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Art music—also known as formal music,〔Ramón Pagayon Santos, ''Tunugan: Four Essays on Filipino Music'' (Quezon City: University of the Philippines Press, 2005): 184. ISBN 978-971-542-488-2.〕 serious music,〔(''Does Serious Music Belong in Pop?—Borrowings from Stravinsky in the Music of Frank Zappa''. Article by Andre Mount, Boston University (USA), February 2010. )〕 erudite music,〔Eero Tarasti, (''Semiotics of Classical Music'' ), Walter de Gruyter, 2012, p. 394.〕 or legitimate music〔Chip Chandler, "Symphony Celebrates Aaron Copland", ''Amarillo Globe-News'' (Monday, 22 January 2001).〕〔Mervyn Cooke, “Jazz among the Classics: The Case of Duke Ellington”, in ''The Cambridge Companion to Jazz'', edited by Mervyn Cooke and David Horn, 153–74, Cambridge Companions to Music (Cambridge and New York: Cambridge University Press, 2002): 163. ISBN 0521663202 (cloth) ISBN 0521663881 (pbk).〕 (sometimes shortened to legit music)〔David Ake, “Learning Jazz, Teaching Jazz”, in ''The Cambridge Companion to Jazz'', edited by Mervyn Cooke and David Horn, 255–69, Cambridge Companions to Music (Cambridge and New York: Cambridge University Press, 2002): 266. ISBN 0521663202 (cloth); ISBN 0521663881 (pbk).〕 —is an umbrella term that refers to musical traditions, implying advanced structural and theoretical considerations〔Jacques Siron, "Musique Savante (Serious music)", ''Dictionnaire des mots de la musique'' (Paris: Outre Mesure): 242. ISBN 2-907891-22-7〕 and a written musical tradition.〔Denis Arnold, "Art Music, Art Song", in ''The New Oxford Companion to Music, Volume 1: A-J'' (Oxford and New York: Oxford University Press, 1983): 111. ISBN 0-19-311316-3〕 The notion of art music is a frequent and well-defined musicological distinction, e.g., referred to by musicologist Philip Tagg as one of an "axiomatic triangle consisting of 'folk', 'art' and 'popular' musics."〔Philip Tagg, "Analysing Popular Music: Theory, Method and Practice", ''Popular Music'' 2 (1982): 41.〕 He explains that each of these three is distinguishable from the others according to certain criteria.〔 The main tradition in the Western world is usually called classical music. In this regard, it is frequently used as a contrasting term to popular music and traditional or folk music.〔〔"Music" in ''Encyclopedia Americana'', reprint 1993, p. 647.〕〔Philip Tagg, "Analysing Popular Music: Theory, Method and Practice", ''Popular Music'' 2 (1982): 37-67, here 41-42.〕 ==Definition== This term is mostly used to refer to music descending from the tradition of Western classical music. This is the common definition referred by many musicologists and scholars, including Susan McClary,〔Susan McClary,''Feminine Endings: Music, Gender, and Sexuality'', second edition, (Minneapolis: University of Minnesota Press, 1991-2002): xv-xv〕 Lawrence Kramer,〔Kramer Lawrence, ''Musical Meaning: Toward a Critical History, Volume 1'' (Berkeley and Los Angeles: University of California Press, 2002): 81 & 203.〕 Theodor Adorno,〔For the use of the "serious music" term: Theodor Adorno, "On the Social Situation of Music" (1932), in Theodor W. Adorno, Richard D. Leppert, and Susan H. Gillespie ''Essays on Music'' (Berkeley and Los Angeles: University of California Press, 2002): 395 ''et passim''. See also Theodor Adorno,"On Popular Music" (1941), in Theodor W. Adorno, Richard D. Leppert, and Susan H. Gillespie ''Essays on Music'' (Berkeley and Los Angeles: University of California Press, 2002): 437-453 ''passim''. For the use of the "art music" term, see Theodor Adorno, "On the Social Situation of Music" (1932), in Theodor W. Adorno, Richard D. Leppert, and Susan H. Gillespie ''Essays on Music'' (Berkeley and Los Angeles: University of California Press, 2002): 427 ''et passim''; see also Theodor Adorno, " Alieneted Masterpiece: Missa Solemnis" (1959), in Theodor W. Adorno, Richard D. Leppert, and Susan H. Gillespie ''Essays on Music'' (Berkeley and Los Angeles: University of California Press, 2002): 665. Both terms ("art music"/"serious music") are dealt as equivalents in the context of the book and this is reflected in the index of the book: the "art music" entry is reported on the "Serious Music" entry of the index (cf. Theodor W. Adorno, Richard D. Leppert, and Susan H. Gillespie ''Essays on Music'' (Berkeley and Los Angeles: University of California Press, 2002), 717).