Sounds of the Metropolis
The 19th-Century Popular Music Revolution in London, New York, Paris, and Vienna
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Product details:
- Edition number and title New York
- Publisher OUP USA
- Date of Publication 14 August 2008
- ISBN 9780195309461
- Binding Hardback
- No. of pages320 pages
- Size 163x236x20 mm
- Weight 590 g
- Language English
- Illustrations 10 figures, 60 music examples 0
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Short description:
The phrase "popular music revolution" may instantly bring to mind such twentieth-century musical movements as jazz and rock 'n' roll. In Sounds of the Metropolis, however, Derek Scott argues that the first popular music revolution actually occurred in the nineteenth century, illustrating how a distinct group of popular styles first began to assert their independence and values. London, New York, Paris, and Vienna feature prominently as cities in which the challenge to the classical tradition was strongest, and in which original and influential forms of popular music arose, from Viennese waltz and polka to vaudeville and cabaret.
MoreLong description:
The phrase "popular music revolution" may instantly bring to mind such twentieth-century musical movements as jazz and rock 'n' roll. In Sounds of the Metropolis, however, Derek Scott argues that the first popular music revolution actually occurred in the nineteenth century, illustrating how a distinct group of popular styles first began to assert their independence and values. London, New York, Paris, and Vienna feature prominently as cities in which the challenge to the classical tradition was strongest, and in which original and influential forms of popular music arose, from Viennese waltz and polka to vaudeville and cabaret.
Scott explains the popular music revolution as driven by social changes and the incorporation of music into a system of capitalist enterprise, which ultimately resulted in a polarization between musical entertainment (or "commercial" music) and "serious" art. He focuses on the key genres and styles that precipitated musical change at that time, and that continued to have an impact upon popular music in the next century. By the end of the nineteenth century, popular music could no longer be viewed as watered down or more easily assimilated art music; it had its own characteristic techniques, forms, and devices. As Scott shows, "popular" refers here, for the first time, not only to the music's reception, but also to the presence of these specific features of style. The shift in meaning of "popular" provided critics with tools to condemn music that bore the signs of the popular-which they regarded as fashionable and facile, rather than progressive and serious.
A fresh and persuasive consideration of the genesis of popular music on its own terms, Sounds of the Metropolis will appeal to students of music, cultural sociology, and history.
this is a most informative and stimulating book, which I recommend not only to all lovers of antiquated pop music, but to everyone who has ever wondered how Western music got into its present odd state
Table of Contents:
Introduction
Part 1: The Social Context of the Popular Music Revolution
Professionalism and Commercialism
Concerts and Music Halls
The Sheet Music Trade
The Piano Trade
Copyright and Performing Right
The Star System
New Markets for Cultural Goods
Entrepreneurship
Promenade Concerts
Dance Music
Music Hall and Café-Concert
Blackface Minstrelsy, Black Musicals, and Vaudeville
Operetta
Music, Morals, and Social Order
Respectability and Improvement
Physical Threats to Morality
Public and Private Morality
Threats to Social Order
Threats to Public Morality
The Rift Between Art and Entertainment
Light Music vs. Serious Music
Art, Taste, and Status
Opera vs. Operetta
Folk Music: Edification for the Uncritical
Part 2: Studies of Revolutionary Popular Genres
A Revolution on the Dance Floor, a Revolution in Musical Style
The Viennese Waltz, Unterhaltungsmusik and Popular Style
Stylistic Features
Music and Business
Class and the Metropolis
Artiness and Seriousness
Blackface Minstrels, Black Minstrels and Their European Reception
Seeking the Black Beneath the Blackface
England's Pre-eminent Troupes
Black Troupes
Minstrel Contradictions
The Minstrel Legacy
The Music Hall Cockney: Flesh and Blood, or Replicant?
Phase 1: Parody
Phase 2: The Character-Type
Phase 3: The Imagined Rea
No Smoke Without Water: The Incoherent Message of Montmartre Cabaret
The Chat Noir and Aristide Bruant
Other Cabaret Artists
Yvette Guilbert
The Proliferation of Artistic Cabarets
Cabaret and the Avant-Garde
Notes
Bibliography/Index
English Rule in Gascony, 1199-1259, with Special Reference to the Towns
8 354 HUF
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