StudentNumber:2973416

DueDate:1/4/2015
WordCount:
1101QCMAnnotatedBibliography
Topic:ExploringClassicalInstrumentalMusic
Question:Thecurrentestablished'canon'withinorchestralmusicincludesbothcomposerssuchas
Beethovenwhoseprestigehasneverbeenchallenged,alongsideotherswhoseworkswereinitially
championedbeyondtheirtimeand/orplaceofcomposition,suchasMahlerandShostakovich.Discuss
thisstatementwithreferencetoselectedorchestralworksbyeachofthesecomposers,andif
appropriate,worksbytheircontemporaries.Howhavesocial,culturalandtechnologicalfactors,in
particulartheriseoftherecordingindustry,hadanimpactonthesecomposers'relativepopularity
withinthepastfiftyyears?

List of 10 Sources
Botstein, L. (2004). Music of a Century: Museum Culture and the Politics of Subsidy. In N. Cook & A.
Pople (Eds.), Cambridge History of 20th Century Music (pp. 40-68). Cambridge: Cambridge
University Press, Retrieved from, http://books.google.com/books
Hamson, T. (2012). Thomas Hampson on Classical Music in Digital Media(YouTube). Berliner
Philharmoniker, Retrieved From: https://www.youtube.com/watch?v=_8c5PPAqcNE
Lee, J. (2003). A Requiem For Classical Music. Regional Review, 13(2), 16-24, Retrieved From,
http://www.bostonfed.org/economic/nerr/rr2003/q2/index.htm
Midgette, A. (2010, July 16). The future of the recording industry: is there one?. Classical Beat
Washington Post. Retrieved from, http://www.washingtonpost.com/
Orleans, J. 1997. Rebuilding the Repertoire for the 21st Century. Harmony, 12(4), 1-15, Retrieved
From, http://www.polyphonic.org/wpcontent/uploads/2012/02/Rebuilding_Repert_Orleans.pdf
Service, T. (2014, August 7). The Great Classical Music Swindle-and Why Were Better Of Now. The
Guardian. Retrieved from, http://www.theguardian.com/au
Shreffler, A. C. (2013). Musical Canonization and Decanonization in The Twentieth Century. In V. S.
K. Pietschmann & M. Wald (Eds.), The Canon of Music : Theory and History. A Handbook.
(pp. 1-18). Munich: Hanser Publishers, Retrieved from, https://www.academia.edu/

The Colossal Symphony: Beethoven, Berlioz, Mahler and Shostakovich (C.Wright, Lecture Notes,
http://oyc.yale.edu/music/musi-112/lecture-20, 2012).

Taylor, D. T. (2001). Music Tehcnology Agency and Practice. In B. Bedlin (Eds.), Strange Sounds,
Music, Technology and Culture (pp.15-27). Routledge: Taylor & Francis Group, Retrieved
from, http://books.google.com/books

Shreffler, A. C. (2013). Musical Canonization and Decanonization in The Twentieth Century. In V. S.

K. Pietschmann & M. Wald (Eds.), The Canon of Music : Theory and History. A Handbook.
(pp. 1-18). Munich: Hanser Publishers, Retrieved from, https://www.academia.edu/
Weber, W. (2003). Consequences of Canon: The Institutionalization of Enmity between Contemporary
and Classical Music. Common Knowledge, 9(1), 78-99
Retrieved from http://muse.jhu.edu/login?
auth=0&type=summary&url=/journals/common_knowledge/v009/9.1weber.pdf

Annotations/ Literature Review

At the forefront of the established canon that exists in classical orchestral music we have composers
such as Shostakovich, Beethoven and Mahler whose innovative prestige has never been questioned.
The ever expanding and changing nature of society and the influence of technology primarily the
recording industry on classical music has influenced the popularity of these composers overt the last 50
years. A myriad of sources from scholarly articles to interviews with professional musicians and
industry experts have been examined to address this contemporary issues in classical music. Bosteins
text, Cambridge history of 20th century music is a reliable and helpful source that provided insight
into the changing nature of society, and the influence of cultural change on composers popularity
within society. The two newspaper articles from The Washington Post and The Guardian
respectively, both provide objective opinions on the recording industry and its relevance and influence
on classical music. T, Service, in the Guardian article presents the opinion that the technological era is
suited to the culture of classical music. The idea that there would be a definitive recording of a work,
created a canon in classical music recordings to some extent. The Schreffler text and Wrights lecture
both address the canon within classical music, and the changing nature of this concept. Both texts
provide relevant information that presents different educated perspectives on the definition of this
canon and why, some composers such as Beethoven have remained at the forefront and others have not
been as widely recognized. These resources provide insight into the intrinsic link between society,
politics and culture and its influence on the canons establishment. The changing nature of the canon in
the 21st century and the innovative nature of composers such as Shostakovitchs recognition only been
widely recognized and admired, in hindsight, reflecting the changing nature of the canon in the 21st
century. Lees journal article, provides statistical analysis on the audience of classical music recording,
how funding is allocated to this industry and how the recording industry uses the canon of orchestral
music to increase its profit. This article addresses the business aspect related to the technological music
industry. Orleans text although not strictly relevant, due to its subjective nature provides interesting
insight into the repertoino lre choices that many orchestras make and how this is influenced by, the
established canon. The Interview with Hamson, talks about multiple facets of digital media not just the
recording industry hence its relevance to the topic is hindered, however, it does provide insight into the

recording industries influence on a professional orchestra. Taylors text is All of these resources have
allowed great insight and multiple perspectives, to begin to form an argument, and thesis for the essay
question.