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Triumph of Music: The Rise of Composers, Musicians and Their Art [Mīkstie vāki]

3.74/5 (126 ratings by Goodreads)
  • Formāts: Paperback / softback, 432 pages, height x width: 225x149 mm, 87 halftones; 2 tables
  • Izdošanas datums: 15-Nov-2010
  • Izdevniecība: The Belknap Press
  • ISBN-10: 0674057090
  • ISBN-13: 9780674057098
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  • Cena: 27,34 €
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  • Formāts: Paperback / softback, 432 pages, height x width: 225x149 mm, 87 halftones; 2 tables
  • Izdošanas datums: 15-Nov-2010
  • Izdevniecība: The Belknap Press
  • ISBN-10: 0674057090
  • ISBN-13: 9780674057098
Citas grāmatas par šo tēmu:
From great composers and celebrated masters hired by notable patrons to the rock stars of today, the history of music and the celebrity status received by some its creators are reviewed, along with specific chapters dealing with nationalism, sex, and race and its impact on society, culture, and politics.

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.



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.

Recenzijas

Trenchant, wise and richly ironic, Tim Blanning's book travels spectacular distances between Plato and Elton John, Baroque liturgy and Robbie Williams, opera seria and internet downloads. With a masterly eye for detail he explains why music and audiences are interdependent and reveals the enduring potency of music as a sovereign art. -- Jonathan Keates, author of The Siege of Venice Tim Blanning's The Triumph of Music is an absorbing study of how the composition and performance of music responded to radically changing conditions--religious, political, social, technological--until, in an era of electronic production and the iPod, it has become the most diverse, ubiquitous, influential, and financially rewarding of all the creative arts. -- M. H. Abrams Blanning's provocative thesis is that music has become our most dynamic and successful art form, its history an extraordinary journey to cultural supremacy. An altogether delightful book. -- James Sheehan, Stanford University Drawing on examples ranging across the last four centuries, Blanning traces the path of music from its place as servant to its current position of supremacy over all other arts in terms of status, influence, and material rewards. The author intermixes popular and classical music and musicians, jumping back and forth from one era to another, from the concert hall to the iPod, to demonstrate how music has reinforced various social and political agendas...This is not intended to be a history of music; it is a brilliantly written history of the steady growth of the power of music and its performers. -- Timothy J. McGee * Library Journal * This is a provocative and amusing book. Blanning describes not the triumph of good music but the development of Western music generally, from an aristocratic court frill to a powerful social force. * The Atlantic * Very entertaining...[ Blanning] makes [ his case] with grace, humor and a mountain of fascinating detail. -- Peter Keepnews * New York Times Book Review * This isn't a history of music but a work connecting music to politics and culture to show how it becomes integral to the souls of specific nations and groups. Music, it implies, will remain when other arts fade away. -- Alan Hirsch * Booklist * The Triumph of Music succeeds in its goal of describing music as an instrument of cultural and political change...Perhaps the most interesting chapter of The Triumph of Music is the one concerning music's mobilizing and liberating power in politics and culture. Blanning elegantly describes music's influential role in the rise of nationalism...The Triumph of Music is certainly topical--in both senses of the word. It succeeds as cultural history and has the added attraction of being full of good stories told in an amusingly irreverent style. -- James Penrose * New Criterion * The position of musicians in society and the mechanisms by which they reach their audiences are explored in fascinating depth. The book is not about music itself, but about its creators and consumers. Blanning evokes the life of the eighteenth-century musician with marvelous clarity; Haydn is particularly well treated, and the shifting status of musicians in the revolutionary period is held under the historian's sharp gaze. As a social history of music in the period from Bach to Wagner, the book is penetrating and richly documented. There are fascinating nuggets of information throughout, illuminating but not detracting from the chronicle of musicians and the responses of audiences, politicians, and critics. -- Hugh MacDonald * Times Literary Supplement * The Triumph of Music bulges with interesting facts and factoids...Blanning's is a more-often-than-not fascinating and impassioned book. -- Peter Jacobi * Herald-Times * The book is full of illuminating, often surprising and usually arresting details, as well as some excellent illustrations. If you would like to know why Louis XIV built Versailles and how he made it the center of the universe, why brass bands became the excitement of the working class, and how melody could inspire and even create nations, you will find riches in these pages. -- Elaine Sisman * New Leader *

