Derek B. Scott
The phrase "popular music revolution" may instantly bring to mind such twentieth-century musical movements as jazz and rock 'n' roll. In Sounds of the Metropolis, however, Derek Scott argues that the first popular music revolution actually occurred in the nineteenth century, illustrating how a
distinct group of popular styles first began to assert their independence and values. London, New York, Paris, and Vienna feature prominently as cities in which the challenge to the classical tradition was strongest, and in which original and influential forms of popular music arose, from Viennese
waltz and polka to vaudeville and cabaret.
Scott explains the popular music revolution as driven by social changes and the incorporation of music into a system of capitalist enterprise, which ultimately resulted in a polarization between musical entertainment (or "commercial" music)
and "serious" art. He focuses on the key genres and styles that precipitated musical change at that time, and that continued to have an impact upon popular music in the next century. By the end of the nineteenth century, popular music could no longer be viewed as watered down or more easily
assimilated art music; it had its own characteristic techniques, forms, and devices. As Scott shows, "popular" refers here, for the first time, not only to the music's reception, but also to the presence of these specific features of style. The shift in meaning of "popular" provided critics with
tools to condemn music that bore the signs of the popular-which they regarded as fashionable and facile, rather than progressive and serious.
A fresh and persuasive consideration of the genesis of popular music on its own terms, Sounds of the Metropolis will appeal to students of
music, cultural sociology, and history.
Introduction
Part 1: The Social Context of the Popular Music Revolution
1. Professionalism and Commercialism
Concerts and Music Halls
The Sheet Music Trade
The Piano Trade
Copyright and Performing Right
The Star System
2. New Markets for Cultural Goods
Entrepreneurship
Promenade Concerts
Dance Music
Music Hall and Café-Concert
Blackface Minstrelsy, Black Musicals, and Vaudeville
Operetta
3. Music, Morals, and Social Order
Respectability and Improvement
Physical Threats to Morality
Public and Private Morality
Threats to Social Order
Threats to Public Morality
4. The Rift Between Art and Entertainment
Light Music vs. Serious Music
Art, Taste, and Status
Opera vs. Operetta
Folk Music: Edification for the Uncritical
Part 2: Studies of Revolutionary Popular Genres
5. A Revolution on the Dance Floor, a Revolution in Musical Style
The Viennese Waltz, Unterhaltungsmusik and Popular Style
Stylistic Features
Music and Business
Class and the Metropolis
Artiness and Seriousness
6. Blackface Minstrels, Black Minstrels and Their European Reception
Seeking the Black Beneath the Blackface
England's Pre-eminent Troupes
Black Troupes
Minstrel Contradictions
The Minstrel Legacy
7. The Music Hall Cockney: Flesh and Blood, or Replicant?
Phase 1: Parody
Phase 2: The Character-Type
Phase 3: The Imagined Rea
8. No Smoke Without Water: The Incoherent Message of Montmartre Cabaret
The Chat Noir and Aristide Bruant
Other Cabaret Artists
Yvette Guilbert
The Proliferation of Artistic Cabarets
Cabaret and the Avant-Garde
Notes
Bibliography/Index
There are no Instructor/Student Resources available at this time.
Derek B. Scott is Professor of Critical Musicology at the University of Leeds, UK. He is the author of the The Singing Bourgeois (2nd ed, 2001), From the Erotic to the Demonic: On Critical Musicology (OUP, 2003), editor of Music, Culture and Society: A Reader (OUP 2000), and general editor of
Ashgate's Popular and Folk Music Series. He has been at the forefront in identifying changes of critical perspective in music and sociology.
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