Disciplining Music: Musicology and Its CanonsKatherine Bergeron, Philip V. Bohlman, University of Chicago Press University of Chicago Press, 30 jun 1992 - 220 páginas Provocative and timely, Disciplining Music confronts a topic that has sparked considerable debate in recent years: how do musicians and music scholars "discipline" music in their efforts to confer order and meaning on it? This collection of essays addresses this issue by formulating questions about music's canons—rules that measure and order, negotiate cultural constraints, reconstruct the past, and shape the future. Written by scholars representing the fields of historical musicology, ethnomusicology, and music theory, many of the essays tug and push at the very boundaries of these traditional division within the study of music. "Fortunately, in a blaze of good-humored . . . scholarship, [this] book helps brains unaccustomed to thinking about the future without jeopardizing the past imagine the wonder classical-music life might become if it embraced all people and all musics."—Laurence Vittes, Los Angeles Reader "These essays will force us to rethink our position on many issues. . . [and] advance musicology into the twenty-first century."—Giulio Ongaro, American Music Teacher With essays by Katherine Bergeron, Philip V. Bohlman, Richard Cohn and Douglas Dempster, Philip Gossett, Robert P. Morgan, Bruno Nettl, Don Michael Randel, Ruth A. Solie, and Gary Tomlinson. |
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Índice
| 1 | |
| 10 | |
| 23 | |
| 44 | |
| 64 | |
History and Works That Have No History Reviving Rossinis Neapolitan Operas | 95 |
Ethnomusicologys Challenge to the Canon the Canons Challenge to Ethnomusicology | 116 |
Mozart and the Ethnomusicological Study of Western Culture An Essay in Four Movements | 137 |
Hierarchical Unity Plural Unities Toward a Reconciliation | 156 |
A Lifetime of Chants | 182 |
Epilogue Musics and Canons | 197 |
Contributors | 211 |
Index | 213 |
Términos y frases comunes
aesthetic African-American American Anthropology Baraka Beethoven Bitches Brew Blackfoot Bohlman Bruno Nettl Cage's canon formation chant Chicago Press complex composer compositional concept context critical Davis Davis's fusion dialogical disciplining music discourse Drinker Ermione essay essential ethnomusicology example feminist field figure folk music fusion music genres Gregorian historians individual Italian opera Jaap Kunst jazz language literary meaning Miles Davis Mocquereau motivic Mozart Music and Women Music Building music history music theory musical culture musicians myths Native American music Neapolitan Nettl nineteenth century node non-Western orchestra performance perhaps piece play principles prolongational hierarchy relation relationships repertories role Rossini Rothgeb Schenker Schenkerian scholarly scholars sense significance Signifyin(g social society Solesmes song Sophie structure style symphony Teatro Teatro San Carlo texts tion tonal traditional tropology tune unity University of Chicago University Press values voice-leading Western art music Western music words writing York
Pasajes populares
Página 21 - I suggest in contrast that it is impossible to speak of "masculine" and "feminine" in any meaningful sense in the formal analysis of texts; the political value of literary texts from the standpoint of feminism can be determined only by an investigation of their social functions and effects in relation to the interests of women in a particular historical context, and not by attempting to deduce an abstract literary theory of "masculine" and "feminine," "subversive" and "reactionary" forms in isolation...
Página 75 - The white musician's commitment to jazz, the ultimate concern, proposed that the sub-cultural attitudes that produced the music as a profound expression of human feelings, could be learned and need not be passed on as a secret blood rite.
Página 95 - social-economic" event is not something which it possesses "objectively." It is rather conditioned by the orientation of our cognitive interest, as it arises from the specific cultural significance which we attribute to the particular event in a given case.
Página 29 - Note that this narrative history always claims to relate 'things just as they really happened.' ... In fact, though, in its own covert way, narrative history consists of an interpretation, an authentic philosophy of history. To the narrative historians, the life of men is dominated by dramatic accidents, by the actions of those exceptional beings who occasionally emerge, and who often are the masters of their own fate and even more of ours. And when they speak of 'general history...
Página 74 - What does anti-jazz mean and who are these ofays who've appointed themselves guardians of last year's blues?" It is that simple, really. What does anti-jazz mean? And who coined the phrase? What is the definition of jazz? And who was authorized to make one? Reading a great deal of old jazz criticism is usually like boning up on the social and cultural malaise that characterizes and delineates the bourgeois philistine in America. Even rereading someone as intelligent as Roger Pryor Dodge in the old...
Página 21 - female" are shown to belong to the phallogocentric system. As Culler describes itThe task of feminist criticism in this third moment is to investigate whether the procedures, assumptions, and goals of current criticism are in complicity with the preservation of male authority, and to explore alternatives. It is not a question of rejecting the rational in favor of the irrational, of concentrating on metonymical relations to the exclusion of the metaphorical, or on the signifier to the exclusion of...
Página 19 - In a traditional philosophical opposition we have not a peaceful coexistence of facing terms but a violent hierarchy. One of the terms dominates the other (axiologically, logically, etc.), occupies the commanding position. To deconstruct the opposition is above all, at a particular moment, to reverse the hierarchy.
Página 73 - When we discover that there are several cultures instead of just one and consequently at the time when we acknowledge the end of a sort of cultural monopoly, be it illusory or real, we are threatened with the destruction of our own discovery. Suddenly it becomes possible that there are just others, that we ourselves are an "other
Página 123 - fact" in the Navaho universe is that music is not a general category of activity but has to be divided into specific aspects or kinds of music. I learned, moreover, that beating a drum to accompany oneself in song was not a matter of esthetic choice but a rigid requirement for a particular ceremony, and a discussion of musical instruments was not an esthetic discussion for the Navahos but was, by definition, a discussion of ceremonial esoterica. Similarly, the question, "How do you feel when you...
Página 51 - It is thus possible to make a musical composition the continuity of which is free of individual taste and memory ( psychology ) and also of the literature and "traditions" of the art. The sounds enter the time-space centered within themselves, unimpeded by service to any abstraction, their 360 degrees of circumference free for an infinite play of interpenetration.
Referencias a este libro
La passion musicale: une sociologie de la médiation Antoine Hennion No hay ninguna vista previa disponible - 2007 |
The Study of Ethnomusicology: Thirty-one Issues and Concepts Bruno Nettl Vista previa restringida - 2005 |
Información bibliográfica
| Título | Disciplining Music: Musicology and Its Canons Disciplining Music |
| Editores | Katherine Bergeron, Philip V. Bohlman, University of Chicago Press |
| Edición | ilustrada |
| Editor | University of Chicago Press, 1992 |
| ISBN | 0226043681, 9780226043685 |
| N.º de páginas | 220 páginas |
| Exportar cita | BiBTeX EndNote RefMan |