Skip to main content Accessibility help
×
Hostname: page-component-cd9895bd7-gxg78 Total loading time: 0 Render date: 2024-12-26T05:58:20.306Z Has data issue: false hasContentIssue false

References

Published online by Cambridge University Press:  05 October 2015

Lisa McCormick
Affiliation:
University of Edinburgh
Get access
Type
Chapter
Information
Performing Civility
International Competitions in Classical Music
, pp. 264 - 281
Publisher: Cambridge University Press
Print publication year: 2015

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

1958a. “All-American Virtuoso.” In Time. Volume 71, Issue 20. May 19, p. 60.Google Scholar
1958b. “American Sputnik.” In Time. Volume 71, Issue 17, April 28, p. 57.Google Scholar
1958c. “Cliburn in Salute to Rachmaninoff.” In The New York Times. June 1, p. 74.Google Scholar
1958d. “Common Ground.” In The Washington Post. April 18, p. A16.Google Scholar
1958e. “Hero's Return.” In Time. Volume 71, Issue 22, June 2, p. 40.Google Scholar
1958f. “Shostakovich Hails Cliburn's Success.” In The New York Times. April 21, p. 20.Google Scholar
2001. “Banff Quartet Competition Stirs Musical Debate.” In The Toronto Star. September 8, Arts J20.Google Scholar
2005a. “In the Key of China: Cliburn Showcases New Enthusiasm for Classics.” In The Dallas Morning News. June 5, 2P.Google Scholar
2005b. “Today's Players.” In The Fort Worth Star Telegram. May 24, 4B.Google Scholar
2009a. “Blind Man's Music Called ‘Miraculous.’” In The Dallas Morning News. May 27, Local News, p. 3.Google Scholar
2009b. “Statutes of the World Federation of International Music Competitions,” edited by the World Federation of International Music Competitions. Geneva, Switzerland.Google Scholar
2009c. “2009 Webcast and Media.” In Cliburn News. Special Issue No. 95, Summer, p. 2.Google Scholar
2010. “Russia Relaunches Tchaikovsky.” In International Piano Magazine. January/February, p. 6.Google Scholar
2012. “Ecstatic Swedes Celebrate Eurovision Song Contest Win.” In The Daily Telegraph. May 27 (www.telegraph.co.uk/culture/tvandradio/eurovision/9293051/Ecstatic-Swedes-celebrate-Eurovision-Song-Contest-win.html).Google Scholar
2013. “First Lady of Fort Worth: Nancy Lee Bass 1917–2013.” In Cliburn News. No. 104, Spring, p. 11.Google Scholar
Abercrombie, Nicholas, and Longhurst, Brian. 1998. Audiences: A Sociological Theory of Performance and Imagination. London, Thousand Oaks, and New Delhi: Sage Publications.Google Scholar
Adorno, Theodor W. 1962. Introduction to the Sociology of Music. New York: Seabury Press.Google Scholar
Adorno, Theodor W. 1991. “On the Fetish Character in Music and the Regression of Listening.” Pp. 2652 in The Culture Industry: Selected Essays on Mass Culture, edited by Bernstein, J.M.. London: Routledge.Google Scholar
Adorno, Theodor W. 2002a. “On Jazz.” Pp. 470–95 in Essays On Music, edited by Leppert, Richard. Berkeley, Los Angeles and London: University of California Press.Google Scholar
Adorno, Theodor W. 2002b. “On the Social Situation of Music.” Pp. 391436 in Essays on Music, edited by Leppert, Richard. Berkeley, Los Angeles and London: University of California Press.Google Scholar
Ahles, Andrea. 2005. “The People's Joyce.” In The Fort Worth Star Telegram. May 28, BB4.Google Scholar
Alexander, Jeffrey C. 1998. “The Computer as Sacred and Profane.” Pp. 2946 in The New American Cultural Sociology, edited by Smith, Philip. Cambridge, UK: Cambridge University Press.CrossRefGoogle Scholar
