Cultivating Music
Subtitle: The Aspirations, Interests, and Limits of German Musical Culture, 1770-1848
Publisher: University of California Press
Published: January 7, 2002
Language: eng
Format: Hardcover
Number of pages: 324
ISBN-13: 9780520229709
Subjects: Classical music (c 1750 to c 1830); Jazz; c 1700 to c 1800; c 1800 to c 1900; History and criticism; Europe - Germany; Music/Songbooks; Music; Austria; Germany; Ethnomusicology; History & Criticism - General; Music / General; 18th century; 19th century; Social aspects
First sentence: One of the most suggestive of the many descriptions of musical activity in the autobiography of the Austrian poet Franz Grillparzer dates from his youth in the first decade of the nineteenth century, during the terminal illness of his father: In my melancholy mood at that time I truly felt the need for an external diversion.
Description: "German and Austrian music of the late eighteenth and the nineteenth centuries stands at the heart of the Western musical canon. In this innovative study of various cultural practices (such as music journalism and scholarship, singing instruction, and concerts), David Gramit examines how music became an important part of middle-class identity.

He investigates historical discourses around such topics as the aesthetic debates over the social significance of folk music, various comparisons of the musical practices of ethnic "others" to the German "norm," and the establishment of the concert as a privileged site of cultural activity.".

"Cultivating Music analyzes the ideologies of German musical discourse during its formative period. Claiming music's importance to both social well-being and individual development, proponents of musical culture sought to secure the status of music as an art integral to bourgeois life. They believed that "music" referred to the autonomous musical work, meaningful in and of itself to those cultivated to experience it properly.

The social limits to that cultivation ensured that boundaries of class, gender, and educational attainment preserved the privileged status of music despite (but also by means of) their claims for the "universality" of their canon.".

"Departing from the traditional focus on individual musical works, Gramit considers the social history of the practice of music in Austro-German culture. He examines the origins of the privileged position of the Western canon in musicological discourses and argues that we cannot fully understand the role that canon has played without considering the interests that motivated its creators."--BOOK JACKET.