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Once musicians such as Mozart were little more than court servants; now they are multimillionaire superstars wielding more power than politicians. How did this extraordinary change come about? Tim Blanning's brilliantly enjoyable book examines how everything from the cult of the romantic to technology and travel all fed the inexorable rise of music in the West, making it the most dominant and ubiquitous of the art forms. Encompassing balladeers, the great composers, jazz legends and rock gods, this is an enthralling story of power, patronage, creativity and genius.
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. He 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 breaks new ground in the study of music, cultural sociology, and history.
The music of the Strauss family – Johann and his three sons, Johann, Josef and Eduard – enjoys enormous popular appeal. Yet existing biographies have failed to do justice to the family's true significance in nineteenth and early twentieth-century musical history. David Wyn Jones addresses this deficiency, engagingly showing that – from Johann's first engagements in the mid-1820s to the death of Eduard in 1916 – the music making of the family was at the centre of Habsburg Viennese society as it moved between dance hall, concert hall and theatre. The Strauss industry at its height was, he demonstrates, greater than any one of the individuals, with serious personal and domestic consequences including affairs, illness, rivalry and fraud. This zesty biography, spanning over a hundred years of history, brings the dynasty brilliantly to life across a large canvas as it offers fresh and revealing insights into the cultural life of Vienna as a whole.
The Reader's Guide to Music is designed to provide a useful single-volume guide to the ever-increasing number of English language book-length studies in music. Each entry consists of a bibliography of some 3-20 titles and an essay in which these titles are evaluated, by an expert in the field, in light of the history of writing and scholarship on the given topic. The more than 500 entries include not just writings on major composers in music history but also the genres in which they worked (from early chant to rock and roll) and topics important to the various disciplines of music scholarship (from aesthetics to gay/lesbian musicology).