Catalogue


Cultivating music : the aspirations, interests, and limits of German musical culture, 1770-1848 /
David Gramit.
imprint
Berkeley : University of California Press, c2002.
description
xi, 272 p. ; 24 cm.
ISBN
0520229703 (alk. paper)
format(s)
Book
Holdings
More Details
imprint
Berkeley : University of California Press, c2002.
isbn
0520229703 (alk. paper)
catalogue key
4627890
 
Includes bibliographical references and index.
A Look Inside
About the Author
Author Affiliation
David Gramit is Associate Professor of Music at the University of Alberta.
Excerpts
Flap Copy
"By defining the notion of music as high art in terms of power and authority, David Gramit has removed rigid, canonic assumptions from the study of musical culture of the early nineteenth century, and he has made a major contribution to that subject. The book should be widely read."--William Weber, author ofMusic and the Middle Class: The Social Structure of Concert Life in London, Paris and Vienna between 1830 and 1848 "An important, rich, and multifaceted examination of the growth of bourgeois musical culture. Gramit founds his work on the idea that 'music' is the entire cultural, philosophical, political, social, and economic nexus of practices involved in producing, reproducing, and using the notes 'themselves.' The book paints a fascinating picture of the particular resonance of music in early nineteenth century German culture; but Gramit also shows us the origins of many ideas that determine classical music practices today."--Mary Hunter, author ofThe Culture of Opera Buffa in Mozart's Vienna
Flap Copy
"By defining the notion of music as high art in terms of power and authority, David Gramit has removed rigid, canonic assumptions from the study of musical culture of the early nineteenth century, and he has made a major contribution to that subject. The book should be widely read."--William Weber, author of Music and the Middle Class: The Social Structure of Concert Life in London, Paris and Vienna between 1830 and 1848 "An important, rich, and multifaceted examination of the growth of bourgeois musical culture. Gramit founds his work on the idea that 'music' is the entire cultural, philosophical, political, social, and economic nexus of practices involved in producing, reproducing, and using the notes 'themselves.' The book paints a fascinating picture of the particular resonance of music in early nineteenth century German culture; but Gramit also shows us the origins of many ideas that determine classical music practices today."--Mary Hunter, author of The Culture of Opera Buffa in Mozart's Vienna
Summaries
Bowker Data Service Summary
The author considers the social history of the practice of music in Austro-German culture. He examines the origins of the position of the canon in musicological discourses and how it became an inportant part of middle-class identity.
Main Description
A historical study of the social institutions that supported the cultivation of music as a morally and socially worthy accomplishment in German-speaking lands in the 18th and 19th centuries. The formation of the canon of classical music during this period is related to the social trends Gramit describes.
Main Description
German and Austrian music of the late eighteenth and nineteenth centuries stands at the heart of the Western musical canon. In this innovative study of various cultural practices (such as music journalism and scholarship, singing instruction, and concerts), David Gramit examines how music became an important part of middle-class identity. He investigates historical discourses around such topics as the aesthetic debates over the social significance of folk music, various comparisons of the musical practices of ethnic "others" to the German "norm," and the establishment of the concert as a privileged site of cultural activity. Cultivating Music analyzes the ideologies of German musical discourse during its formative period. Claiming music's importance to both social well-being and individual development, proponents of musical culture sought to secure the status of music as an art integral to bourgeois life. They believed that "music" referred to the autonomous musical work, meaningful in and of itself to those cultivated to experience it properly. The social limits to that cultivation ensured that boundaries of class, gender, and educational attainment preserved the privileged status of music despite (but also by means of) their claims for the "universality" of their canon. Departing from the traditional focus on individual musical works, Gramit considers the social history of the practice of music in Austro-German culture. He examines the origins of the privileged position of the Western canon in musicological discourses and argues that we cannot fully understand the role that canon has played without considering the interests that motivated its creators.
Long Description
German and Austrian music of the late eighteenth and nineteenth centuries stands at the heart of the Western musical canon. In this innovative study of various cultural practices (such as music journalism and scholarship, singing instruction, and concerts), David Gramit examines how music became an important part of middle-class identity. He investigates historical discourses around such topics as the aesthetic debates over the social significance of folk music, various comparisons of the musical practices of ethnic "others" to the German "norm," and the establishment of the concert as a privileged site of cultural activity. Cultivating Musicanalyzes the ideologies of German musical discourse during its formative period. Claiming music's importance to both social well-being and individual development, proponents of musical culture sought to secure the status of music as an art integral to bourgeois life. They believed that "music" referred to the autonomous musical work, meaningful in and of itself to those cultivated to experience it properly. The social limits to that cultivation ensured that boundaries of class, gender, and educational attainment preserved the privileged status of music despite (but also by means of) their claims for the "universality" of their canon. Departing from the traditional focus on individual musical works, Gramit considers the social history of the practice of music in Austro-German culture. He examines the origins of the privileged position of the Western canon in musicological discourses and argues that we cannot fully understand the role that canon has played without considering the interests that motivated its creators.
Table of Contents
Prefacep. ix
Introduction: Cultivating Musicp. 1
Scholarship and the Definition of Musical Culturesp. 27
The Dilemma of the Popular: the Volk, the Composer, and the Culture of Art Musicp. 63
Education and the Social Roles of Musicp. 93
Performing Musical Culture: the Concertp. 125
Afterwordp. 161
Notesp. 167
Bibliographyp. 241
Indexp. 263
Table of Contents provided by Syndetics. All Rights Reserved.

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