The Oxford Handbook of Music and the Middlebrow

This handbook seeks to reanimate the music, institutions, and audiences that made up the cultural middle in the nineteenth and twentieth centuries by investigating the wealth of middlebrow culture that bridged the space between highbrow and lowbrow music. With case studies ranging from symphonic concerts to Broadway musicals, from opera criticism to rock journalism, it brings together scholars of classical and popular music to present a new, enriched narrative of music history.

The Oxford Handbook of Music and the Middlebrow takes a fresh look at the history of nineteenth- and twentieth-century music. Offering an alternative to the traditional focus on either highbrow modernism on the one hand or lowbrow popular music on the other, its novel view centers on the wealth of previously overlooked products and practices that bridged the space between these cultural extremes.While seminal attempts to recover middlebrow culture came from literary critics and historians, middlebrow studies is now a burgeoning field within musicology. As the first essay collection on this topic, this handbook has two aims: first, it seeks to explore the middlebrow as a historical phenomenon, excavating the kinds of critical writings, marketing practices, and compositional styles with which it was associated. By reanimating a range of musical practices and products--from symphonic concerts to Broadway musicals, opera criticism to rock journalism, and modern jazz to pop-rock--the contributors investigate how artists, critics, and audiences breached the divide from both above and below. In the process, the handbook chapters push the boundaries of middlebrow studies and demonstrate the category''s relevance outside of the mid-twentieth-century Anglophone world by delving into the nineteenth century, interrogating the present day, and looking to Germany, Russia, and beyond.The handbook''s second aim is to complicate the disciplinary divisions that have flowed from the entrenched oppositions between high and low genres. Breaking new ground by bringing together scholars of classical and popular music, these chapters trace common middlebrow themes across traditional disciplinary boundaries. Across this broad vista, contributors account for the kinds of syntheses, overlaps, and juxtapositions that made the cultural middle such a richly textured and endlessly contested terrain.