Alexander, Jeffrey C. 2001. “Theorizing the ‘Modes of Incorporation’: Assimilation, Hyphenation, and Multiculturalism as Varieties of Civil Participation.” Sociological Theory 19(3):237–49.CrossRefGoogle Scholar
Alexander, Jeffrey C. 2004. “Cultural Pragmatics: Social Performance between Ritual and Strategy.” Sociological Theory 22(4):527–73.Google Scholar
Alexander, Jeffrey C. 2006. The Civil Sphere. New York: Oxford University Press.Google Scholar
Alexander, Jeffrey C. 2010. The Performance of Politics: Obama's Victory and the Democratic Struggle for Power. New York: Oxford University Press.Google Scholar
Alexander, Jeffrey, and Smith, Philip. 1998. “Cultural Sociology or Sociology of Culture? A Strong Program for Giving Sociology Its Second Wind.” Sociologie et Sociétés 30(1):107–16.Google Scholar
Alink, Gustav A. 1990. International Piano Competitions. The Hague: Alink–Argerich Foundation.Google Scholar
Appadurai, Arjun. 1986. The Social Life of Things: Commodities in Cultural Perspective. New York: Cambridge University Press.Google Scholar
Ardoin, John. 1977. “Triumphs and Turmoil at the Cliburn Competition.” In The New York Times. October 9, D19.Google Scholar
Arnold, Matthew. 1965. Culture and Anarchy. Ann Arbor: University of Michigan Press.Google Scholar
Auslander, Philip. 2006. “Musical Personae.” TDR/The Drama Review 50(1):100119.CrossRefGoogle Scholar
Autrey, Jennifer. 2005. “A Tale of Two Planos.” In The Fort Worth Star Telegram. June 4, BB4.Google Scholar
Bahari, Sarah. 2005a. “Alex in Wonderland.” In The Fort Worth Star Telegram. June 6, AA3.Google Scholar
Bahari, Sarah 2005b. “His Mettle Is Better than Gold.” In The Fort Worth Star Telegram. May 31, A1.Google Scholar
Baker, Catherine. 2008. “Wild Dances and Dying Wolves: Simulation, Essentialization, and National Identity at the Eurovision Song Contest.” Popular Communication 6(3):173–89.Google Scholar
Barghoorn, Frederick Charles. 1960. The Soviet Cultural Offensive: The Role of Cultural Diplomacy in Soviet Foreign Policy. Princeton, NJ: Princeton University Press.Google Scholar
Barry, Ellen. 2011. “Basking in Russia's Love Long after a Musical Triumph.” In The New York Times. July 1, A7.Google Scholar
Battersby, Christine. 1989. Gender and Genius: Towards a Feminist Aesthetics. London: The Women's Press.Google Scholar
Bauer, Harold. 1947. “The Paris Conservatorie: Some Reminiscences.” The Musical Quarterly 33(4):533–42.Google Scholar
Baumann, Shyon. 2007. Hollywood Highbrow: From Entertainment to Art. Princeton, NJ: Princeton University Press.Google Scholar
Bayley, Amanda (Ed.). 2010. Recorded Music: Performance, Culture and Technology. Cambridge, UK: Cambridge University Press.Google Scholar
Becker, Howard S. 1982. Art Worlds. Berkeley, Los Angeles, and London: University of California Press.Google Scholar
Bennigsen, Olga. 1939. “The Brothers Rubinstein and Their Circle.” The Musical Quarterly 25(4):407–19.Google Scholar
Benzecry, Claudio E. 2011. The Opera Fanatic: Ethnography of an Obsession. Chicago: University of Chicago Press.Google Scholar
Bernheimer, Martin. 2008. “Critics in a Hostile World.” In The Financial Times. July 5, FT Weekend Supplement, Life & Arts, 14.Google Scholar
Berry, Wallace. 1989. Musical Structure and Performance. New Haven, CT: Yale University Press.Google Scholar
Björnberg, Alf. 2007. “Return to Ethnicity: The Cultural Significance of Musical Change in the Eurovision Song Contest.” Pp. 1323 in A Song for Europe: Popular Music and Politics in the Eurovision Song Contest, edited by Raykoff, Ivan and Deam Tobin, Robert. Aldershot and Burlington, VT: Ashgate.Google Scholar
