By Derek B. Scott
From the Erotic to the Demonic demonstrates how diverse musical kinds build principles of sophistication, sexuality, and ethnic id. This booklet will function a version for musicologists who are looking to take a postmodern method of their inquiries. The transparent and full of life arguments are supported by way of 90 musical examples taken from such varied assets as opera, symphonic song, jazz, and 19th- and twentieth-century renowned songs. Derek Scott bargains new insights on a number "high" and "low" musical kinds, and the cultures that produced them.
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Additional info for From the Erotic to the Demonic: On Critical Musicology
24 Arabella Goddard, too, “went public” in , and it was not long before the tone of the reviews changed. 25 Needless to say, the three men were not subjected to any such commentary. ”26 Women began to take to string instruments (which, like wind instruments, were long thought unfeminine) later in the century, influenced by a handful of female violin virtuosi such as Wilhelmine Néruda ( –), and some were even learning wind instruments. However, they tended to end up in the novelty of the all-women orchestra or women’s quartet (the most famous of the latter was Emily Shinner’s quartet, –), just as the women who took up wind and brass to play jazz in the s found themselves in outfits such as Ivy Benson’s All-Girls Band.
6 The idea that “difficult thoughts” were man’s sphere received support from nineteenth-century psychiatrists. Around midcentury, explanations were being sought for the large number of women among the institutionalized insane. ”7 Building upon a biological explanation that women’s brains functioned differently from men’s because “intimately connected with the uterine system,”8 Henry Maudsley argued, in “Sex in Mind and in Education” (), that intellectual training in adolescence could damage both a woman’s brain and her reproductive system.
61 sexuality, gender, and musical style The joke here is intended to be doubly wounding: first, because “touching and heart-breaking melodies” were acceptably feminine and, therefore, what many women composers aspired to; and second, because women had so far only managed to acquire any reputation as composers by writing the very music Niecks ridicules. 62 Stephen S. ”63 The ideology of separate creative spheres could, however, be used to undermine the achievement of a woman composer, since it made possible the accusation that she was not being true to her nature and, instead, was merely imitating what men have created.
From the Erotic to the Demonic: On Critical Musicology by Derek B. Scott