The making of "European music" in the long eighteenth century / D. R. M. Irving.
| Author/creator | Irving, D. R. M., 1981- |
| Other author | Oxford University Press. |
| Format | Electronic |
| Edition | [1.] |
| Publication Info | New York, NY : Oxford University Press, 2024. |
| Description | pages cm |
| Supplemental Content | Full text available from Oxford Scholarship Online |
| Subjects |
| Series | New cultural history of music |
| Contents | Introduction. Musics of Continents and Hemispheres. Part I. "Europe" in Music, Music in "Europe". Musical Constructions of Europe in Myth and Allegory ; Europe as Place : Music and the Imagined Extent of a Continent -- Part II. "European Music". Europeans, "Franks," and "Their" Musics ; The Emergence of the "European Music" Concept -- PART III. "Modern European Music" and "Western Music". "Modern" Europe and "Ancient" Others in Musical Thought ; Accidental Occident : The Setting of "the West" in Music History. |
| Abstract | "Musical representations of Europe, in myth and allegory, are well known. However, the concept of a pan-continental music in the thought of Europeans emerged only during the long eighteenth century. From the 1670s Jesuit missionaries in China began to refer to "European music," and for the next hundred years the term appeared exclusively in comparison with musics in other parts of the world. It entered common use only from the 1770s, and in the 1830s became synonymous with a new concept of "western music." Western-European writers also connected these terms to concepts of "progress" and "modernity." Meanwhile, new ideas about Europe's cultural relationship with classical antiquity, together with theories that systematically and condescendingly racialized people from other continents, influenced the ways that these scholars wrote about musical pasts around the world. The Making of "European Music" in the Long Eighteenth Century traces the emergence of such large-scale categories in western-European thought. Author D. R. M. Irving suggests that "European music" originates from self-fashioning in contexts of intercultural comparison outside the continent, rather than from the resolution of aesthetic disputes within it. He shows that "western music" as understood today arose in line with the growth of Orientalism and notions of musics of "the East." These reductive terms often imply homogeneity and essentialism, and Irving asks what a reassessment of their beginnings can mean for music history. This book shows how a renewed critique of primary sources can help dismantle historiographical constructs that arose within narratives of musical pasts involving Europe"-- Provided by publisher. |
| Bibliography note | Includes bibliographical references and index. |
| Access restriction | Available only to authorized users. |
| Technical details | Mode of access: World Wide Web |
| Genre/form | Electronic books. |
| LCCN | 2024002131 |
| ISBN | 9780197632185 (hardback) |
| ISBN | (epub) |