Blank, Grant. 2007. Critics, Ratings, and Society: The Sociology of Reviews. Lanham: Rowman & Littlefield.Google Scholar
Blumer, Herbert. 1935. “Moulding of Mass Behavior through the Motion Picture.” Publications of the American Sociological Society 29:115–27.Google Scholar
Blumer, Herbert 1969. Symbolic Interactionism: Perspective and Method. Englewood Cliffs, NJ: Prentice-Hall.Google Scholar
Bolin, Göran. 2006. “Visions of Europe: Cultural Technologies of Nation-States.” International Journal of Cultural Studies 9(2):189206.Google Scholar
Bouckaert, Thierry. 2001. Elisabeth's Dream, a Musical Offering: Fifty Years of the Queen Elisabeth Competition. Brussels: Editions Complexe.Google Scholar
Bourdieu, Pierre. 1984. Distinction: A Social Critique of the Judgement of Taste. Cambridge, MA: Harvard University Press.Google Scholar
Bourdieu, Pierre 1993. The Field of Cultural Production: Essays on Art and Literature. Cambridge, UK: Polity Press.Google Scholar
Bourdieu, Pierre 1996. The Rules of Art: Genesis and Structure of the Literary Field. Cambridge, UK: Polity Press.Google Scholar
Bourdieu, Pierre [1980]1993. “The Production of Belief: Contribution to an Economy of Symbolic Goods.” Pp. 74111 in The Field of Cultural Production: Essays on Art and Literature. Cambridge, UK: Polity Press.Google Scholar
Bowen, José A. 1999. “Finding the Music in Musicology: Performance History and Musical Works.” Pp. 424–51 in Rethinking Music, edited by Cook, Nicholas and Everist, Mark. Oxford: Oxford University Press.Google Scholar
Bracker, Milton. 1958. “Van Cliburn Gets a Hero's Parade.” In The New York Times. May 21, p. 35.Google Scholar
Brown, Angela K. 2005a. “Russian Musician Alexander Kobrin Wins Van Cliburn International Piano Competition.” In Associated Press. June 6.Google Scholar
Brown, Geoff. 2005b. “Geoff Brown Listens as Pianists Duel under the TexasSun.” In The Times (London). June 10, Times2, p. 16.Google Scholar
Burnham, Scott G. 1995. Beethoven Hero. Princeton, NJ: Princeton University Press.CrossRefGoogle Scholar
Butsch, Richard. 2008. The Citizen Audience: Crowds, Publics, and Individuals. New York: Routledge.Google Scholar
Butt, John. 2002. Playing with History: The Historical Approach to Musical Performance. Cambridge, UK: Cambridge University Press.Google Scholar
Campbell, Margaret. 1982. “Why Competitions?The Strad 93(1107):179–82.Google Scholar
Cantrell, Scott. 2009. “Assessing the Cliburn Finalists.” In The Dallas Morning News. June 2, 1E.Google Scholar
Carter, Bill. 2003. “Fox Mulls How to Exploit The Mojo of ‘American Idol.’” in The New York Times. May 23, C1.Google Scholar
Casstevens, David. 2005. “You Gotta Believe: After 17 Days of Chopin and Shindigs, Finalists Cling to Faith That They Are the Best.” In The Fort Worth Star Telegram. June 5, BB4.Google Scholar
Chambliss, Daniel F. 1989. “The Mundanity of Excellence: An Ethnographic Report on Stratification and Olympic Swimmers.” Sociological Theory 7(1):7086.Google Scholar
Chapoulie, Jean-Michel. 1996. “Everett Hughes and the Chicago Tradition.” Sociological Theory 14(1):329.Google Scholar
Chignell, Hugh. 2009. Key Concepts in Radio Studies. London/Thousand Oaks, CA: Sage.CrossRefGoogle Scholar
Clarke, Eric. 2004. “Empirical Methods in the Study of Performance.” Pp. 77102 in Empirical Musicology: Aims, Methods, Prospects, edited by Clarke, Eric and Cook, Nicholas. Oxford: Oxford University Press.CrossRefGoogle Scholar
