Bøker av Bennett Zon

Explores the influence of anthropological theories, travel literature, psychology, and other intellectual trends on the perception of non-Western music and elucidates the roots of today's field of ethnomusicology.Bennett Zon's Representing Non-Western Music in Nineteenth-Century Britain is the first book to situate non-Western music within the intellectual culture of nineteenth-century Britain. It covers many crucial issues -- race,orientalism, otherness, evolution -- and explores the influence of important anthropological theories on the perception of non-Western music. The book also considers a wide range of other writings of the period, from psychology and travel literature to musicology and theories of musical transcription, and it reflects on the historically problematic term "e;ethnomusicology."e; Representing Non-Western Music discusses such theories as noble simplicity, monogenism and polygenism, the comparative method, degenerationism, and developmentalism. Zon looks at the effect of evolutionism on the musical press, general music histories, and histories of national music. He also treats the work of Charles Samuel Myers, the first Britain to record non-Western music in the field, and explores how A. H. Fox Strangways used contemporary translation theory as an analogy for transcription in The Music of Hindostan (1914) to show that individuality can be retained by embracing foreign elements rather than adapting them to Western musical style. Bennett Zon is Reader in Music and Fellow of the Institute of Advanced Study, DurhamUniversity UK and author of Music and Metaphor in Nineteenth-Century British Musicology (Ashgate, 2000).

This collection provides an in-depth look at musical criticism between the mid-nineteenth and the mid-twentieth century.British music between the mid-nineteenth and the mid-twentieth century reflected changes and developments in society, education, philosophy, aesthetics, politics and the upheaval of wars, often signifying a distinctively British national history. All of these changes informed the published work of contemporary music critics. This collection provides an in-depth look at musical criticism during this period. It focusses on major figures such as Grove,Parry, Shaw, Dent, Newman, Heseltine, Vaughan Williams, Dyson, Lambert and Keller, yet does not neglect less influential but nevertheless significant critics. Sometimes a seminal work forms the subject of investigation; in otherchapters, a writer's particular stance is highlighted. Further contributions closely analyse the now famous polemics by Shaw, Heseltine and Lambert. The book covers a range of themes from the historical, scientific and philosophical to matters of repertoire, taste, interdisciplinary influence, musical democratisation and analysis. It will be of interest to scholars and students of nineteenth- and early twentieth-century British music and music in Britain as well as to music enthusiasts attracted to standard works of popular music criticism. JEREMY DIBBLE is Professor of Music at Durham University. JULIAN HORTON is Professor of Music at Durham University.Contributors: KAREN ARRANDALE, SEAMAS DE BARRA, PHILIP ROSS BULLOCK, JONATHAN CLINCH, SARAH COLLINS, JEREMY DIBBLE, JULIAN HORTON, PETER HORTON, CHRISTOPHER MARK, AIDAN J. THOMSON, PAUL WATT, HARRY WHITE, BENNETT ZON, PATRICKZUK

A collection of fourteen essays that reflect on the relationship between music and Orientalism in the British Empire over the course of the nineteenth century.

This selection of essays represents a wide cross-section of the papers given at the Tenth International Conference on Nineteenth-Century Music held at the University of Bristol in 1998. Sections include thematic groupings of work on musical meaning, Wagner, Liszt, musical culture in France, music and nation, and women and music.

Critical writing about music and music history in 19th-century Britain was permeated with metaphor and analogy. This text examines how over-arching theories of music history were affected by reference to various figurative linguistic templates adopted from other disciplines.