Musicology: The Key Concepts (Routledge Key Guides) PDF
Preview Musicology: The Key Concepts (Routledge Key Guides)
Musicology Now in an updated second edition, Musicology: The Key Concepts is a concise A–Z refer- ence guide to the terms and concepts associated with contemporary musicology. This edi- tion contains significant revision to the original edition and includes twenty new entries: • Autobiography • Cold War • Conflict (music and conflict) • Consciousness • Creativity • Decadence • Disability • Ecomusicology • Emotion • Ethics (music and ethics) • Film music • Form • Gesture • Lateness (late works/late style) • Listening • 9/11 • Politics (music and politics) • Popular musicology • Sound/soundscape/sound studies • Stance With all entries updated, and suggestions for further reading throughout, this text is an essential resource for all students of music, musicology, and wider performance- related humanities disciplines. David Beard is Senior Lecturer in Music at Cardiff University, UK. He has pub- lished widely in peer-reviewed journals, including Cambridge Opera Journal, Music Analysis, and Twentieth-Century Music, and is the author of Harrison Birtwistle’s Operas and Music Theatre (2012). He co-edited Harrison Birtwistle Studies (2015) and has con- tributed chapters to Ancient Drama in Music for the Modern Stage (2010) and Peter Maxwell Davies Studies (2009). He sits on the editorial board of the journal Music & Letters. Kenneth Gloag is Professor of Music at Cardiff University, UK. His publications include books on Tippett’s A Child of Our Time (1999) and Nicolas Maw’s Odyssey (2008). He is the author of Postmodernism in Music (2012), and has co-edited and con- tributed chapters to Peter Maxwell Davies Studies (2009), The Cambridge Companion to Michael Tippett (2013), and Harrison Birtwistle Studies (2015). He was inaugural reviews editor of the journal Twentieth-Century Music (2004–12). Also available from Routledge Blues The Basics Dick Weissman Music Business The Key Concepts Richard Strasser Popular Music Culture The Key Concepts Roy Shuker World Music The Basics Richard Nidel Musicology The Key Concepts Second Edition David Beard and Kenneth Gloag Second edition published 2016 by Routledge 2 Park Square, Milton Park, Abingdon, Oxon, OX14 4RN and by Routledge 711 Third Avenue, New York, NY 10017, USA Routledge is an imprint of the Taylor & Francis Group, an informa business © 2016 Taylor & Francis The right of David Beard and Kenneth Gloag to be identified as authors of this work has been asserted by them in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988. All rights reserved. No part of this book may be reprinted or reproduced or utilized in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. Trademark notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe. First edition published 2005 British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Library of Congress Cataloging in Publication Data Beard, David, 1971- author. Musicology : the key concepts / David Beard and Kenneth Gloag. — 2nd edition. pages cm Includes bibliographical references and index. 1. Musicology. I. Gloag, Kenneth, author. II. Title. ML3797.B35 2016 780.72—dc23 2015027777 ISBN: 978-0-415-67967-1 (hbk) ISBN: 978-0-415-67968-8 (pbk) ISBN: 978-1-315-64746-3 (ebk) Typeset in Bembo by Swales & Willis Ltd, Exeter, Devon, UK Contents List of key concepts vi Acknowledgements viii Note on the text ix Preface to the second edition x Introduction xi KEY CONCEPTS 1 Bibliography 262 Name index 337 Subject index 348 List of key concepts absolute ecomusicology aesthetics emotion alterity Enlightenment analysis ethics (music and ethics) authenticity ethnicity autobiography autonomy feminism avant-garde film music form biography (life and work) formalism body gay musicology canon gender class genius Cold War genre conflict (music and conflict) gesture consciousness globalization cover version creativity hermeneutics critical musicology historical musicology critical theory historicism criticism historiography cultural studies hybridity culture culture industry identity ideology decadence influence deconstruction interpretation diegetic/nondiegetic intertextuality disability discourse jazz List of key concepts vii landscape post-structuralism language psychology lateness (late works/late style) listening race reception Marxism recording meaning Renaissance metaphor Romanticism modernism semiotics narrative sketch nationalism sound/soundscape/sound studies new musicology stance 9/11 structuralism style organicism subject position Orientalism subjectivity sublime periodization place theory politics (music and politics) tradition popular music popular musicology value positivism postcolonial/postcolonialism work postmodernism Acknowledgements The idea for the original version of this book emerged through our expe- rience of teaching undergraduate and postgraduate students in music at Cardiff University, and we would like to thank all who helped produce the positive atmosphere within which both the original and this revised version were developed. Several colleagues at Cardiff University provided valuable support and advice for the undertaking and completion of this new, revised edition. In particular we would like to thank Sarah Hill, Keith Chapin, Peter Sedgwick and Charles Wilson for their input. We would also like to thank the School of Music at Cardiff University for providing financial support, and Alicia Stark for her assistance with the bibliography and index. Finally, this book would not have been possible without the support and patience of family and friends, in particular Danijela Špiric´-Beard, the editorial staff at Routledge, especially Constance Ditzel, Genevieve Aoki, Aurora Montgomery, Sophie Thomson and Iram Satti, and our copyeditor Judith Forshaw. Note on the text The aim of this book is to make available a range of ideas for further consideration and discussion. We have therefore attempted as far as pos- sible to use modern editions of texts that the reader is most likely to have access to. In some cases this takes the form of anthologies and transla- tions. For example, when we refer to Kant’s Critique of Judgement, we base our references on the extracts translated and published by le Huray and Day in their superb collection entitled Music and Aesthetics in the Eighteenth and Early Nineteenth Centuries (le Huray and Day 1981), which is more likely to be available in a music library than is Kant’s complete text. We hope that this will form a first point of contact with specific concepts and contexts, providing a pathway towards complete texts and related concepts. Using this book as a point of entry means that it does not constitute a primary text as such; rather, its purpose is to direct, and we expect that students will follow these directions – to ideas, texts, music – and in doing so they will engage with the relevant sources and not become dependent on our work or on the examples and interpreta- tions that we provide. Bibliographical references are given throughout using the author–date system. However, where we make passing reference to a year of publica- tion without the author’s name in parentheses, this is intended to give only a historical location and not to form part of the reference system. Dates of historical figures, such as composers and philosophers, are given in the name index, and cross-references are indicated in bold.
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