Cline, Eileen T. 1985. “Piano Competitions: An Analysis of their Structure, Value, and Educational Implications.” Unpublished PhD dissertation, School of Music. Bloomington, IN: Indiana University.Google Scholar
Coleman, Karen. 2011. “A Return to Habermas: When High Met Low at the MoMA.” Presented at the American Sociological Association Annual Meeting. Las Vegas, NV.Google Scholar
Collins, Randall. 2004. Interaction Ritual Chains. Princeton, NJ and Oxford: Princeton University Press.CrossRefGoogle Scholar
Cook, Nicholas. 1990. Music, Imagination, and Culture. Oxford: Clarendon Press.Google Scholar
Cook, Nicholas 2001. “Between Process and Product: Music and/as Performance.” Music Theory Online 7(2):22.Google Scholar
Cook, Nicholas 2013. Beyond the Score: Music as Performance. New York: Oxford University Press.Google Scholar
Crossley, Nick, and Roberts, John Michael. 2004. After Habermas: New Perspectives on the Public Sphere. Oxford: Blackwell Publishing/The Sociological Review.Google Scholar
Csikszentmihalyi, Mihaly. 2000. Beyond Boredom and Anxiety. San Francisco: Jossey-Bass Publishers.Google Scholar
Da Costa Coimbra, Daniela, and Davidson, Jane W.. 2001. “Investigating Performance Evaluation by Assessors of Singers in a Music College Setting.” Musicae scientiae: The Journal of the European Society for the Cognitive Sciences of Music 5(1):3353.Google Scholar
Dahlberg, Lincoln. 2001. “The Habermasian Public Sphere Encounters Cyber-Reality.” Javnost/The Public 8(3):8396.Google Scholar
Darnton, John. 1980. “Despite Love for Chopin, Contest Has Harsh Notes.” In The New York Times. October 21, A1.Google Scholar
Davis, Hazel. 2006Competing Opinions.” The Strad 117(1389):36–7.Google Scholar
Day, Timothy. 2000. A Century of Recorded Music: Listening to Musical History. New Haven, CT: Yale University Press.Google Scholar
Dayan, Daniel, and Katz, Elihu. 1992. Media Events: The Live Broadcasting of History. Cambridge, MA: Harvard University Press.Google Scholar
Dean, Jodi. 2003. “Why the Net Is Not a Public Sphere.” Constellations 10(1):95112.Google Scholar
De La Harpe, Jacqueline E. 1949. “Goethe, Gide, and Valéry.” Comparative Literature 1(4):373–80.Google Scholar
DeNora, Tia. 1995. Beethoven and the Construction of Genius: Music Politics in Vienna, 1792–1803. Berkeley: University of California Press.Google Scholar
DeNora, Tia 2000. Music in Everyday Life. Cambridge, UK and New York: Cambridge University Press.Google Scholar
DeNora, Tia 2003. After Adorno: Rethinking Music Sociology. Cambridge, UK and New York: Cambridge University Press.CrossRefGoogle Scholar
DeNora, Tia 2004. “Embodiment and Opportunity: Bodily Capital, Gender, and Reputation in Beethoven's Vienna.” Pp. 185–97 in The Musician as Entrepreneur, 1700–1914: Managers, Charlatans, and Idealists, edited by Weber, William. Bloomington and Indianapolis: Indiana University Press.Google Scholar
DeNora, Tia 2005. “The Concerto and Society.” Pp. 1931 in The Cambridge Companion to the Concerto, edited by Keefe, Simon P.. Cambridge, UK and New York: Cambridge University Press.Google Scholar
DeNora, Tia 2006. “Music as Agency in Beethoven's Vienna.” Pp. 103–19 in Myth, Meaning, and Performance: Toward a New Cultural Sociology of the Arts, edited by Eyerman, Ron and McCormick, Lisa. Boulder, CO and London: Paradigm Publishers.Google Scholar