Papildus informācija

Trenchant, wise and richly ironic, Tim Blanning's book travels spectacular distances between Plato and Elton John, Baroque liturgy and Robbie Williams, opera seria and internet downloads. With a masterly eye for detail he explains why music and audiences are interdependent and reveals the enduring potency of music as a sovereign art. -- Jonathan Keates, author of The Siege of Venice Tim Blanning's The Triumph of Music is an absorbing study of how the composition and performance of music responded to radically changing conditions--religious, political, social, technological--until, in an era of electronic production and the iPod, it has become the most diverse, ubiquitous, influential, and financially rewarding of all the creative arts. -- M. H. Abrams Blanning's provocative thesis is that music has become our most dynamic and successful art form, its history an extraordinary journey to cultural supremacy. An altogether delightful book. -- James Sheehan, Stanford University
Preface ix
Introduction 1(6)
1 Status: 'You Are A God-Man, The True Artist By God's Grace' 7(66)
The Musician as Slave and Servant
7(10)
Handel, Haydn and the Liberation of the Musician
17(13)
Mozart, Beethoven and the Perils of the Public Sphere
30(15)
Rossini, Paganini, Liszt—the Musician as Charismatic Hero
45(12)
Richard Wagner and the Apotheosis of the Musician
57(3)
The Triumph of the Musician in the Modern World
60(13)
2 Purpose: 'Music Is The Most Romantic Of All The Arts' 73(49)
Louis XIV and the Assertion of Power
73(5)
Opera and the Representation of Social Status
78(4)
Bach, Handel and the Worship of God
82(3)
Concerts and the Public Sphere
85(4)
The Secularisation of Society, the Sacralisation of Music
89(2)
The Romantic Revolution
91(7)
Beethoven as Hero and Genius
98(3)
Problems with the Public
101(3)
Wagner and Bayreuth
104(7)
The Invention of Classical Music
111(3)
Jazz and Romanticism
114(3)
Rock and Romanticism
117(5)
3 Places And Spaces: From Palace To Stadium 122(51)
Churches and Opera Houses
122(9)
Concerts in Pubs and Palaces
131(3)
Concert Halls and the Sacralisation of Music
134(5)
Temples for Music
139(8)
Two Ways of Elevating Music—Bayreuth and Paris
147(6)
The Democratisation of Musical Space
153(10)
Places and Spaces for the Masses
163(10)
4 Technology: From Stradivarius To Stratocaster 173(58)
Musical Gas and Other Inventions
173(7)
Pianos for the Middle Classes
180(8)
Valves, Keys and Saxophones
188(9)
Recording
197(7)
Radio and Television
204(5)
The Electrification of Youth Culture
209(15)
The Triumph of Technology
224(7)
5 Liberation: Nation, People, Sex 231(94)
National Pride and Prejudice
231(9)
Rule Britannia? Aux Armes, Citoyens!
240(24)
Liberation in Italy
264(8)
Deutschland, Deutschland fiber Alles
272(13)
From the Woods and Meadows of Bohemia
285(7)
A Life for the Tsar
292(8)
Race and Rebellion
300(11)
Sex
311(14)
Conclusion 325(7)
Chronology 332(11)
Further Reading 343(10)
Notes 353(48)
Illustration Credits 401(4)
Index 405
Tim Blanning is Professor Emeritus of Modern European History and Fellow of Sidney Sussex College, University of Cambridge. He is the author of The Pursuit of Glory: Europe 16481815.