Musicological Attitudes on Eminence
Identifieur interne : 000229 ( Istex/Corpus ); précédent : 000228; suivant : 000230Musicological Attitudes on Eminence
Auteurs : Paul R. FarnsworthSource :
- Journal of Research in Music Education [ 0022-4294 ] ; 1966-04.
English descriptors
- Teeft :
- American attitude, American musicological society, Attitudinal changes, Author sympathizes, Beethoven mozart haydn, Birth year, Brahms handel debussy schubert wagner chopin monteverdi palestrina verdi schumann, Cattell space method, Cologne clementi tartini, Composer eminence, Considerable commonality, Considerable number, Couperin gluck, Current members, December, Divergent philosophies, Downloaded, Dunstable bizet gesualdo rossini, Early journal, Elite attitudes, Eminence rankings, Farnsworth musicologicalattitudeson eminence, Faulty addresses, General encyclopedias, Great beethoven, High potentiality, Higher ranks, Human nature, Johann strauss, Large number, Larger group, Lasso purcell berlioz strauss, Last page, Late spring, Many complaints, Many months, Many others, Mendelssohn tchaikovsky vivaldi mahler byrd dufay machaut schiitz liszt mussorgsky corelli scarlatti, Methodological trouble, More elite, Much disagreement, Music education, Music education quently, Musical eminence, Musical heritage, Musical periods, Musical taste, Musical yearbook, Musicological, Offenbach ravel delius, Organizational quality, Other measurements, Other words, Perfect correspondence, Perotinus wolf bart6k grieg, Present poll, Present study, Proper number, Puccini franck dvofak buxtehude bruckner sibelius rameau frescobaldi ockeghem stravinsky scarlatti, Rank order, Rank orders, Rank positions, Reasonable acceptance, Recent poll, Researchin music education, Rore boccherini franco, Sage publications, Same order, Similar rank orders, Smaller group, Sousa sullivan bellini, Stable convictions, Sufficient opportunity, Telemann lully, Typical musician, Unfortunate effect, Violent protests, Vittoria faur6 dowland bach, Vote scores, Weber gibbons sweelinck schonberg strauss, Western world, Year period.
Url:
DOI: 10.2307/3343932
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ISTEX:50EF8BC5F393009E6EB96B198C518289494A935CLe document en format XML
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</publisher></journal-meta><article-meta><article-id pub-id-type="doi">10.2307/3343932</article-id><article-id pub-id-type="publisher-id">10.2307_3343932</article-id><article-categories><subj-group subj-group-type="heading"><subject>Articles</subject></subj-group></article-categories><title-group><article-title>Musicological Attitudes on Eminence</article-title></title-group><contrib-group><contrib contrib-type="author" xlink:type="simple"><name name-style="western"><surname>Farnsworth</surname><given-names>Paul R.</given-names></name><aff>Stanford University.</aff></contrib></contrib-group>
<pub-date pub-type="ppub"><month>4</month><year>1966</year></pub-date><volume>14</volume><issue>1</issue><fpage>41</fpage><lpage>44</lpage><custom-meta-wrap><custom-meta xlink:type="simple"><meta-name>sagemeta-type</meta-name><meta-value>Journal Article</meta-value></custom-meta><custom-meta xlink:type="simple"><meta-name>cover-date</meta-name><meta-value>Spring 1966</meta-value></custom-meta><custom-meta xlink:type="simple"><meta-name>search-text</meta-name><meta-value> Paul R. Farnsworth Musicological Attitudeson Eminence IN 1938, 1944, 1951, and again in 1964 the author polled the members of the American Musicological Society in an effort to learn which composers these musicians held in highest regard.1 Secondary interests were to find how similar the attitudes were within the group and how much the attitudes had changed over the thirteen year period between the last two polls. In the letter sent in the late spring of 1964 was the following paragraph: You will note that the enclosure is a list of composersborn before 1870. Please place X marks to the left of the 25 composersyou feel have composed music most worthy to be called to the attention of our children and our lay i.e., to be preservedas a part of our musical heritage. If you contemporaries, feel that the 25 should include names of other pre-1870composersnot listed here, please add them to the last page. If you believe that the 25 should include names of composersborn since 1870, add them also. You do not need to rank order the names you have checked. The birth year 1870 was rather arbitrarily chosen as a date before which composers of high potentiality had had sufficient opportunity to reveal their real worth and after which there may not have been time for the listening public to learn completely to accept the innovations of the more recent composers. The enclosure included the names of 207 composers. That it covered all, born since 1870, who could conceivably make the top 25 eminence rankings seems indicated by the fact