Introduction; 1. Function to origin: national identity and national genius emerge, c.1700–80; 2. From pastoral to picturesque: nature, art, and genre in the later eighteenth century; 3. Genius versus Art in the creative process: 'national' and 'cultivated' music as categories, 1760–1800; 4. The invention of folk modality, 1775–1840; 5. 'Folk' and 'tradition': authenticity as musical idiom from the late eighteenth century onward; 6. Organic 'art music' and individual original genius: aestheticizing the folk collective; 7. Local nation and universal folk: the legacy of geography in musical categories; 8. Folk and art music in the modern western world.
A study tracing the origins and implications of the categories 'folk music' and 'art music'.
Review of the hardback: 'The Invention of 'Folk Music' and 'Art
Music' is an important work with a wealth of interesting things to
say to students of the Enlightenment and the Romantic Revival. It
represents a major contribution to the field.' William Donaldson,
author of The Highland Pipe and Scottish Society, 1750–1950,
Eighteenth-Century Scotland
Review of the hardback: 'In the enormity of its subject matter and
breadth of its learning - delightfully leavened by and almost
colloquial writing style that somehow manages to combine
informality with precision - The Invention of 'Folk Music' and 'Art
Music' is an indispensable addition to the general history of
Western musical culture.' Julian Onderdonk, Current Musicology
Review of the hardback: 'This excellent book is part of a series
entitled 'New Perspectives in Music History and Criticism'
dedicated to creating 'a greater space for music in the ongoing
discourse among the human sciences … Reading such sound scholarship
was a great pleasure. Gilbert has used a wide range of sources
judiciously and intelligently. His rational and humane approach
allows him to draw out what is best in the work of even some
contentious scholars … this rich and suggestive book should benefit
anyone who wishes to understand the intellectual background to
studies of tradition, and I highly recommend it.' Paul Cowdell,
Folklore
Review of the hardback: '… crammed Russian doll-like with
information … an important contribution to understanding how
national doctrines become international paradigms, how the 'origins
of music' originated, and how we as musicologists originated, too.'
Music and Letters
Review of the hardback: '… this thoughtful and important book …
brings forward a vital development in the history of European
musical thought which should be of abiding interest to scholars
everywhere …' Journal for the Society of Musicology in Ireland
'… a very fine book that wants to be widely read - by
musicologists, ethnomusicologists, and literary scholars interested
in pursuing the historical interconnections between their fields.'
Journal of the American Musicological Society
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