Toward a Materialist Conception of Music History makes a convincing case for the relevance, appropriateness, and usefulness of historical materialism to the musicological project. The book interrogates the history of encounters between Marxism and music studies — both within and outside of the Soviet sphere — before staging the missed encounter between classical musicology and Second International Marxism. It concludes by constructing a new framework for understanding the history of style in terms of changes in the forces and relations of musical production.
Toward a Materialist Conception of Music History makes a convincing case for the relevance, appropriateness, and usefulness of historical materialism to the musicological project. The book interrogates the history of encounters between Marxism and music studies — both within and outside of the Soviet sphere — before staging the missed encounter between classical musicology and Second International Marxism. It concludes by constructing a new framework for understanding the history of style in terms of changes in the forces and relations of musical production.
Stephan Hammel, Ph.D. (2014), University of Pennsylvania, is Associate Professor of Music at the University of California, Irvine.
Inhaltsangabe
Introduction 1 1 The Realist Conception of Art 9 1 The Realist Conception of Art 12 2 The Materialist Conception of Music History 24 2 The Cultural Phase of Industry 32 3 Disenchantment and Musicological Method 46 1 Either History or Aesthetic Experience 47 2 Against Marxism 52 3 Against Positivism 56 4 Classical Musicology 61 4 Democratic Formalism 65 1 Failed Revolution and Liberalisation 67 2 Discursivity and the Authority of Musical Norms 72 3 Against the Rule of Sentiment 78 5 Style Criticism and Historical Materialism 83 1 Style and Its Discontents 84 2 Style and Spirit 88 3 Style and Technique 94 4 Style and Historical Materialism 100 6 Forces and Relations of Musical Production 105 1 Forces and Relations 106 2 Primitive Musical Communism 107 3 Minstrel and Chapel Singer 109 4 Thoroughbass and the Opera Industry 114 5 The Musician Entrepreneur 120 6 Organised Musical Labor 123 7 After Capitalism 127 Appendix: The Harmonic Ideology 131 Bibliography 145 Index 155
Introduction 1 1 The Realist Conception of Art 9 1 The Realist Conception of Art 12 2 The Materialist Conception of Music History 24 2 The Cultural Phase of Industry 32 3 Disenchantment and Musicological Method 46 1 Either History or Aesthetic Experience 47 2 Against Marxism 52 3 Against Positivism 56 4 Classical Musicology 61 4 Democratic Formalism 65 1 Failed Revolution and Liberalisation 67 2 Discursivity and the Authority of Musical Norms 72 3 Against the Rule of Sentiment 78 5 Style Criticism and Historical Materialism 83 1 Style and Its Discontents 84 2 Style and Spirit 88 3 Style and Technique 94 4 Style and Historical Materialism 100 6 Forces and Relations of Musical Production 105 1 Forces and Relations 106 2 Primitive Musical Communism 107 3 Minstrel and Chapel Singer 109 4 Thoroughbass and the Opera Industry 114 5 The Musician Entrepreneur 120 6 Organised Musical Labor 123 7 After Capitalism 127 Appendix: The Harmonic Ideology 131 Bibliography 145 Index 155
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