| Description |
1 online resource (280 pages) |
| Series |
Cambridge cultural social studies |
|
Cambridge cultural social studies.
|
| Contents |
Machine generated contents note: Theorizing performance and civility -- Scenes from the competition circuit -- performance perspective -- Putting competitions in sociological perspective -- 1. rise and near demise of the international music competition -- Festivals, keyboard duels and other premodern forms of musical combat -- Inventing the international format -- Unresolved dissonance -- 2. Competitions enter the civil sphere -- United Nations of music competitions -- Dramatizing incorporation -- Van Cliburn as civil hero -- Musicians without borders -- 3. Narrating the competition -- cultural construction of the event -- cultural construction of competitors -- Discursive polytonality -- 4. presentation of musical self -- Performing genius -- Playing with tropes -- How to do things with music -- Gender and musical genius -- infelicitous context -- 5. Producing sound judgments -- critical ear -- What judges listen for -- elusive ideal of fairness -- evaluation process -- sources of bad faith -- Explaining the decline of competitions -- possibility of redemption -- unlikely source of integration -- 6. Voicing opinions -- Conceptualizing the competition audience -- Where the live audience meets the mediated audience -- Types of musical conduct at the competition -- competition audience as musical public -- Listeners making themselves heard |
| Summary |
Although competitions in classical music have a long history, the number of contests has risen dramatically since the Second World War, all of them aiming to launch young artists' careers. This is not the symptom of marketization that it might appear to be. Despite the establishment of an international governing body, competitions are plagued by rumors of corruption, and even the most mathematically sophisticated voting system cannot quell accusations that the best talent is overlooked. Why do musicians take part? Why do audiences care so much about who wins? This is the first book to address these questions. In this groundbreaking study, Lisa McCormick draws from firsthand observations of contests in Europe and the US, in-depth interviews with competitors, jurors and directors, as well as blog data from competition observers to argue that competitions have endured because they are not only about music, they are also about civility |
| Bibliography |
Includes bibliographical references and index |
| Notes |
English |
|
Print version record |
| Subject |
Music -- Competitions -- History
|
|
MUSIC -- Genres & Styles -- Classical.
|
|
MUSIC -- Reference.
|
|
Music -- Competitions
|
| Genre/Form |
History
|
| Form |
Electronic book
|
| ISBN |
9781316374825 |
|
1316374823 |
|
9781316181478 |
|
1316181472 |
|
9781316371824 |
|
1316371824 |
|
9781316375822 |
|
131637582X |
|
1107498295 |
|
9781107498297 |
|
1316377822 |
|
9781316377826 |
|
1316378829 |
|
9781316378823 |
|
1316376826 |
|
9781316376829 |
|
