Sounding Authentic considers the influences of nationalism, modernism, and technological innovation on representations of ethnic and national identities in twentieth-century art music.
Sounding Authentic considers the influences of nationalism, modernism, and technological innovation on representations of ethnic and national identities in twentieth-century art music.
Joshua S. Walden is a member of the musicology faculty of the Peabody Institute of Johns Hopkins University. He has held an Andrew W. Mellon Postdoctoral Fellowship at Johns Hopkins and a Junior Research Fellowship at Merton College, University of Oxford. He is the editor of Representation in Western Music (2013) and The Cambridge Companion to Jewish Music (in progress) for Cambridge University Press. His articles appear in the Journal of the American Musicological Society and elsewhere.
Inhaltsangabe
* Introduction * Part I: Aesthetic and Theoretical Approaches to the Rural Miniature * Chapter 1: Musical Realism Reconsidered: The Rural Miniature and Representation * Chapter 2: The Rural Miniature in Performance and Sound Recording * Part II: Historical Case Studies * Chapter 3: The Genre's Precedents: Representations of Rom Performance in Nineteenth-Century Violin Repertoire * Chapter 4: The Rural Miniature Based on Spanish Folk Music * Chapter 5: The Rural Miniature in the Culture of the Jewish Diaspora * Chapter 6: Béla Bartók's Rural Miniatures and the Case of Romanian Folk Dances * Conclusion * Appendix * Works Cited
* Introduction * Part I: Aesthetic and Theoretical Approaches to the Rural Miniature * Chapter 1: Musical Realism Reconsidered: The Rural Miniature and Representation * Chapter 2: The Rural Miniature in Performance and Sound Recording * Part II: Historical Case Studies * Chapter 3: The Genre's Precedents: Representations of Rom Performance in Nineteenth-Century Violin Repertoire * Chapter 4: The Rural Miniature Based on Spanish Folk Music * Chapter 5: The Rural Miniature in the Culture of the Jewish Diaspora * Chapter 6: Béla Bartók's Rural Miniatures and the Case of Romanian Folk Dances * Conclusion * Appendix * Works Cited
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