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Class control and classical music / Anna Bull.

Av: Bull, Anna [aut].
Publisher: New York : Oxford University Press, [2019]Copyright date: ©2019Fysisk beskrivning: xxx, 232 sidor.Content type: text Media type: unmediated Carrier type: volumeISBN: 9780190844356.Ämne: Klassisk musik | Sociala klasser | Musik -- sociala aspekterDDC klassifikation: 781.68
Anmärkning:
Innehåller bibliografiska referenser och index
Anmärkning bestånd: B32.633 Libris-ID: htm4v1rtfzdxdkwfSummary: "Why is classical music predominantly the preserve of the white middle classes? Contemporary associations between classical music and social class remain unexplored, with classical music primarily studied as a text rather than as a practice until recently. Author Anna Bull contributes to this ongoing debate with a timely and provocative intervention. Through a richly detailed ethnography, Bull locates classical music within one of the cultures that produces it--middleclass English youth--and foregrounds classical music as bodily practice of control and restraint. Drawing on her own background as a classical musician, Bull's closely observed account examines youth orchestras and youth choir rehearsals as a space where young people learn the unspoken rules of this culture of weighty tradition and gendered control. She highlights how the middle classes' habitual roles--boundary-drawing around their protected spaces and reproducing their privilege through education--can be traced within the everyday spaces of classical music. However, these practices are camouflaged by the ideology of "autonomous art" that classical music carries. Rather than solely examining the social relations around the music, Class, Control & Classical Music demonstrates how this reproductive work is facilitated by its very aesthetic. In addition, the book is of particular interest at the present moment, thanks to the worldwide proliferation of El Sistema-inspired programs that teach classical music to children in disadvantaged areas. While such initiatives demonstrate a resurgence in defending the value of classical music, there has been a lack of debate over this music's cultural heritage and the ways in which this heritage shapes its conventions today. This book locates these contestations within the historical and contemporary debates on class, gender, and whiteness, making visible what is at stage in such programs
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Book Musik- och teaterbiblioteket
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Innehåller bibliografiska referenser och index

"Why is classical music predominantly the preserve of the white middle classes? Contemporary associations between classical music and social class remain unexplored, with classical music primarily studied as a text rather than as a practice until recently. Author Anna Bull contributes to this ongoing debate with a timely and provocative intervention. Through a richly detailed ethnography, Bull locates classical music within one of the cultures that produces it--middleclass English youth--and foregrounds classical music as bodily practice of control and restraint. Drawing on her own background as a classical musician, Bull's closely observed account examines youth orchestras and youth choir rehearsals as a space where young people learn the unspoken rules of this culture of weighty tradition and gendered control. She highlights how the middle classes' habitual roles--boundary-drawing around their protected spaces and reproducing their privilege through education--can be traced within the everyday spaces of classical music. However, these practices are camouflaged by the ideology of "autonomous art" that classical music carries. Rather than solely examining the social relations around the music, Class, Control & Classical Music demonstrates how this reproductive work is facilitated by its very aesthetic. In addition, the book is of particular interest at the present moment, thanks to the worldwide proliferation of El Sistema-inspired programs that teach classical music to children in disadvantaged areas. While such initiatives demonstrate a resurgence in defending the value of classical music, there has been a lack of debate over this music's cultural heritage and the ways in which this heritage shapes its conventions today. This book locates these contestations within the historical and contemporary debates on class, gender, and whiteness, making visible what is at stage in such programs

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