bashford
B01=Roberta Montemorra Marvin
capitalism
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commercialism
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cultural studies
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interdisciplinary musicology
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music and culture
musicology
nineteenth century music
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twentieth century music
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Product details
- ISBN 9781783270651
- Weight: 924g
- Dimensions: 156 x 234mm
- Publication Date: 19 May 2016
- Publisher: Boydell & Brewer Ltd
- Publication City/Country: GB
- Product Form: Hardback
- Language: English
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Opens up significant paths for conversation about how musical concepts, practices and products were shaped by interrelationships between culture and commerce.
Art and money, culture and commerce, have long been seen as uncomfortable bedfellows. Indeed, the connections between them have tended to resist full investigation, particularly in the musical sphere. The Idea of Art Music in aCommercial World, 1800-1930, is a collection of essays that present fresh insights into the ways in which art music, i.e., classical music, functioned beyond its newly established aesthetic purpose (art for art's sake) and intersected with commercial agendas in nineteenth- and early twentieth-century culture. Understanding how art music was portrayed and perceived in a modernizing marketplace, and how culture and commerce interacted, are the book's main goals.
In this volume, international scholars from musicology and other disciplines address a range of unexplored topics, including the relationship of sacred music with commerce in the mid nineteenth century, the roleof music in urban cultural development in the early twentieth, and the marketing of musical repertories, performers and instruments across time and place, to investigate what happened once art music began to be understood as needing to exist within the wider framework of commercially oriented culture. Historical case studies present contrasting topics and themes that not only vary geographically and ideologically but also overlap in significant ways, pushing back the boundaries of the 'music as commerce' discussion. Through diverse, multidisciplinary approaches, the volume opens up significant paths for conversation about how musical concepts, practices and products were shaped byinterrelationships between culture and commerce.
CHRISTINA BASHFORD is Associate Professor of Musicology at the University of Illinois.
ROBERTA MONTEMORRA MARVIN is Director of the Opera Studies Forum in the Obermann Center for Advanced Studies at the University of Iowa, where she is also on the faculty.
CONTRIBUTORS: Christina Bashford, George Biddlecombe, Denise Gallo, David Gramit, Catherine Hennessy Wolter, Roberta Montemorra Marvin, Fiona Palmer, Jann Pasler, Michela Ronzani, Jon Solomon, Jeffrey S. Sposato, Nicholas Vazsonyi, David Wright
