About the Book
The phrase "popular music revolution" may instantly bring to mind such twentieth-century musical movements as jazz and rock 'n' roll. In Sounds of the Metropolis, however, Derek Scott argues that the first popular music revolution actually occurred in the nineteenth century, illustrating how a distinct group of popular styles first began to assert their independence and values. He explains the popular music revolution as driven by social changes and the
incorporation of music into a system of capitalist enterprise, which ultimately resulted in a polarization between musical entertainment (or "commercial" music) and "serious" art. He focuses on the key genres and
styles that precipitated musical change at that time, and that continued to have an impact upon popular music in the next century. By the end of the nineteenth century, popular music could no longer be viewed as watered down or more easily assimilated art music; it had its own characteristic techniques, forms, and devices. As Scott shows, "popular" refers here, for the first time, not only to the music's reception, but also to the presence of these specific features of style. The shift in
meaning of "popular" provided critics with tools to condemn music that bore the signs of the popular-which they regarded as fashionable and facile, rather than progressive and serious. A fresh and
persuasive consideration of the genesis of popular music on its own terms, Sounds of the Metropolis breaks new ground in the study of music, cultural sociology, and history.
Table of Contents:
Introduction
Part 1: The Social Context of the Popular Music Revolution
Chapter 1 Professionalism and Commercialism
Concerts and Music Halls / The Sheet Music Trade / The Piano Trade / Copyright and Performing Right / The Star System
Chapter 2: New Markets for Cultural Goods
Entrepreneurship / Promenade Concerts / Dance Music / Music Hall and Café-Concert / Blackface Minstrelsy, Black Musicals, and Vaudeville / Operetta
Chapter 3: Music, Morals, and Social Order
Respectability and Improvement / Physical Threats to Morality / Public and Private Morality / Threats to Social Order / Threats to Public Morality
Chapter 4: The Rift Between Art and Entertainment
Light Music vs. Serious Music / Art, Taste, and Status / Opera vs. Operetta / Folk Music: Edification for the Uncritical
Part 2 Studies of Revolutionary Popular Genres
Chapter 5: A Revolution on the Dance Floor, a Revolution in Musical Style: The Viennese Waltz.
Unterhaltungsmusik and Popular Style / Stylistic Features / Music and Business / Class and the Metropolis / Artiness and Seriousness
Chapter 6: Blackface Minstrels, Black Minstrels and Their European Reception.
Reception in Britain / Seeking the Black Beneath the Blackface / England's Pre-eminent Troupes / Black Troupes / Minstrel Contradictions / The Minstrel Legacy
Chapter 7: The Music Hall Cockney: Flesh and Blood, or Replicant?
Phase 1: Parody / Phase 2: The Character-Type / Phase 3: The Imagined Real
Chapter 8: No Smoke Without Water: The Incoherent Message of Montmartre Cabaret.
The Chat Noir and Aristide Bruant / Other Cabaret Artists / Yvette Guilbert / The Proliferation of Artistic Cabarets / Cabaret and the Avant-Garde
Notes
Bibliography
Index
About the Author :
Derek B. Scott is Professor of Music at the University of Leeds, UK.
Review :
"In the field of popular music studies, the nineteenth century hasn't received nearly the attention it deserves. Derek Scott's book has the potential to change that. For anyone who wants to know more about why and how popular music developed-not just the economic and social reasons but also the musical ones, Sounds of the Metropolis will prove an eye-opening read." --Michael V. Pisani, author of Imagining Native America in Music
"This is the first book to show just when and where the music-making we call 'popular music' first appeared internationally. Professor Scott surveys the music business and moral issues over popular songs with a suave sophistication, and then looks deeper into blackface minstrels, music-hall Cockneys, and Montmartre cabarets. Scholars in many fields will find this history invaluable."--William Weber, Professor of History, California State University, Long Beach
"Popular music studies by in large come to the subject's history in medias res. Derek Scott takes a longer look, back to the future of the nineteenth century and the urban vernaculars of London music hall, New York minstrelsy (and its European reception), Parisian cabaret, and Viennese social dancing. Scott hears the sounds, and he puts them into dialogue with the cultural, economic, ideological, and aesthetic systems of their time--and ours--with
characteristic thoroughness and brilliance. By no means least, he has a good story to tell, which he narrates at once gracefully and compellingly."--Richard Leppert, Samuel Russell Distinguished Professor of
Humanities, University of Minnesota
"In the field of popular music studies, the nineteenth century hasn't received nearly the attention it deserves. Derek Scott's book has the potential to change that. For anyone who wants to know more about why and how popular music developed-not just the economic and social reasons but also the musical ones, Sounds of the Metropolis will prove an eye-opening read." --Michael V. Pisani, author of Imagining Native America in Music
"Popular music studies by in large come to the subject's history in medias res. Derek Scott takes a longer look, back to the future of the nineteenth century and the urban vernaculars of London music hall, New York minstrelsy (and its European reception), Parisian cabaret, and Viennese social dancing. Scott hears the sounds, and he puts them into dialogue with the cultural, economic, ideological, and aesthetic systems of their time--and ours--with
characteristic thoroughness and brilliance. By no means least, he has a good story to tell, which he narrates at once gracefully and compellingly."--Richard Leppert, Samuel Russell Distinguished Professor of
Humanities, University of Minnesota
"This is the first book to show just when and where the music-making we call 'popular music' first appeared internationally. Professor Scott surveys the music business and moral issues over popular songs with a suave sophistication, and then looks deeper into blackface minstrels, music-hall Cockneys, and Montmartre cabarets. Scholars in many fields will find this history invaluable."--William Weber, Professor of History, California State University, Long Beach
"Scott's book offers a treasure trove of valuable information...A worthy addition to the academic literature on the history of popular music." --Popular Music and Society
"Packed with historical information, much of it unexpected...all of it interesting." --Music & Letters
"An obviously important work that historians of the 19th century should examine closely to understand the critical connection between popular music and the social shifts of modernity." --Journal of Social History
"An important work that historians of the 19th century should examine closely to understand the critical connection between popular music and the social shifts of modernity." --Journal of Social History
