Derek B. Scott – författare

From the Erotic to the Demonic demonstrates how different musical styles construct ideas of class, sexuality, and ethnic identity. This book will serve as a model for musicologists who want to take a postmodern approach to their inquiries. The clear and lively arguments are supported by ninety musical examples taken from such diverse sources as opera, symphonic music, jazz, and nineteenth- and twentieth-century popular songs. Derek Scott offers new insights on a range of "high" and "low" musical styles, and the cultures that produced them.

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. London, New York, Paris, and Vienna feature prominently as cities in which the challenge to the classical tradition was strongest, and in which original and influential forms of popular music arose, from Viennese waltz and polka to vaudeville and cabaret. Scott 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 will appeal to students of music, cultural sociology, and history.

The past ten years have witnessed an enormous growth of interest in questions of musical meaning and the extent to which it is informed by cultural experience and socially-derived knowledge. This collection of readings will stimulate further debate. It includes critically-acclaimed work which broke new ground in exploring the cultural significance of music and its social meanings, and which had a marked impact on musicology throughout the Western world. Three dozen extracts, a number of them no longer in print elsewhere, are grouped thematically to address such issues as music and language, the body, class, production, and consumption. The extracts have been chosen for the focus they give to particular areas rather than to form any unified framework for studying music and culture. Among the contributors are Jacques Attali, John Blacking, Michel Foucault, Lydia Goehr, Lawrence Kramer, Portia Maultsby, Rose Rosengard Subotnik, and Eero Tarasti. This reader will appeal to students and scholars of sociological and theoretical fields of culture, as well as to anyone interested in why perspectives on music history and music meaning have undergone sweeping changes at the end of the twentieth century.

The past ten years have witnessed an enormous growth of interest in questions of musical meaning and the extent to which it is informed by cultural experience and socially-derived knowledge. This collection of readings will stimulate further debate. It includes critically-acclaimed work which broke new ground in exploring the cultural significance of music and its social meanings, and which had a marked impact on musicology throughout the Western world. Three dozen extracts, a number of them no longer in print elsewhere, are grouped thematically to address such issues as music and language, the body, class, production, and consumption. The extracts have been chosen for the focus they give to particular areas rather than to form any unified framework for studying music and culture. Among the contributors are Jacques Attali, John Blacking, Michel Foucault, Lydia Goehr, Lawrence Kramer, Portia Maultsby, Rose Rosengard Subotnik, and Eero Tarasti. This reader will appeal to students and scholars of sociological and theoretical fields of culture, as well as to anyone interested in why perspectives on music history and music meaning have undergone sweeping changes at the end of the twentieth century.

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.

The study of the business of opera has taken on new importance in the present harsh economic climate for the arts. This book presents research that sheds new light on a range of aspects concerning marketing, audience development, promotion, arts administration and economic issues that beset professionals working in the opera world. The editors' aim has been to assemble a coherent collection of essays that engage with a single theme (business), but differ in topic and critical perspective. The collection is distinguished by its concern with the business of opera here and now in a globalized market. This includes newly commissioned operas, sponsorship, state funding, and production and marketing of historic operas in the twenty-first century.

This collection of essays is the first book-length study of music history and cosmopolitanism, and is informed by arguments that culture and identity do not have to be viewed as primarily located in the context of nationalist narratives. Rather than trying to distinguish between a true cosmopolitanism and a false cosmopolitanism, the book presents studies that deepen understanding of the heritage of this concept – the various ways in which the term has been used to describe a wide range of activity and social outlooks. It ranges over a two hundred-year period, and more than a dozen countries, revealing how musicians and audiences have responded to a common humanity by embracing culture beyond regional or national boundaries. Among the various topics investigated are: musical cosmopolitanism among composers in Latin America, the Ottoman Empire, and Austro-Hungarian Empire; cosmopolitan popular music historiography; cosmopolitan musical entrepreneurs; and musical cosmopolitanism in the metropolises of New York and Shanghai.

First published in 1989, The Singing Bourgeois challenges the myth that the 'Victorian parlour song' was a clear-cut genre. Derek Scott reveals the huge diversity of musical forms and styles that influenced the songs performed in middle class homes during the nineteenth century, from the assimilation of Celtic and Afro-American culture by songwriters, to the emergence of forms of sacred song performed in the home. The popularity of these domestic songs opened up opportunities to women composers, and a chapter of the book is dedicated to the discussion of women songwriters and their work. The commercial success of bourgeois song through the sale of sheet music demonstrated how music might be incorporated into a system of capitalist enterprise. Scott examines the early amateur music market and its evolution into an increasingly professionalized activity towards the end of the century. This new updated edition features an additional chapter which provides a broad survey of music and class in London, drawing on sources that have appeared since the book's first publication. An overview of recent research is also given in a section of additional notes. The new bibliography of nineteenth-century British and American popular song is the most comprehensive of its kind and includes information on twentieth-century collections of songs, relevant periodicals, catalogues, dictionaries and indexes, as well as useful databases and internet sites. The book also features accompanying downloadable resources of songs from the period.

