Sounds of the Metropolis: The Nineteenth-Century Popular Music Revolution (in London, New York, Paris, and Vienna).

听到流行音乐革命这个词，人们可能会想到上世纪50年代的那十年，当时摇滚乐颠覆了人们对流行音乐性质和风格的既定观念。或者，人们可能会认为主题是新奥尔良的爵士乐及其在摇滚乐之前的切分舞蹈风格中的遗产。然而，十九世纪见证了流行音乐的一场革命。流行风格不再是一种更容易被消化的东西，它融合了高级音乐中的技术和文化价值观。流行风格开始宣扬它们的独立性和独特的价值观。到本世纪末，随着音乐市场的发展和音乐界职业化程度的提高，出现了各种流行流派，每一种流派都有自己独特的特点。伦敦、纽约、巴黎和维也纳作为对古典传统的挑战最强烈的城市，以及出现了原创和有影响力的流行音乐形式的城市，表现得尤为突出。事实上，这些城市经历了四次不同的流行风格革命：伦敦是音乐厅的发源地，纽约是吟游诗人的发源地，巴黎是歌舞表演的发源地，维也纳是流行舞曲/流派的发源地，这些音乐/流派一直持续到20世纪。读者可能会想知道，我写的流行音乐革命是什么意思。我相信，我的研究将证明，这样的术语并不合适，我也希望它能表明，我指的是音乐风格和流派的革命。这场革命是由社会变革和将音乐纳入资本主义企业体系所推动的：它导致了音乐娱乐(或“商业”音乐)风格和“严肃”艺术风格之间的两极分化。没有人怀疑艺术和娱乐之间的这种鸿沟是在19世纪造成的。亨利·雷纳谈到了西方音乐文化的巨大分裂，西奥多·阿多诺谈到了19世纪商业主义给西方音乐文化留下的伤痕。在这个研究项目中，我想选择当时促使音乐变革的关键流派和风格，并继续影响下个世纪的流行音乐。到了19世纪末，流行音乐不能再被视为淡化或更容易被同化的艺术音乐；它有自己独特的技术、形式和装置。在承认社会和文化背景的重要性的同时，我也想分析构成新的流行风格的音乐特征。我认为，“流行”在这里第一次不仅指音乐的接受，而且指这些特定风格特征的存在。“光”[Leicht]一词被创造出来，用来描述这种特殊的音乐特征。这种音乐生产的新分类与活页乐谱的工业生产和音乐娱乐业的增长密不可分；然而，重要的是，它意味着一首曲子在风格上流行成为可能，而不一定在商业成功方面受到欢迎。因此，“流行”的含义的转变为批评家提供了一种谴责带有流行标志的音乐的手段/他们认为这些音乐是时尚和轻快的，而不是进步和严肃的/无论这种音乐在市场上是否成功。流行音乐革命的影响一直持续到二十世纪，对于皮埃尔·布列兹这样的现代主义者来说，以流行风格创作的音乐等同于为销售而创作的音乐(创造了音乐消费的对象)，这已经成为一个不争的事实，因此，它是‘严肃’或‘有学问’的音乐的作曲家所憎恶的。

On hearing the words 'popular music revolution,' thoughts are likely to turn to the decade of the 1950s when rock 'n' roll overturned established ideas about the character and style of popular music. Alternatively, one might assume that the topic was the jazz of New Orleans and its legacy in the syncopated dance styles that preceded rock 'n' roll. However, the nineteenth century witnessed a revolution in popular music. No longer was the popular style something that offered a more easily digested concoction of the techniques and cultural values found in high-status music. Popular styles began to assert their independence and distinct values. By the end of the century, as a result of the growth of the music market and the increased professionalism in the musical world, there was a variety of popular genres, each with its own peculiar characteristics. 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. Indeed, these cities were home to four distinct revolutions in popular style: London was the birthplace of music hall, New York of minstrelsy, Paris of cabaret, and Vienna of popular dance music/genres that endured well into the twentieth century.The reader may wonder what I mean by writing of a popular music revolution. I trust that my research will demonstrate that such a term is not inappropriate, and I also hope that it will make clear that I am referring to a revolution in musical style as well as genre. This revolution was driven by social changes and the incorporation of music into a system of capitalist enterprise: it resulted in a polarization between the style of musical entertainment (or 'commercial' music) and that of 'serious' art. Nobody doubts that this fissure between art and entertainment was created in the nineteenth century. Henry Raynor speaks of the 'great schism,' and Theodor Adorno of the 'scars' left on western music culture as a consequence of nineteenth-century commercialism. I wanted, in this research project, to select the key genres and styles that precipitated musical change at that time, and that continued to 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.While acknowledging the importance of social and cultural context, I also wish to analyze the musical features that constitute the new popular styles. I argue that '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 term 'light' [leicht] was coined to act as a descriptor of this particular musical character. This new categorization of music production was inextricably linked to the industrial production of sheet music and the growth of the music entertainment business; yet, significantly, it meant that it became possible for a composition to be popular in style without necessarily being popular in terms of commercial success. Thus, the shift in meaning of 'popular' provided critics with a means of condemning music that bore the signs of the popular/which they regarded as fashionable and facile, rather than progressive and serious/whether or not such music enjoyed success in the market place. The impact of the popular music revolution reverberated into the twentieth century, and it became an incontrovertible truth for modernists like Pierre Boulez that music written in a popular style was tantamount to music written for sale (the creation of 'objects of musical consumption') and, consequently, it was anathema to the composer of 'serious' or 'learned' music.