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The Triumph of Music: The Rise of Composers, Musicians and Their Art, by Tim Blanning
PDF Ebook The Triumph of Music: The Rise of Composers, Musicians and Their Art, by Tim Blanning
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A distinguished historian chronicles the rise of music and musicians in the West from lowly balladeers to masters employed by fickle patrons, to the great composers of genius, to today’s rock stars. How, he asks, did music progress from subordinate status to its present position of supremacy among the creative arts? Mozart was literally booted out of the service of the Archbishop of Salzburg “with a kick to my arse,” as he expressed it. Yet, less than a hundred years later, Europe’s most powerful ruler—Emperor William I of Germany—paid homage to Wagner by traveling to Bayreuth to attend the debut of The Ring. Today Bono, who was touted as the next president of the World Bank in 2006, travels the world, advising politicians—and they seem to listen.
The path to fame and independence began when new instruments allowed musicians to showcase their creativity, and music publishing allowed masterworks to be performed widely in concert halls erected to accommodate growing public interest. No longer merely an instrument to celebrate the greater glory of a reigning sovereign or Supreme Being, music was, by the nineteenth century, to be worshipped in its own right. In the twentieth century, new technological, social, and spatial forces combined to make music ever more popular and ubiquitous.
In a concluding chapter, Tim Blanning considers music in conjunction with nationalism, race, and sex. Although not always in step, music, society, and politics, he shows, march in the same direction.
- Sales Rank: #526802 in Books
- Brand: Brand: Belknap Press
- Published on: 2008-11-30
- Original language: English
- Number of items: 1
- Dimensions: 1.42" h x 6.42" w x 9.40" l, 1.75 pounds
- Binding: Hardcover
- 432 pages
Features
- Used Book in Good Condition
Review
Drawing on examples ranging across the last four centuries, Blanning traces the path of music from its place as servant to its current position of supremacy over all other arts in terms of status, influence, and material rewards. The author intermixes popular and classical music and musicians, jumping back and forth from one era to another, from the concert hall to the iPod, to demonstrate how music has reinforced various social and political agendas...This is not intended to be a history of music; it is a brilliantly written history of the steady growth of the power of music and its performers. (Timothy J. McGee Library Journal 2008-10-15)
This is a provocative and amusing book. Blanning describes not the triumph of good music but the development of Western music generally, from an aristocratic court frill to a powerful social force. (The Atlantic 2008-12-01)
Very entertaining...[Blanning] makes [his case] with grace, humor and a mountain of fascinating detail. (Peter Keepnews New York Times Book Review 2009-01-04)
This isn't a history of music but a work connecting music to politics and culture to show how it becomes integral to the souls of specific nations and groups. Music, it implies, will remain when other arts fade away. (Alan Hirsch Booklist 2008-11-01)
The Triumph of Music succeeds in its goal of describing music as an instrument of cultural and political change...Perhaps the most interesting chapter of The Triumph of Music is the one concerning music's mobilizing and liberating power in politics and culture. Blanning elegantly describes music's influential role in the rise of nationalism...The Triumph of Music is certainly topical--in both senses of the word. It succeeds as cultural history and has the added attraction of being full of good stories told in an amusingly irreverent style. (James Penrose New Criterion 2009-02-01)
The position of musicians in society and the mechanisms by which they reach their audiences are explored in fascinating depth. The book is not about music itself, but about its creators and consumers. Blanning evokes the life of the eighteenth-century musician with marvelous clarity; Haydn is particularly well treated, and the shifting status of musicians in the revolutionary period is held under the historian's sharp gaze. As a social history of music in the period from Bach to Wagner, the book is penetrating and richly documented. There are fascinating nuggets of information throughout, illuminating but not detracting from the chronicle of musicians and the responses of audiences, politicians, and critics. (Hugh MacDonald Times Literary Supplement 2009-02-27)
The Triumph of Music bulges with interesting facts and factoids...Blanning's is a more-often-than-not fascinating and impassioned book. (Peter Jacobi Herald-Times 2009-03-22)
The book is full of illuminating, often surprising and usually arresting details, as well as some excellent illustrations. If you would like to know why Louis XIV built Versailles and how he made it the center of the universe, why brass bands became the excitement of the working class, and how melody could inspire and even create nations, you will find riches in these pages. (Elaine Sisman New Leader 2008-11-01)
Review
Trenchant, wise and richly ironic, Tim Blanning's book travels spectacular distances between Plato and Elton John, Baroque liturgy and Robbie Williams, opera seria and internet downloads. With a masterly eye for detail he explains why music and audiences are interdependent and reveals the enduring potency of music as a sovereign art. (Jonathan Keates, author of The Siege of Venice)
About the Author
Tim Blanning is Professor of Modern European History at the University of Cambridge and the author of The Pursuit of Glory: Europe 1648–1815.