Demeulemeester, Thijs. 2012. “Royalement Logé.” in L’Echo:Sabato, May Issue, pp. 8–13.Google Scholar
Dervan, Michael. 2012. “Asians Make Their Presence Felt.” In The Irish Times. May 9. www.irishtimes.com/newspaper/features/2012/0509/1224315796389.html, accessed 20 May 2012.Google Scholar
Deuze, M. J. P. 2008. “Corporate Appropriation of Participatory Culture.” Pp. 2740 in Participation and Media Production: Critical Reflections on Content Creation, edited by Carpentier, N. and De Cleen, B.. Newcastle upon Tyne: Cambridge Scholars Publishing.Google Scholar
Dimaggio, Paul. 1982a. “Cultural Entrepreneurship in Nineteenth-Century Boston. I.” Media, Culture & Society 4:3350.Google Scholar
Dimaggio, Paul 1982b. “Cultural Entrepreneurship in Nineteenth-Century Boston. II.” Media, Culture & Society 4:303–22.Google Scholar
Doerschuk, Bob. 1978. “Piano Competitions: Their History and Their Effect on Modern Classical Piano.” Contemporary Keyboard 4:917.Google Scholar
Donington, Robert. 1977. The Interpretation of Early Music. Faber and Faber: London.Google Scholar
Douglas, Barry. 1998. “Careers That Begin in the Wrong Key.” In The Times (London). July 20, News, p. 20.Google Scholar
Dunoyer, Cecilia. 1993. Marguerite Long: A Life in French Music, 1874–1966. Bloomington: Indiana University Press.Google Scholar
Durkheim, Émile. 1995. The Elementary Forms of Religious Life. New York: Free Press.Google Scholar
Dybowski, Stanisław. 2010a. “Exclusively Polish?” In Chopin Express. October 12, p. 7.Google Scholar
Dybowski, Stanisław 2010b. “Exclusively Polish? [2].” In Chopin Express. October 13, p. 7.Google Scholar
Dybowski, Stanisław 2010c. “How It All Began.” In Chopin Express. October 2, p. 7.Google Scholar
Dybowski, Stanisław 2010d. “What Kind of a Jury Was It?” In Chopin Express. October 7, p. 7.Google Scholar
Eichler, Jeremy. 2005. “When Art Is Judged by Rules of Sport.” In The New York Times. April 16, B9.Google Scholar
Ekiert, Janusz. 2010. The Endless Search for Chopin: The History of the International Fryderyk Chopin Piano Competition in Warsaw. Warsaw: MUZA SA.Google Scholar
Elias, Norbert. 2000. The Civilizing Process: Sociogenetic and Psychogenetic Investigations, edited by Dunning, Eric, Goudsblom, Johan, and Mennell, Stephen. Oxford: Blackwell.Google Scholar
Elias, Norbert. 2001. The Society of Individuals, translated by Jephcott, Edmund, edited by Schröter, Michael. New York: Continuum.Google Scholar
Elias, Norbert, and Dunning, Eric. 1986. Quest for Excitement: Sport and Leisure in the Civilizing Process. Oxford and New York: Blackwell.Google Scholar
Ellis, Katharine. 1997. “Female Pianists and Their Male Critics in Nineteenth-Century Paris.” Journal of the American Musicological Society 50 (2–3):353–85.Google Scholar
Ellis-Petersen, Hannah. 2014. “Julian Lloyd Webber: Classical Music Competitions Are Rife with Corruption.” In The Guardian. July 25 (www.theguardian.com/music/2014/jul/25/julian-lloyd-webber-classical-music-competitions-corrupt), accessed 11 August 2014.Google Scholar
English, James F. 2005. The Economy of Prestige: Prizes, Awards, and the Circulation of Cultural Value. Cambridge, MA: Harvard University Press.CrossRefGoogle Scholar
Espeland, Wendy Nelson, and Sauder, Michael. 2007. “Rankings and Reactivity: How Public Measures Recreate Social Worlds.” American Journal of Sociology 113(1):140.Google Scholar
Espeland, Wendy Nelson, and Stevens, Mitchell L.. 1998. “Commensuration as a Social Process.” Annual Review of Sociology 24:313–43.Google Scholar
