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Food for Apollo: Cultivated Music in Antebellum Philadelphia by Dorothy T. Potter (review)

Food for Apollo: Cultivated Music in Antebellum Philadelphia by Dorothy T. Potter (review) Book Reviews Food for Apollo: Cultivated Music in Antebellum Philadelphia. By Dorothy T. Potter. Bethlehem, PA: Lehigh University Press, 2011. ISBN 978-1-61146002-5. Hardcover. Pp. 234. $65.00. In the introduction to this work, the author quotes from an anthology entitled Music and History: Bridging the Disciplines: "Why haven't historians and musicologists been talking to one another?"1 While musicology is explicitly the study of music, that is, musical sound within its historical context, it is perhaps easier for a musicologist to consult historical research than for a historian to read musicological works. Among the reasons for this difficulty, two might be highlighted. First, before the advent of recorded sound, music was intrinsically ephemeral. We have musical notation that passes on outlines, for example, of a Mozart sonata, but we do not know exactly how to realize those outlines in the same way Mozart himself or his contemporaries, or succeeding generations for that matter, did. We often rely on oral tradition, with performers tracing their teachers back to the composer. So the musicologist must also be a musician, able to recreate the musical phenomenon using the best evidence the scholar can unearth and deduce from the evidence at hand. Second, the http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png American Music University of Illinois Press

Food for Apollo: Cultivated Music in Antebellum Philadelphia by Dorothy T. Potter (review)

American Music , Volume 31 (1) – Sep 1, 2013

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Publisher
University of Illinois Press
Copyright
Copyright © University of Illinois Press
ISSN
1945-2349
Publisher site
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Abstract

Book Reviews Food for Apollo: Cultivated Music in Antebellum Philadelphia. By Dorothy T. Potter. Bethlehem, PA: Lehigh University Press, 2011. ISBN 978-1-61146002-5. Hardcover. Pp. 234. $65.00. In the introduction to this work, the author quotes from an anthology entitled Music and History: Bridging the Disciplines: "Why haven't historians and musicologists been talking to one another?"1 While musicology is explicitly the study of music, that is, musical sound within its historical context, it is perhaps easier for a musicologist to consult historical research than for a historian to read musicological works. Among the reasons for this difficulty, two might be highlighted. First, before the advent of recorded sound, music was intrinsically ephemeral. We have musical notation that passes on outlines, for example, of a Mozart sonata, but we do not know exactly how to realize those outlines in the same way Mozart himself or his contemporaries, or succeeding generations for that matter, did. We often rely on oral tradition, with performers tracing their teachers back to the composer. So the musicologist must also be a musician, able to recreate the musical phenomenon using the best evidence the scholar can unearth and deduce from the evidence at hand. Second, the

Journal

American MusicUniversity of Illinois Press

Published: Sep 1, 2013

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