Musical representations of Europe in myth and allegory are well known, but when and under what circumstances did the words "European" and "music" become linked together? What did the resulting term mean in music before 1800 and how did it evolve into the label "Western music," which features so prominently in pedagogical and scholarly discourses?
In The Making of European Music in the Long Eighteenth Century, author D. R. M. Irving traces the emergence of such large-scale categories in Western European thought. Beginning in the 1670s, Jesuit missionaries in China began to refer to "European music," and for the next hundred years the term appeared almost exclusively in comparison with musics from other parts of the world. It entered common use from the 1770s, and in the 1830s became synonymous with a new concept of "Western music." Western European writers also associated these terms with notions of "progress" and "perfection." Meanwhile, changing ideas about "modern" 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 imagined and interpreted musical pasts around the globe.
Irving weaves his analyses throughout the book's historical examinations, suggesting that "European music" originates from self-fashioning in contexts of intercultural comparison outside the continent, rather than from the resolution of national aesthetic differences within it. He shows that "Western music" as understood today arose in line with the growth of Orientalism and increasing awareness of musics of "the East." All such reductive terms often imply homogeneity and essentialism, and Irving asks what a reassessment of their beginnings might mean for music history.
Taken as a whole, the book shows how a renewed critique of primary sources can help dismantle historiographical constructs that arose within narratives of musical pasts involving Europe.
Rezensionen / Stimmen
This impressive example of cultural history is a brilliant book and also a necessary one. * Peter Burke, Emmanuel College Cambridge * Grounded in archival research and framed in full awareness of emerging ethical imperatives for musicological scholarship, Irving's demonstration of the invention of 'European music' and 'Western music' over the long eighteenth century lays bare European bids for power through self-naming. An important and timely contribution. * Kofi Agawu, author of On African Music: Techniques, Influences, Scholarship (OUP 2023) * This impressive example of cultural history is a brilliant book and also a necessary one. * Peter Burke, Emmanuel College Cambridge * Grounded in archival research and framed in full awareness of emerging ethical imperatives for musicological scholarship, Irving's demonstration of the invention of 'European music' and 'Western music' over the long eighteenth century lays bare European bids for power through self-naming. An important and timely contribution. * Kofi Agawu, author of On African Music: Techniques, Influences, Scholarship (OUP 2023) * The book shows how a renewed critique of primary sources can help dismantle historiographical constructs that arose within narratives of musical pasts involving Europe. * Redaccion, Mundoclasico * Irving (Institucio Mila y Fontanals de Recerca en Humanitats, Spain) will cause readers to reconsider how musicians think and talk about music coming from this time and place. Thoughtfully and carefully constructed based on sources dating as early as the Middle Ages, this volume asks deep philosophical, cultural, and anthropological questions that will cause the reader to reconsider how they view labels of "Western" or "European" imposed on anything'including music. The level of detail and number of sources does not make Irving's book an easy read; nonetheless, it is a must read for serious students of music and music professionals, as well as for scholars who study other European or Western topics. * C. A. Traupman Carr, Choice *
Reihe
Sprache
Verlagsort
Produkt-Hinweis
Fadenheftung
Gewebe-Einband
Illustrationen
Maße
Höhe: 238 mm
Breite: 159 mm
Dicke: 32 mm
Gewicht
ISBN-13
978-0-19-763218-5 (9780197632185)
Copyright in bibliographic data and cover images is held by Nielsen Book Services Limited or by the publishers or by their respective licensors: all rights reserved.
Schweitzer Klassifikation
D. R. M. Irving is an ICREA Research Professor affiliated to the Institucio Mila i Fontanals de Recerca en Humanitats, CSIC, Barcelona. His research focuses on the role of music in early modern colonialism and intercultural contact. He is the author of Colonial Counterpoint: Music in Early Modern Manila, co-editor with W. Dean Sutcliffe of the journal Eighteenth-Century Music, and co-general editor with Alexander Rehding of A Cultural History of Western Music. As a performer on the early violin, he has played with ensembles in Australia, Europe, Asia, and the Americas.
Autor*in
ICREA Research ProfessorICREA Research Professor, Institucio Mila i Fontanals de Recerca en Humanitats, CSIC, Barcelona
Acknowledgments
Note on Sources
Introduction: Musics of Continents and Hemispheres
Part I: "Europe" in Music, Music in "Europe"
Introduction
1. Musical Constructions of Europe in Myth and Allegory
2. Europe as Place: Music and the Imagined Extent of a Continent
Part II: "European Music"
Introduction
3. Europeans, "Franks," and "Their" Musics
4. The Emergence of the "European Music" Concept
PART III: "Modern European Music" and "Western Music"
Introduction
5. "Modern" Europe and "Ancient" Others in Musical Thought
6. Accidental Occident: The Setting of "the West" in Music History
Epilogue
Bibliography
Index
