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Bezig met laden... The Triumph of Music: The Rise of Composers, Musicians and Their Artdoor Tim Blanning
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Meld je aan bij LibraryThing om erachter te komen of je dit boek goed zult vinden. Op dit moment geen Discussie gesprekken over dit boek. A little too academic for my taste. The order of presentation was odd and I thought jumbled the message. Learned a few interesting facts, but I can't recommend it as a good read. I'm sure there are other sources that would provide similar information in a more readable and concise manner. ( ) I agree with Bruchu. But I found it more detailed, especially in relation to the popular side of music history which is often overlooked by musos who just survey the composers. It also finds much that is positive about contemporary popular culture that many musicologists are too prejudiced to notice. I found the chapter on Liberation the best: and the discovery of 'serf orchestras" in nineteenth century Russia: "This was a sensible investment, for not only were the serf musicians available to entertain the family in the evenings, they also represented a marketable asset and could be sold if necessary." Highly recommended for nuggets such as this. La mayoría de las historias de la música son muy poco más que una sucesión de compositories, técnicas, géneros y obras. Además, cuando llegan al siglo XX, suelen tomar el camino de lo que se llama en general música clásica, tal vez con algunas incursiones en el jazz, pero dejan de lado el pop o el rock. The Triumph of Music, de Tim Blanning, no es una historia de la música al uso y, en realidad, sirve de poco para alguien que quiera saber en qué se diferenciaban Haydn, Mozart y Beethoven, excepto en un aspecto: Haydn era un fiel (y prestigioso, y rico) criado del príncipe Estherhazy; Mozart, desde que el conde Arco, el jefe de personal del arzobispo Colloredo, le echó, literamente, "con una patada en el culo", se convirtió en un artista independiente; y Beethoven siempre lo fue. Y es que este libro es una especie de historia sociológica de la música, desde cinco puntos de vista: la consideración social de los músicos; el objetivo de la música en cuanto arte; la evolución de los espacios donde se interpreta; la tecnología de los instrumentos; y, finalmente, la relación entre la música y las revoluciones nacionales, raciales y sexuales de los tres últimos siglos. Blanning no se queda en la música clásica, sino que estudia los efectos que ha tenido sobre la música la mecanización de la reproducción (que hizo que a principios del siglo XX se pasase de una sociedad de intérpretes a otra de oyentes). El punto de vista del autor, profesor de historia contemporánea en Cambridge, es el habitual de la música occidental, con Centroeuropa, Francia, Inglaterra e Italia como focos principales (y Estados Unidos en el siglo XX). El signo de la importancia de España en esta historia de la música es que el español más citado en el libro sea Goya. Good Overview Though I did enjoy reading this survey of Western music "triumph" by historian and scholar Tim Blanning, I do want to say first that Blanning's perspective is entirely eurocentric and therefore cannot qualify to speak for the "triumph of music" globally. Having said that, I felt the book did a good job overall blending both cultural and political events together to show how music and its influence shaped the course of European history. Wagner and his nationalist inspired compositions are probably the most strident example. Overall, I think the book is a good survey text, but lacks some depth that cultural historians will be looking for. Many intellectual theories of culture are only superficially covered leaving much to be desired. Still, I'm recommending it for the casual reader who wants to learn more about the rise of music in the European context. geen besprekingen | voeg een bespreking toe
Onderdeel van de uitgeversreeks(en)
A distinguished historian chronicles the rise of music and musicians in the West from lowly balladeers to masters employed by fickle patrons, to the great composers of genius, to today's rock stars. How, he asks, did music progress from subordinate status to its present position of supremacy among the creative arts? Mozart was literally booted out of the service of the Archbishop of Salzburg "with a kick to my arse," as he expressed it. Yet, less than a hundred years later, Europe's most powerful ruler--Emperor William I of Germany--paid homage to Wagner by traveling to Bayreuth to attend the debut of The Ring. Today Bono, who was touted as the next president of the World Bank in 2006, travels the world, advising politicians--and they seem to listen. The path to fame and independence began when new instruments allowed musicians to showcase their creativity, and music publishing allowed masterworks to be performed widely in concert halls erected to accommodate growing public interest. No longer merely an instrument to celebrate the greater glory of a reigning sovereign or Supreme Being, music was, by the nineteenth century, to be worshipped in its own right. In the twentieth century, new technological, social, and spatial forces combined to make music ever more popular and ubiquitous. In a concluding chapter, Tim Blanning considers music in conjunction with nationalism, race, and sex. Although not always in step, music, society, and politics, he shows, march in the same direction. Geen bibliotheekbeschrijvingen gevonden. |
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Google Books — Bezig met laden... GenresDewey Decimale Classificatie (DDC)306.484209Social sciences Social Sciences; Sociology and anthropology Culture and Institutions Specific aspects of culture Recreation and performing arts Music, dance, theater MusicLC-classificatieWaarderingGemiddelde:
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