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Scotland and the emergence of "folk ...

Gelbart, Matthew Benjamin.

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Scotland and the emergence of "folk music" and "art music" in Europe, 1720--1850.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Scotland and the emergence of "folk music" and "art music" in Europe, 1720--1850./
Author:	Gelbart, Matthew Benjamin.
Description:	480 p.
Notes:	Source: Dissertation Abstracts International, Volume: 64-02, Section: A, page: 0328.
Contained By:	Dissertation Abstracts International64-02A.
Subject:	Music. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3082195
ISBN:	0496300466

Scotland and the emergence of "folk music" and "art music" in Europe, 1720--1850.
Gelbart, Matthew Benjamin.

Scotland and the emergence of "folk music" and "art music" in Europe, 1720--1850. - 480 p.

Source: Dissertation Abstracts International, Volume: 64-02, Section: A, page: 0328.

Thesis (Ph.D.)--University of California, Berkeley, 2002.

This study investigates the way the categories "folk music" and "art music" came into being around the turn of the nineteenth century, their meanings being formed largely in relationship to one another. I argue that before this time, music was categorized more by its social function, emphasizing constructs such as genre---whereas the concepts of "folk music" and "art music" ultimately rest on distinctions in origin rather than function, despite the multivalent uses of the terms. I focus on the way Scottish music was received, at home and throughout Europe. Because of Scotland's reputation and high profile, especially after James MacPherson's "Ossian" publications, notions of Scottish music helped catalyze the creation of the "folk music" and "art music" concepts.

ISBN: 0496300466Subjects--Topical Terms:

516178
Music.

Scotland and the emergence of "folk music" and "art music" in Europe, 1720--1850.
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100 1 $a Gelbart, Matthew Benjamin. $3 1935168
245 1 0 $a Scotland and the emergence of "folk music" and "art music" in Europe, 1720--1850.
300 $a 480 p.
500 $a Source: Dissertation Abstracts International, Volume: 64-02, Section: A, page: 0328.
500 $a Chair: Anthony Newcomb.
502 $a Thesis (Ph.D.)--University of California, Berkeley, 2002.
520 $a This study investigates the way the categories "folk music" and "art music" came into being around the turn of the nineteenth century, their meanings being formed largely in relationship to one another. I argue that before this time, music was categorized more by its social function, emphasizing constructs such as genre---whereas the concepts of "folk music" and "art music" ultimately rest on distinctions in origin rather than function, despite the multivalent uses of the terms. I focus on the way Scottish music was received, at home and throughout Europe. Because of Scotland's reputation and high profile, especially after James MacPherson's "Ossian" publications, notions of Scottish music helped catalyze the creation of the "folk music" and "art music" concepts.
520 $a I focus on how the connotations of words such as "national," "nature," "art," and "genius" changed across the eighteenth and early nineteenth centuries, coming to support the new categorization of music into "folk" and "art." Emerging notions of national identity helped turn music into cultural capital, which drew attention toward the origins of specific musical texts (at first in a geographic sense), and away from music's functions on specific occasions. Later, the idea of "nature," which had previously been conceived as a universal and stable framework including all humanity, became embroiled in a new teleological historiography positing "primitive" others as "natural" foils to "civilized" Europeans. Largely due to Ossian's impact, the idea of the "folk" was added to this group of supposed "primitives." As a side effect of the attention to "national" and "natural" origins (themselves now closely linked), musicians became increasingly interested in the idea of "organic" "original genius"---resulting in a distinction between two different kinds of musical "genius": individual and collective. This last polarization was the final element in the modern distinction between "folk music" and "art music."
520 $a Having traced the formation of the concepts, in the second half of the study I turn to their impact on musical theory and practice in the early years, and extending forward to the present or recent past. The categories have continued to inspire, but also to entrap musicians, audiences, and scholars ever since their inception.
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650 4 $a Music. $3 516178
650 4 $a History, European. $3 1018076
650 4 $a Folklore. $3 528224
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690 $a 0335
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710 2 0 $a University of California, Berkeley. $3 687832
773 0 $t Dissertation Abstracts International $g 64-02A.
790 1 0 $a Newcomb, Anthony, $e advisor
790 $a 0028
791 $a Ph.D.
792 $a 2002
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3082195