Canonicity and Collegiality
Bibliographic Data
| ID | 3850132 |
|---|---|
| Authors | William Weber (0000-0003-2674-6815, corresponding author) |
| Year | 2008 |
| Volume | 14 |
| Issue | 1 |
| Pages | 105-123 |
| Publication date | 2008-01-01 |
| Peer Reviewed | Yes |
| Open Access | No |
| Type | ARTICLE |
| Venue | Common Knowledge (JOURNAL) |
| Journal identifiers | ISSN: 0961-754X • E-ISSN: 1538-4578 |
| Publisher | Duke University Press (PUBLISHER • US) |
| DOI | 10.1215/0961754x-2007-034 |
| OpenAlex | W1966251888 |
| Language | EN |
| Citations received | 1 |
| References cited | 6 |
A paradigm shift occurred in musical culture in the early nineteenth century, whereby revered old works-newly called "classics"-began to rival contemporary ones as the guiding authority over taste. This article explores the less well-known composers found on programs in the period when classical repertories were becoming established. A kind of professional collegiality developed during this period on concert programs among pieces of diverse age and taste, reaching far beyond the iconic composers (now seen by most of us to have been Haydn, Mozart, Beethoven, Schubert, Schumann, and Mendelssohn). Many of the "other" composers came from Italy, France, or Britain and became famous for opera selections and songs, some termed "popular," and a substantial number of their pieces were performed throughout the nineteenth century. The present-day narrative of music history has canonic blind spots for composers then widely performed-Louis Spohr, Thomas Arne, Giovanni Viotti, Etienne-Nicolas Méhul, George Onslow, Louise Farrenc, and Robert Franz, for example. To understand musical life of that time, it is necessary to rethink the language of canon and canonization. The concept of canonization and the concept of the masterpiece have narrowed musical thinking harmfully. We need to look back at the fruitful collegiality that existed between canonic and contemporary music in the early nineteenth century, involving as it did a wide array of composers and tastes not yet bound by rigid assumptions about supposed "levels" of taste
Aesthetics · Art · Art history · Chorus · Collegiality · Literature · Musical · Narrative · Opera · Taste · French Literature and Poetry · History · Musicology and Musical Analysis · Poetry Analysis and Criticism · Psychology
Chronologisch-Thematisches Verzeichnis Sämtlicher Tonwerke Wolfgang amade Mozarts
Idealism and the Aesthetics of Instrumental Music at the Turn of the Nineteenth Century
Beethoven-Rezeption in Frankreich. Von ihren Anfangen bis zum Untergang des Second Empire
Consequences of Canon
Louis Spohr, a Critical Biography
Artistic Survival
| Unique citing works | 1 |
|---|---|
| Citations per year | 0,07 |
| Citation span | 2012 - 2012 (1) |
| Citation velocity | historical |
| Highly cited | No |
| Citation types | Neutral: 1 |