This reader collects some of the most important essays on the relationship between culture and music. The topic has received enormous attention over the last few decades, transforming musicology throughout much of the Western world. The essays examine the connections between music and such diverse areas as language, the body, class, production, and consumption. Among the contributors are Jacques Attali, John Blacking, Michel Foucault, Lydia Goehr, Lawrence Kramer, Portia Maultsby, Rose Rosengard-Subotnik, Theodor Adorno, and Ero Tarasti. The collection provides an ideal introduction for…mehr
This reader collects some of the most important essays on the relationship between culture and music. The topic has received enormous attention over the last few decades, transforming musicology throughout much of the Western world. The essays examine the connections between music and such diverse areas as language, the body, class, production, and consumption. Among the contributors are Jacques Attali, John Blacking, Michel Foucault, Lydia Goehr, Lawrence Kramer, Portia Maultsby, Rose Rosengard-Subotnik, Theodor Adorno, and Ero Tarasti. The collection provides an ideal introduction for students of music, sociology and cultural studies and for anyone interested in contemporary musicology.
Derek B. Scott is Head of Department and Chair of Music at the University of Salford
Inhaltsangabe
Preface Acknowledgements Introduction: Music, Culture, and Society: Changes in Perspective PART I: MUSIC AND LANGUAGE Introduction 1: Harold Powers: An Overview 2: Deryck Cooke: On Musical Communication 3: Leonard Bernstein: On Musical Semantics 4: Patricia Tunstall: On Musical Structuralism 5: Eero Tarasti: On Music and Myth 6: Gino Stefani: On the Semiotics of Music PART II: MUSIC AND THE BODY (GENDER, SEXUALITY, AND ETHNICITY) Introduction 1: Simon Frith and Angela Robbie: On the Expression of Sexuality 2: Jenny Taylor and Dave Laing: On the Representation of Sexuality 3: Charles Ford: On Music and Masculinity 4: Elizabeth Wood: On the Sapphonic Voice 5: David Hatch and Stephen Millward: On Black Music and Authenticity 6: Portia Maultsby: On Africanisms 7: John Blacking: On Musical Behaviour 8: Richard Leppert: On Music and Dance 9: Ralph Locke: On Music and Orientalism PART III: MUSIC AND CLASS Introduction 1: Theodor Adorno: On Classes and Strata 2: David Harker: On Industrial Folksong 3: Derek Scott: On Music and Hegemony 4: Paul Willis: On Subculture and Homology 5: Richard Middleton: On Articulating the Popular 6: Dai Griffiths: On Grammar Schoolboy Music PART IV: MUSIC AND CRITICISM Introduction 1: Graham Vullaimy: On Music and the Idea of Mass Culture 2: Lucy Green: On Musical Experience 3: Allan Moore: On the Pop-Classical Split 4: Michel Foucault and Pierre Boulez: On Music and Reception 5: Rose Rosengard-Subotnik: On Deconstructing Structural Listening 6: Lawrence Kramer: On Deconstructive Text-Music Relationships 7: Steve Sweeney-Turner: On Dialectics Versus Deconstruction PART V: MUSIC PRODUCTION AND CONSUMPTION Introduction 1: Paddy Scannell: On Music and Dissemination 2: Evan Eisenberg: On Phonography 3: Lydia Goehr: On the Musical Work-Concept 4: Peter Wicke: On the Economics of Popular Music 5: Peter Martin: On Changing Technology 6: Jacques Attali: On Musical Reproduction (Exchange-Object and Use-Object) 7: J. Shepherd and J. Giles-Davies: On the Negotiation of Meaning 8: Andrew Goodwin: On Popular Music and Postmodernism References Brief Explanatory Notes on Theory Index
Preface Acknowledgements Introduction: Music, Culture, and Society: Changes in Perspective PART I: MUSIC AND LANGUAGE Introduction 1: Harold Powers: An Overview 2: Deryck Cooke: On Musical Communication 3: Leonard Bernstein: On Musical Semantics 4: Patricia Tunstall: On Musical Structuralism 5: Eero Tarasti: On Music and Myth 6: Gino Stefani: On the Semiotics of Music PART II: MUSIC AND THE BODY (GENDER, SEXUALITY, AND ETHNICITY) Introduction 1: Simon Frith and Angela Robbie: On the Expression of Sexuality 2: Jenny Taylor and Dave Laing: On the Representation of Sexuality 3: Charles Ford: On Music and Masculinity 4: Elizabeth Wood: On the Sapphonic Voice 5: David Hatch and Stephen Millward: On Black Music and Authenticity 6: Portia Maultsby: On Africanisms 7: John Blacking: On Musical Behaviour 8: Richard Leppert: On Music and Dance 9: Ralph Locke: On Music and Orientalism PART III: MUSIC AND CLASS Introduction 1: Theodor Adorno: On Classes and Strata 2: David Harker: On Industrial Folksong 3: Derek Scott: On Music and Hegemony 4: Paul Willis: On Subculture and Homology 5: Richard Middleton: On Articulating the Popular 6: Dai Griffiths: On Grammar Schoolboy Music PART IV: MUSIC AND CRITICISM Introduction 1: Graham Vullaimy: On Music and the Idea of Mass Culture 2: Lucy Green: On Musical Experience 3: Allan Moore: On the Pop-Classical Split 4: Michel Foucault and Pierre Boulez: On Music and Reception 5: Rose Rosengard-Subotnik: On Deconstructing Structural Listening 6: Lawrence Kramer: On Deconstructive Text-Music Relationships 7: Steve Sweeney-Turner: On Dialectics Versus Deconstruction PART V: MUSIC PRODUCTION AND CONSUMPTION Introduction 1: Paddy Scannell: On Music and Dissemination 2: Evan Eisenberg: On Phonography 3: Lydia Goehr: On the Musical Work-Concept 4: Peter Wicke: On the Economics of Popular Music 5: Peter Martin: On Changing Technology 6: Jacques Attali: On Musical Reproduction (Exchange-Object and Use-Object) 7: J. Shepherd and J. Giles-Davies: On the Negotiation of Meaning 8: Andrew Goodwin: On Popular Music and Postmodernism References Brief Explanatory Notes on Theory Index
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