Most helpful customer reviews
17 of 17 people found the following review helpful.
How music came to rule the world
By Robert Ginsberg
This book is easy to read and endlessly quotable. It is not a book about music per se--there is no discussion of individual works, no musical analysis. It is a book about the social history of music, about how music moved out of the private home and out of the royal courts to become the immense professional and public enterprise that it is now. Blanning traces the long, gradual rise of the musician from lowly servant (Haydn composing to order for the Esterhazy family) to Bono (a master of the universe). Today musicians are among the richest people in the world and the author tells us in fascinating detail, step by step, how that transformation came about.
And he tells the story with really wonderful details. Just one example--he tells us that Liszt was the first pianist to play entirely from memory, the first to place the piano sideways onstage (he had two pianos so he could show both profiles!), the first to open the piano lid, and the first to devote a concert to music for one instrument. He invented the idea of (and the term) the piano recital. He was fabulously successful (and the father-in-law of Wagner). For those, like me, who don't follow rap music, he ends with some samples of popular rap lyrics that left me speechless. Every page of this book has something to say that you will want to share with friends.
For anyone interested in the social history of music, this is a great place to start.
6 of 7 people found the following review helpful.
Great gift for music-lovers!
By Steven P. Kirn
Tis book may not revolutionize our understanding of music, but it is a very good choice as a gift for your musician (or music-loving) friends and family. My son is a composer, and rated it very highly.
2 of 2 people found the following review helpful.
The Rise Of Music
By S. Pactor
I don't like to start book reviews by quoting a paragraph from the introduction, but I think it's the best move here:
Status, purpose, places and spaces, technology, and liberation- these are the five categories I will explore to explain music's march to cultural supremacy. What follows is an exercise in social, cultural and political history, not musicology- no technical knowledge of music is required.
Often when I read a good book, I'm unsure whether I find the thesis convincing because I already agreed before I read the specific book (the book just reinforced pre existing belief) or whether the argument was just objectively convincing. In this case, i can firmly declare that both are true- first- I totally agreed with the above stated thesis before I picked up this book AND that Blanning- the Professor of Modern European History at Cambridge University- writes in such an objectively pleasing fashion that is hard not to get swept up in his five stage analysis of "the triumph of music."
When this book begins, musicians are servants and slaves. The examples selected are the German composers of the 18th century. At the beginning of Chapter one, musicians like Handel, Haydn and Mozart are writing their masterpieces at the bequest of various German princes, and for them alone. Over the course of the 18th century and into the 19th century, this model of musicianship is overwhelmed by the now familiar idea of musicians as cultural celebrity. A recent still-relevant example is Liszt- whose "demonic" piano playing inspired the kind of swoons a modern associates with the Beatles. This initial transformation from musician/composer from court servant to celebrity is embodied by Wagner. Wagner's triumph in German culture remains largely unequalled, at it is to Wagner that all subsequent musicians must look for a benchmark of "how far you can go."
The role of the purpose of music in the march towards triumph is the focus of the second chapter. Here, the point is embodied by a sub chapter heading "The Secularization of Society, the Sacralization of Music." Blanning described- in matter of fact fashion how music moved from being an Assertion of Power on behalf of a specific monarch, to an instrument used in worship, to it's more or less present state as a good to be consumed by the public in the form of concert. Along the way, music audiences were convinced to take music very seriously, a process referred to by Blanning as "Sacralization"(i.e. making something sacred) at the same time, the movement of music appreciation out of the court and into the bourgeois and working classed meant that the audience for music exploded.
Then he is on to the role of physical space (an interesting summary of work about how places to hear music became more 'church like' and how the number of places to hear music expanded to included venues for the middle and lower classes (specifically pleasure gardens and music halls in the late 18th century and 19th century.)
Finally, Blanning handles the role of technology- a subject I've written about so often here that I found his writing duplicative of books I've already read and a final, weak, chapter on the liberating power of music for disempowered minorities. On the whole, it's an excellent, recent summary of the ways in which music is a social project composed of composers, performers and audiences. Blanning assumes that music does not actually exist without all three individuals- music is a social experience, no matter what romanticists and their followers may claim. I recommend this book for anyone looking for a cogent thesis about the role of music in modern society.
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