that very few names were added by the respondents and no addition was made more than twice. A number of respondents mentioned that a few on the list were not truly composers. These had been left on the list because they had been fre1 For account of these earlier studies see P. R. Farsworth, “The Musical Taste of an American Musical Elite, ” Hinrichsen's Musical Yearbook, VII (1952), 112-116. The author has also reported on other measurements of musical eminence in “Elite Attitudes in Music as Measured by the Cattell Space Method, ” Journal of Research in Music Education, X (Spring 1962), 65-68 and, “Attitudes Toward Composers as Reflected in Three General Encyclopedias of the Early 1960's, ” Journal of Research in Music Education, XI (Fall 1963), 142-143. 41 42 JOURNAL OF RESEARCH IN MUSIC EDUCATION quently mentioned by respondents in an earlier poll. They had been added then because of their important, though tangential, effects on composition. In a later poll they were not listed. However, so many complaints were then received it was felt necessary to restore them this time. Sixteen hundred and seventy letters were mailed to the AMS members. However, faulty addresses were numerous and a considerable number were undelivered. Many others, no doubt, were received by persons who discarded them as they were out of sympathy with the aim of the research. In all, about 52 percent of the blanks have been marked and returned but an occasional blank still keeps arriving even many months after the time of the poll. Between 1951 and 1964 the membership of the American Musicological Society increased enormously. This could, of course, mean that the current members do not make up as select a group as those of earlier days. Be this as it may, in the present study no assumption as to organizational quality was made except that the membership was, on the average, more sophisticated musically speaking, more elite, than is the typical musician. The respondents must certainly reflect, and to some extent slowly mold, American attitude toward composers. As was anticipated, a number of complaints were received. The most frequent had to do with the number of names to be checked. Two divergent philosophies appeared to have been held. The larger group of respondents seemed to feel that the checking of far more than 25 names should have been allowed. There was much disagreement, however, on the proper number, the issue apparently being the number of musical periods or perhaps schools of musical thought felt to exist. A smaller group of respondents wanted (and checked) fewer than 25 names, feeling that only 5, 10, 15, or 20 composers had compositions worthy to be preserved as a part of our musical heritage. The author sympathizes with both groups of respondents. His only justification for the number 25 came from earlier research which showed that quite similar rank orders are obtained when a number of names from approximately 15 to 50 are asked for, but that the reliability of the rankings seemed a shade higher when 25 or so names are requested. A far more serious methodological trouble came from the author's reaction to rather violent protests at the time of the 1951 poll. At that time both “before 1870” and “after 1870” lists were presented. Few respondents felt that any important “old timers” had been ignored but many believed that a large number of the more recent composers of importance had been omitted. In other words, the list of the earlier composers had reasonable acceptance. But it appeared that even a list of the more recent composers four or five times as long would not possibly satisfy. Each respondent, it seemed, felt very strongly about candidates who were almost uniquely his own! Hence, with the present poll, a “born since 1870” list was not included. The unfortunate effect of this was to lower greatly the “eminence for all time” ranks received MUSICOLOGICALATTITUDES ON EMINENCE 1964 RANK ORDER OF COMPOSERS OF ALL-TIME EMINENCE 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17.5 17.5 19. 20. 21. 22. 23. 24. 25. 26. 27. 28. 29. 30. 31. 32. 33. 34. Bach, J. S. Beethoven Mozart Haydn, (F.) J. Brahms Handel Debussy Schubert Wagner Chopin Monteverdi Palestrina Verdi Schumann Des Prez di Lasso Purcell Berlioz Strauss, R. Mendelssohn Tchaikovsky Vivaldi Mahler Byrd Dufay Machaut Schiitz Liszt Mussorgsky Corelli Scarlatti, (G.) D. Gabrieli, G. Couperin Gluck 35. 36. 37. 38. 39. 40. 41. 42. 43. 44. 45. 46. 47. 48. 49. 50.5 50.5 52. 53. 54. 55. 56. 57. 58. 59. 60. 61. 62. 63. 64. 