Why do we feel justified in using adjectives such as romantic, erotic, heroic, melancholic, and a hundred others when speaking about music? How do we locate these meanings within particular musical styles? These are questions that have occupied Derek Scott's thoughts and driven his critical musicological research for many years. In this selection of essays, dating from 1995-2010, he returns time and again to examining how conventions of representation arise and how they become established. Among the themes of the collection are social class, ideology, national identity, imperialism, Orientalism, race, the sacred and profane, modernity and postmodernity, and the vexed relationship of art and entertainment. A wide variety of musical styles is discussed, ranging from jazz and popular song to the symphonic repertoire and opera.

The research presented in this volume is very recent, and the general approach is that of rethinking popular musicology: its purpose, its aims, and its methods. Contributors to the volume were asked to write something original and, at the same time, to provide an instructive example of a particular way of working and thinking. The essays have been written with a view to helping graduate students with research methodology and the application of relevant theoretical models. The team of contributors is an exceptionally strong one: it contains many of the pre-eminent academic figures involved in popular musicological research, and there is a spread of European, American, Asian, and Australasian scholars. The volume covers seven main themes: Film, Video and Multimedia; Technology and Studio Production; Gender and Sexuality; Identity and Ethnicity; Performance and Gesture; Reception and Scenes and The Music Industry and Globalization. The Ashgate Research Companion is designed to offer scholars and graduate students a comprehensive and authoritative state-of-the-art review of current research in a particular area. The companion's editor brings together a team of respected and experienced experts to write chapters on the key issues in their speciality, providing a comprehensive reference to the field.

This book brings together a significant part of Derek B. Scott’s diverse academic work, showing that the cultural history of music matters not only for the understanding it can bring to the meaning and purpose of music-making, but also because it can play a role in the development of social justice and a democratic culture. Where music history is concerned, Scott argues that we should offer interpretations that question the extent to which critics and historians have prized ethnicity and nationality in artistic works. No branch of the arts furnishes more examples of borrowing, re-using, and appropriating across cultures than music, and this is especially evident today in forms of popular music on all continents around the world. The global and the local are not the oppositional entities they once were. A history that focuses on cosmopolitanism resonates with the world in which we now live: a world of migration and tourism, involving the constant transfer, exchange, translation, and adaptation of different cultural practices and artifacts. Most of the articles in the collection have previously been published in hard-to-find conference proceedings and edited volumes or have not been published at all. The book will be important for those studying musicology, music history (especially of popular music styles), and cosmopolitanism.

This book is a cultural history of the nineteenth-century songster: pocket-sized anthologies of song texts, usually without musical notation. It examines the musical, social, commercial and aesthetic functions songsters served and the processes by which they were produced and disseminated, the repertory they included, and the singers, printers and entrepreneurs that both inspired their manufacture and facilitated their consumption. Taking an international perspective, chapters focus on songsters from Ireland, North America, Australia and Britain and the varied public and private contexts in which they were used and exploited in oral and print cultures.

Those whose thoughts of musical theatre are dominated by the Broadway musical will find this book a revelation. From the 1850s to the early 1930s, when urban theatres sought to mount glamorous musical entertainment, it was to operetta that they turned. It was a form of musical theatre that crossed national borders with ease and was adored by audiences around the world. This collection of essays by an array of international scholars examines the key figures in operetta in many different countries. It offers a critical and historical study of the widespread production of operetta and of the enthusiasm with which it was welcomed. Furthermore, it challenges nationalistic views of music and approaches operetta as a cosmopolitan genre. This Cambridge Companion contributes to a widening appreciation of the music of operetta and a deepening knowledge of the cultural importance of operetta around the world.

Academic attention has focused on America's influence on European stage works, and yet dozens of operettas from Austria and Germany were produced on Broadway and in the West End, and their impact on the musical life of the early twentieth century is undeniable. In this ground breaking book, Derek B. Scott examines the cultural transfer of operetta from the German stage to Britain and the USA and offers a historical and critical survey of these operettas and their music. In the period 1900-1940, over sixty operettas were produced in the West End, and over seventy on Broadway. A study of these stage works is important for the light they shine on a variety of social topics of the period - from modernity and gender relations to new technology and new media - and these are investigated in the individual chapters. This book is also available as Open Access on Cambridge Core.

