The Invention of ''Folk Music'' and ''Art Music'': Emerging Categories from Ossian to Wagner (New Perspectives in Music History and Criticism)

Cover......Page 1
Half-title......Page 3
Series-title......Page 4
Title......Page 7
Copyright......Page 8
Contents......Page 9
Music Examples......Page 12
Acknowledgements......Page 13
Introduction......Page 15
The special roles of Scotland and Germany......Page 24
1 Function to origin: national identity and national genius emerge, c. 1700-1780......Page 28
High-middle-low as function: genre and style into the eighteenth century......Page 29
The quest for origins begins......Page 34
Scotland\'s profile comes forward on the international stage: the \"Scotch\" songs and tunes......Page 41
David Rizzio versus James I: myths for their respective times......Page 47
2 From pastoral to picturesque: nature, art, and genre in the later eighteenth century......Page 54
Nature as genre: the pastoral and the Scottish before 1760......Page 56
Nature versus civilization: universalism and progress......Page 63
Nature as the Other: the anthropologizing of music......Page 71
Nature and \"the folk\": the \"ancient and Oriental\" come to Europe through Scotland......Page 74
Nature in music: Jean-Jacques Rousseau......Page 80
Nature and the picturesque: the noble savage in the Highland landscape......Page 87
3 Genius versus art in the creative process: \"national\" and \"cultivated\" music as categories, 1760-1800......Page 94
The minstrels and bards of old......Page 95
James Beattie and a new myth of origin: \"national music\" and the \"people\"......Page 101
Revolution: Beattie\'s influence......Page 108
\"National\" versus \"cultivated\" music as predecessors to \"folk\" and \"art\" music......Page 112
Herder......Page 116
4 The invention of folk modality, 1775-1840......Page 125
Before Burney......Page 129
An ancient and Oriental modality......Page 134
Today Scotland, tomorrow the world......Page 142
Credibility and dignity: folk-modal study comes of age......Page 152
The insider as outsider......Page 158
The legacy: folk modality since 1850......Page 161
5 \"Folk\" and \"tradition\": authenticity as musical idiom from the late eighteenth century onward......Page 167
Establishing tradition as part of oral culture......Page 169
Theories of origin and theories of transmission in dissonance......Page 173
From fixed texts to variant \"sets\": the conception of modern folk \"works\"......Page 176
Tradition as social reaction: musical implications of the \"folk\" ideology......Page 181
Authenticity as idiom......Page 186
Werktreue and tradition: printed forms of the national music \"work\"......Page 194
A final myth of origin for traditional music: the benefits of obscurity......Page 200
6 Organic \"art music\" and individual original genius: aestheticizing the folk collective......Page 205
Herder and German idealism: conceiving a new organic, synthetic \"art\"......Page 211
Creative issues in aestheticizing the folk......Page 217
A tale of two receptions, Part 1 the problem of originality......Page 223
A tale of two receptions, Part 2 composing \"as the folk\"......Page 233
7 Local nation and universal folk: the legacy of geography in musical categories......Page 239
Ubiquitous categories: the geographical spread of folk and art music......Page 242
Universalism as idiom: from \"national music\" to \"national art music\"......Page 249
Between center and periphery: \"northern\" music......Page 253
Some approaches to \"national music\" from the German center......Page 259
A final ripple: folk music and art music encounter popular music......Page 270
Our current terminology......Page 274
Implications for viewing the eighteenth century and before......Page 276
Implications for viewing the nineteenth century......Page 280
Implications for viewing the twentieth century, and for thinking about music in today\'s world......Page 285
Index......Page 292