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books about Musical canon
Gender and the Musical Canon
Marcia J. Citron
University of Illinois Press, 2000
Library of Congress ML3890.C58 2000 | Dewey Decimal 780.82
A classic in gender studies in music, Marcia J. Citron's comprehensive, balanced work lays a broad foundation for the study of women composers and their music. Drawing on a diverse body of feminist and interdisciplinary theory, Citron shows how the western art canon is not intellectually pure but the result of a complex mixture of attitudes, practices, and interests that often go unacknowledged and unchallenged.
Winner of the Pauline Alderman Prize from the International Alliance of Women in Music, Gender and the Musical Canon explores important elements of canon formation, such as notions of creativity, professionalism, and reception. Citron surveys the institutions of power, from performing organizations and the academy to critics and the publishing and recording industries, that affect what goes into the canon and what is kept out. She also documents the nurturing role played by women, including mothers, in cultivating female composers. In a new introduction, she assesses the book's reception by composers and critics, especially the reactions to her controversial reading of Cécile Chaminade's sonata for piano.
A key volume in establishing how the concepts and assumptions that form the western art music canon affect female composers and their music, Gender and the Musical Canon also reveals how these dynamics underpin many of the major issues that affect musicology as a discipline.
Heartland Excursions: Ethnomusicological Reflections on Schools of Music
University of Illinois Press, 1995
Library of Congress MT18.N48 1995 | Dewey Decimal 780.89
In Heartland Excursions, a legendary ethnomusicologist takes the reader along for a delightful, wide-ranging tour of his workplace. Bruno Nettl provides an insightful, sometimes tongue-in-cheek, always pithy ethnography of midwestern university schools of music from a different perspective in each of four chapters, alternating among three distinct voices: the longtime professor, the "native informant," and the outside observer, an "ethnomusicologist from Mars."
If you've ever been to a concert or been connected to a university with a school of music, you ll discover yourself--or someone you know--in these pages.
"In the music building you can't tell the quick from the dead without a program."--Chapter 1, "In the Service of the Masters"
"The great ability of a violin student whom I observed was established when his dean was persuaded to accompany him."--Chapter 2, "Society of Musicians"
"Some teachers of music history would accuse students who listen to Elvis Presley not only of taking time away from hearing Brahms, but also of polluting themselves."--Chapter 3, "A Place for All Musics?"
At commencement, the graduates "were perhaps not aware that they had just participated in an event in which the principal values of the Western musical world . . . had been taken out of storage bins for annual exercise."--Chapter 4, "Forays into the Repertory"
Jazz Among the Discourses
Duke University Press, 1995
Library of Congress ML3507.J36 1995 | Dewey Decimal 781.6509
The study of jazz comes of age with this anthology. One of the first books to consider jazz outside of established critical modes, Jazz Among the Discourses
brings together scholars from an array of disciplines to question and revise conventional methods of writing and thinking about jazz.
Challenging "official jazz histories," the contributors to this volume view jazz through the lenses of comparative literature; African American studies; music, film, and communication theory; English literature; American studies; history; and philosophy. With uncommon rigor and imagination, their essays probe the influence of various discourses—journalism, scholarship, politics, oral history, and entertainment—on writing about jazz. Employing modes of criticism and theory that have transformed study in the humanities, they address questions seldom if ever raised in jazz writing: What are the implications of building jazz history around the medium of the phonograph record? Why did jazz writers first make the claim that jazz is an art? How is an African American aesthetic articulated through the music? What are the consequences of the interaction between the critic and the jazz artist? How does the improvising artist navigate between chaos and discipline?
Along with its companion volume, Representing Jazz
, this versatile anthology marks the arrival of jazz studies as a mature, intellectually independent discipline. Its rethinking of conventional jazz discourse will further strengthen the position of jazz studies within the academy.
Contributors. John Corbett, Steven B. Elworth, Krin Gabbard, Bernard Gendron, William Howland Kenney, Eric Lott, Nathaniel Mackey, Burton Peretti, Ronald M. Radano, Jed Rasula, Lorenzo Thomas, Robert Walser