65.5 65.5 Puccini Franck Dvofak Buxtehude Bruckner Sibelius Rameau Frescobaldi Ockeghem Stravinsky Scarlatti, A. Dunstable Bizet Gesualdo Rossini da Vittoria Faur6 Dowland Bach, K. P. E. Rimsky-Korsakov Perotinus Wolf Bart6k Grieg von Weber Gibbons Sweelinck Schonberg Strauss, J., Jr. Saint-Saens Telemann Lully 67. Landini 68. Mac Dowell 69. Bach, J. C. 70. Leoninus 71. Gabrieli, A. 72.5 Carissimi 725 Pergolesi 74. Marenzio 75. Smetana 77. Pratorius 77. Borodin 77. Gounod 79. Haydn, (J.) M. 80.5 Sousa 80.5 Sullivan 82.5 Bellini 82.5 Jan, ek 85. Donizetti 85. Weber 85. Willaert 87. Offenbach 88.5 Ravel 88.5 Delius 91. Elgar 91. Hindemith 91. Satie 935 Cherubini 93.5 Foster 95. de Rore 96.5 Boccherini 96.5 Franco of Cologne 98.5 Clementi 98.5 Tartini (The next 4 are tied) 43 by the top-ranking moderns. Human nature being what it is, we tend to ignore names we don't see on the sheet in front of us. So persons like Stravinsky and Bart6k would have undoubtedly ranked higher had their names been presented in the recent poll. However, if the “born since 1870's” are excluded from the top 100 of the 1951 and 1964 lists, the correlation between the two rank orders becomes astonishingly high-a bit over .94, indicating that the AMS members of those two dates ranked the “oldtimers” in almost the same order. But some changes, of course, did occur. The composers whose rank positions have fallen most sharply over the thirteen-year period are Johann Strauss, Grieg, Sibelius, and Rimsky-Korsakov. Those with far higher ranks in 1964 are Gesualdo and Dunstable. At the very top Bach and Beethoven changed places (although their 1964 vote scores differed but slightly) and Mozart won over Brahms and Haydn. When all the 1964 returns are divided by chance into two sets and each is tabulated separately, the correlation between the rank orders yielded 44 JOURNAL OF RESEARCHIN MUSIC EDUCATION by the two subgroups comes to .98, indicating an almost perfect correspondence between the two sets of ranks. Whatever their reasons may be, the current members of the American Musicological Society have, as a group, extremely stable convictions on the matter of composer eminence. The above data gathered from the membership of the American Musicological Society clearly indicate that there exists a very considerable commonality of opinion regarding the eminence of the composers of the Western World. The attitudinal changes that have occurred in a period of thirteen years have been slow and slight. The three Great B's-Bach, Beethoven and Brahms-, Mozart, and Haydn remain the five most revered composers. Stanford University. </meta-value></custom-meta></custom-meta-wrap></article-meta></front></article></istex:document></istex:metadataXml><mods version="3.6"><titleInfo lang="en"><title>Musicological Attitudes on Eminence</title></titleInfo><titleInfo type="alternative" lang="en" contentType="CDATA"><title>Musicological Attitudes on Eminence</title></titleInfo><name type="personal"><namePart type="given">Paul R.</namePart><namePart type="family">Farnsworth</namePart><affiliation>Stanford University.</affiliation></name><typeOfResource>text</typeOfResource><genre type="research-article" displayLabel="research-article" authority="ISTEX" authorityURI="https://content-type.data.istex.fr" valueURI="https://content-type.data.istex.fr/ark:/67375/XTP-1JC4F85T-7">research-article</genre><originInfo><publisher>SAGE Publications</publisher><place><placeTerm type="text">Sage CA: Los Angeles, CA</placeTerm></place><dateIssued encoding="w3cdtf">1966-04</dateIssued><copyrightDate encoding="w3cdtf">1966</copyrightDate></originInfo><language><languageTerm type="code" authority="iso639-2b">eng</languageTerm><languageTerm type="code" authority="rfc3066">en</languageTerm></language><relatedItem type="host"><titleInfo><title>Journal of Research in Music Education</title></titleInfo><genre type="journal" authority="ISTEX" authorityURI="https://publication-type.data.istex.fr" valueURI="https://publication-type.data.istex.fr/ark:/67375/JMC-0GLKJH51-B">journal</genre><identifier type="ISSN">0022-4294</identifier><identifier type="eISSN"></identifier><identifier type="PublisherID">JRM</identifier><identifier type="PublisherID-hwp">spjrm</identifier><part><date>1966</date><detail type="volume"><caption>vol.</caption><number>14</number></detail><detail type="issue"><caption>no.</caption><number>1</number></detail><extent unit="pages"><start>41</start><end>44</end></extent></part></relatedItem><identifier type="istex">50EF8BC5F393009E6EB96B198C518289494A935C</identifier><identifier type="ark">ark:/67375/M70-5WG2STJB-0</identifier><identifier type="DOI">10.2307/3343932</identifier><identifier type="ArticleID">10.2307_3343932</identifier><recordInfo><recordContentSource authority="ISTEX" authorityURI="https://loaded-corpus.data.istex.fr" valueURI="https://loaded-corpus.data.istex.fr/ark:/67375/XBH-0J1N7DQT-B">sage</recordContentSource></recordInfo></mods><json:item><extension>json</extension><original>false</original><mimetype>application/json</mimetype><uri>https://api.istex.fr/ark:/67375/M70-5WG2STJB-0/record.json</uri></json:item></metadata><serie></serie></istex></record>Pour manipuler ce document sous Unix (Dilib)
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