Academic attention has focused on America's influence on European stage works, and yet dozens of operettas from Austria and Germany were produced on Broadway and in the West End, and their impact on the musical life of the early twentieth century is undeniable. In this ground breaking book, Derek B. Scott examines the cultural transfer of operetta from the German stage to Britain and the USA and offers a historical and critical survey of these operettas and their music. In the period 1900-1940, over sixty operettas were produced in the West End, and over seventy on Broadway. A study of these stage works is important for the light they shine on a variety of social topics of the period - from modernity and gender relations to new technology and new media - and these are investigated in the individual chapters. This book is also available as Open Access on Cambridge Core.

This collection of essays is the first book-length study of music history and cosmopolitanism, and is informed by arguments that culture and identity do not have to be viewed as primarily located in the context of nationalist narratives. Rather than trying to distinguish between a true cosmopolitanism and a false cosmopolitanism, the book presents studies that deepen understanding of the heritage of this concept – the various ways in which the term has been used to describe a wide range of activity and social outlooks. It ranges over a two hundred-year period, and more than a dozen countries, revealing how musicians and audiences have responded to a common humanity by embracing culture beyond regional or national boundaries. Among the various topics investigated are: musical cosmopolitanism among composers in Latin America, the Ottoman Empire, and Austro-Hungarian Empire; cosmopolitan popular music historiography; cosmopolitan musical entrepreneurs; and musical cosmopolitanism in the metropolises of New York and Shanghai.

The songbooks of the 1830-40s were printed in tiny numbers, and small format so they could be hidden in a pocket, passed round or thrown away.Collectors have sought ‘these priceless chapbooks’, but only recently a collection of 49 songbooks has come to light. This collection represents almost all of the known songbooks from the period.

The songbooks of the 1830-40s were printed in tiny numbers, and small format so they could be hidden in a pocket, passed round or thrown away.Collectors have sought ‘these priceless chapbooks’, but only recently a collection of 49 songbooks has come to light. This collection represents almost all of the known songbooks from the period.

The songbooks of the 1830-40s were printed in tiny numbers, and small format so they could be hidden in a pocket, passed round or thrown away.Collectors have sought ‘these priceless chapbooks’, but only recently a collection of 49 songbooks has come to light. This collection represents almost all of the known songbooks from the period.

The songbooks of the 1830-40s were printed in tiny numbers, and small format so they could be hidden in a pocket, passed round or thrown away.Collectors have sought ‘these priceless chapbooks’, but only recently a collection of 49 songbooks has come to light. This collection represents almost all of the known songbooks from the period.

This book is a cultural history of the nineteenth-century songster: pocket-sized anthologies of song texts, usually without musical notation. It examines the musical, social, commercial and aesthetic functions songsters served and the processes by which they were produced and disseminated, the repertory they included, and the singers, printers and entrepreneurs that both inspired their manufacture and facilitated their consumption. Taking an international perspective, chapters focus on songsters from Ireland, North America, Australia and Britain and the varied public and private contexts in which they were used and exploited in oral and print cultures.

Those whose thoughts of musical theatre are dominated by the Broadway musical will find this book a revelation. From the 1850s to the early 1930s, when urban theatres sought to mount glamorous musical entertainment, it was to operetta that they turned. It was a form of musical theatre that crossed national borders with ease and was adored by audiences around the world. This collection of essays by an array of international scholars examines the key figures in operetta in many different countries. It offers a critical and historical study of the widespread production of operetta and of the enthusiasm with which it was welcomed. Furthermore, it challenges nationalistic views of music and approaches operetta as a cosmopolitan genre. This Cambridge Companion contributes to a widening appreciation of the music of operetta and a deepening knowledge of the cultural importance of operetta around the world.

The study of the business of opera has taken on new importance in the present harsh economic climate for the arts. This book presents research that sheds new light on a range of aspects concerning marketing, audience development, promotion, arts administration and economic issues that beset professionals working in the opera world. The editors' aim has been to assemble a coherent collection of essays that engage with a single theme (business), but differ in topic and critical perspective. The collection is distinguished by its concern with the business of opera here and now in a globalized market. This includes newly commissioned operas, sponsorship, state funding, and production and marketing of historic operas in the twenty-first century.