James H. Johnson: Listening in Paris: A Cultural History (1996)
Filed under book | Tags: · 1700s, 1800s, audience, cultural history, france, listening, music, music history, paris, silence, sociology of music, spectatorship
Beginning with the simple question, “Why did audiences grow silent?” Listening in Paris gives a spectator’s-eye view of opera and concert life from the Old Regime to the Romantic era, describing the transformation in musical experience from social event to profound aesthetic encounter. James H. Johnson recreates the experience of audiences during these rich decades with brio and wit. Woven into the narrative is an analysis of the political, musical, and aesthetic factors that produced more engaged listening. Johnson shows the gradual pacification of audiences from loud and unruly listeners to the attentive public we know today.
Drawing from a wide range of sources–novels, memoirs, police files, personal correspondence, newspaper reviews, architectural plans, and the like–Johnson brings the performances to life: the hubbub of eighteenth-century opera, the exuberance of Revolutionary audiences, Napoleon’s musical authoritarianism, the bourgeoisie’s polite consideration. He singles out the music of Gluck, Haydn, Rossini, and Beethoven as especially important in forging new ways of hearing. This book’s theoretical edge will appeal to cultural and intellectual historians in many fields and periods.
Publisher University of California Press, Berkeley/Los Angeles/London, 1996
Volume 21 of Studies on the History of Society and Culture series
ISBN 0520918231, 9780520918238
384 pages
Christian Kaden, Karsten Mackensen (eds.): Soziale Horizonte von Musik. Ein kommentiertes Lesebuch zur Musiksoziologie (2006) [German, English]
Filed under book | Tags: · music, sociology of music
In Zeiten der Globalisierung und postmoderner Ausdifferenzierung von Gesellschaft und Kultur ist Musikwissenschaft auf ein zeitgemäßes Methodenrepertoire angewiesen. Dieses Lesebuch zu Musik als einem sozialen Tatbestand bietet eine aktuelle Einführung in die Musiksoziologie – verstanden nicht eng, disziplinär, abgrenzend, sondern als zeitgemäße Methode und attraktive Denk- und Wahrnehmungsweise für jeden Studierenden und Lehrenden der Musik oder Musikwissenschaft. Der Band versammelt Beiträge zur Popmusik, zur Musik außereuropäischer Kulturen und zur europäischen Kunstmusik verschiedener Epochen, die von der Institutionsgeschichte bis zur Gender-Forschung reichen. Die Texte stammen von den führenden Autoren aus den letzten 25 Jahren. Vier Originalbeiträge wurden für dieses Studienbuch neu geschrieben. In Kommentaren zu den Aufsätzen, die wichtige Aspekte hervorheben und theoretische Hintergründe wie komplexe Begriffe erläutern, wird die wissenschaftliche “Landschaft” sichtbar, in der über soziale Aspekte von Musik nachgedacht wird. Die Wurzeln bei den “Klassikern” der Musiksoziologie wie Max Weber oder Theodor W. Adorno werden dabei aufgedeckt.
Publisher New York, 2006
ISBN 3761815980, 9783761815984
Length 353 pages
PDF (no OCR)
Comment (0)Georgina Born, David Hesmondhalgh (eds.): Western Music and Its Others. Difference, Representation, and Appropriation in Music (2000)
Filed under book | Tags: · ethnomusicology, music, music history, popular culture, sociology of music
This innovative collection of articles offers a major comprehensive overview of new developments in cultural theory as applied to Western music. Addressing a broad range of primarily twentieth-century music, the authors examine two related phenomena: musical borrowings or appropriations, and how music has been used to construct, evoke, or represent difference of a musical or a sociocultural kind.
The essays scrutinize a diverse body of music and discuss a range of significant examples, among them musical modernism’s idealizing or ambivalent relations with popular, ethnic, and non-Western music; exoticism and orientalism in the experimental music tradition; the representation of others in Hollywood film music; music’s role in the formation and contestation of collective identities, with reference to Jewish and Turkish popular music; and issues of representation and difference in jazz, world music, hip hop, and electronic dance music.
Written by leading scholars from disciplines including historical musicology, sociology, ethnomusicology, anthropology, popular music studies, and film studies, the essays provide unprecedented insights into how cultural identities and differences are constructed in music.
Publisher University of California Press, 2000
ISBN 0520220846, 9780520220843
360 pages
PDF (updated on 2012-9-24)
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