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At first of the 20 th century song intended the paintings culture of Western Europe and North the United States by means of the top of the century that used to be only one culture between many. Written through a gaggle of specialists within the box, this e-book surveys what occurred to the Western paintings culture along the improvement of jazz, renowned song, and international track, linking the historical past of track with that of its social contexts.
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Additional resources for The Cambridge History of Twentieth-Century Music
1· Peripheries and interfaces: the Western impact on other music jonathan stock Introduction The theme of this chapter is the encounter with Western musics of other peoples during the past one hundred years. Often only occasional and sporadic at the start of the twentieth century, contact with the music of elsewhere was by the end of that century part of the everyday lives of huge numbers of people worldwide (as much within as outside the Western world). The history of this shift might be written in several ways.
21 In emphasising its Americanness, Slobin meanwhile draws attention to the constructedness of the revival, both as largely rediscovered from early American-made recordings (themselves tailored to the American market) and as a part of a larger American musical superculture. As well as attitudes, sometimes mixed, to the music as a whole and a body of recorded materials, this superculture provided many ingredients to contemporary klezmer. Two contrasting instances illustrate the impact of the superculture: on the one hand, the klezmer revival occurred within a particular economic system with pre-existing structures, opportunities, demands; on the other, klezmer violinists could draw from a heterogeneous repertory of violin techniques from styles as diverse as European folk, classical, and bluegrass.
142–67. 32 jonathan stock in the conservatories created a body of music intended for Western-style concert performance. While much of this music and its performance style was based on that of traditions outside the conservatory, the original models were often seen as inferior (out of tune, irrational, crude, parochial) as compared to the modern new repertory, or as raw material at best. Nonetheless, and despite these pejorative views, the new repertory may standardize certain elements such that its musical language is actually more limited in certain aspects than the folk original.