〕 Deryck Cooke,〔Deryck Cooke, ''The Language of Music'' (Oxford and New York: Oxford University Press, 2001): 53 and 96 and ''passim''〕 Joseph Swain,〔Joseph Swain, Musical Languages (new York and London: Norton and Company, 1997): 124 and passim〕 Nicholas Cook, Nicola Dibben,〔Nicholas Cook and Nicola Dibben, "Musicological Approaches to Emotion", in ''Music and Emotion: Theory and Research'', 45–70 (Oxford and New York: Oxford University Press, 2001): 56〕 Philip Tagg,〔Philip Tagg, "Analysing Popular Music: Theory, Method and Practice", ''Popular Music'' 2, 37-67 (1982): 39-42 ''passim''〕 and Gregory Booth and Terry Lee Kuhn.〔Gregory D. Booth and Terry Lee Kuhn, "Economic and Transmission Factors as Essential Elements in the Definition of Folk, Art, and Pop Music", ''The Musical Quarterly'' 74, no. 3 (1990):411–38. Citation on 418.〕 Many of these authors, however, tend to be critical or prudent with respect to certain implications of this classification. Those authors most particularly associated with critical musicology movement and popular music studies like Tagg tend to reject latent social elitism that has sometimes been associated with this classification. Some other authors interested in music theory may define art music differently. Musician Catherine Schmidt-Jones for example defines art music as "a music which requires significantly more work by the listener to fully appreciate than is typical of popular music." In her view, "()his can include the more challenging types of jazz and rock music, as well as Classical."〔Catherine Schmidt-Jones, "(What Kind of Music Is That? )", from the website Connexions, last edited by Catherine Schmidt-Jones on 10 January 2007 8:58 am US/Central, retrieved on 12 December 2008.〕 While often used to refer primarily to Western historical classical music, the term may refer to: * The classical/art music traditions of several different cultures around the world; * Modern and contemporary classical music, including serialism, electronic art music, experimental (art) music and minimalist music, as well as other forms; * Some forms of jazz, excluding most forms generally considered popular music. Jazz is generally considered popular music. (Adorno for example refers to jazz as some kind of popular music.〔Theodor W. Adorno, "On Popular Music", in ''Studies in Philosophy and Social Science'', 17-48 (New York: Institute of Social Research, 1941): IX.〕) But some more technical forms of jazz have blurred borders between art music and popular music. * Music that is highly formalized, that is, in which all or most musical elements are specified in advance, usually in written notation, as opposed to being improvised or otherwise left up to the performer's discretion. While earlier musicological approaches tended to consider art music in an elitist way, asserting the superiority of art music over other forms of music (for example Adorno〔Theodore Gracyk, "(The Aesthetics of Popular Music )", The Internet Encyclopedia of Philosophy (accessed 13 June 2011).〕), many modern musicologists (most particularly ethnomusicologists) dispute the notion of superiority. In a recent international musicology colloquium dedicated to music and globalization,〔(Colloquium "Musique et globalisation" )〕 some ethnomusicologists such as Jean During insisted that no matter the technicity and difficulty of music, every musical tradition has the same dignity and no one can claim any superiority over another.〔Discussion during François-Bernard Mâche's conference: «Musique au singulier» (Colloquium "Musique et globalisation" )〕 Furthermore, many art music composers have made reference to popular music including Johann Sebastian Bach, Milton Babbitt, Ludwig van Beethoven, Leonard Bernstein, Vincent D’Indy, Guillaume Dufay, George Gershwin, Josquin des Prez, Darius Milhaud, Wolfgang Amadeus Mozart, Giovanni Pierluigi da Palestrina, Manuel M. Ponce, Arnold Schoenberg, Karlheinz Stockhausen, and William Walton, while others like Béla Bartók, Pierre Boulez, Johannes Brahms, John Cage, Claude Debussy, Antonín Dvořák, Lou Harrison, Zoltán Kodály, François-Bernard Mâche, Gustav Mahler, Olivier Messiaen, Maurice Ravel, Steve Reich, and Claude Vivier have drawn influence from regional or extra-European traditional music. Moreover, in some cases the distinction between popular and art music has been blurred, particularly in the late 20th century.〔 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「art music」の詳細全文を読む スポンサード リンク
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