Faulkner, Robert R., and Saul Becker, Howard. 2009. Do You Know…? The Jazz Repertoire in Action. Chicago: University of Chicago Press.Google Scholar
Feldman, David Henry, with Goldsmith, Lynn T.. 1986. Nature's Gambit: Child Prodigies and the Development of Human Potential. New York: Basic Books.Google Scholar
Flesch, Carl. 1937. “International Concours ‘Eugene Ysaÿe.’” The Strad 48(565):1316.Google Scholar
Flesch, Carl F. 1990. And Do You Also Play the Violin? London: Toccata Press.Google Scholar
Gay, Wayne Lee. 2005a. “Final Round Is a 5-Day Test of Stamina.” In The Fort Worth Star Telegram. June 1, A1.Google Scholar
Gay, Wayne Lee 2005b. “Learning Curve.” In The Fort Worth Star Telegram. May 26, AA3.Google Scholar
Gay, Wayne Lee 2005c. “Many Girlhood Dreams Play Out in Cliburn Contest.” In The Times Union, Albany, NY. March 3, P9.Google Scholar
Gay, Wayne Lee 2005d. “Women's Movement: Female Majority Leads Field of Piano Hopefuls.” In The Fort Worth Star Telegram. March 1, A1.Google Scholar
Geertz, Clifford. 1973. Interpretation of Cultures: Selected Essays. New York: Basic Books.Google Scholar
Gibbs, Christopher Howard. 2006. “‘Just Two Words. Enormous Success’: Liszt's 1838 Vienna Concerts.” Pp. 167230 in Franz Liszt and His World, edited by Howard Gibbs, Christopher and Gooley, Dana. Princeton, NJ: Princeton University Press.Google Scholar
Gimmler, Antje. 2001. “Deliberative Democracy, the Public Sphere and the Internet.” Philosophy and Social Criticism 27(4):2139.Google Scholar
Godfrey, Stephen. 1986. “Quartets Try to Scale Some Musical Peaks in Banff.” In The Globe and Mail. April 19, D1.Google Scholar
Godt, Irving. 2003. “The Meistersingers' Hidden Heritage.” The Musical Times 144(1885):35–7.
Goehr, Lydia. 1992. The Imaginary Museum of Musical Works: An Essay in the Philosophy of Music. Oxford: Clarendon Press.Google Scholar
Goffman, Erving. 1959. The Presentation of Self in Everyday Life. Garden City, NY: Doubleday.Google Scholar
Goffman, Erving 1961. Encounters: Two Studies in the Sociology of Interaction. Indianapolis: Bobbs-Merrill.Google Scholar
Goffman, Erving 1975. Frame Analysis: An Essay on the Organization of Experience. Harmondsworth: Penguin.Google Scholar
Goode, William Josiah. 1978. The Celebration of Heroes: Prestige as a Social Control System. Berkeley: University of California Press.Google Scholar
Goodloe, Katharine. 2005. “Rituals Keep Competitors Sharp.” In The Dallas Morning News. May 23, 13A.Google Scholar
Gooley, Dana. 2000. “Warhorses: Liszt, Weber's ‘Konzertstuck,’ and the Cult of Napoleon.” 19th-Century Music 24(1):6288.Google Scholar
Gooley, Dana 2004. The Virtuoso Liszt. Cambridge, UK: Cambridge University Press.Google Scholar
Gooley, Dana 2005. “La commedia del violino: Paganini's Comic Strains.” The Musical Quarterly 88(3):370427.Google Scholar
Gray, Caroline. 2009. “Narratives of Disability and the Movement from Deficiency to Difference.” Cultural Sociology 3(2):317–32.Google Scholar
Gray, Jonathan, Sandvoss, Cornel, and Lee Harrington, C (Eds.). 2007. Fandom: Identities and Communities in a Mediated World. New York: New York University Press.Google Scholar
Grazian, David. 2004. “Opportunities for Ethnography in the Sociology of Music.” Poetics 32:197210.Google Scholar
Green, Lucy. 1997. Music, Gender, Education. Cambridge, UK: Cambridge University Press.Google Scholar
Greenaway, Kathryn. 2005. “The Piano Olympics.” In The Montreal Gazette. February 6, B1.Google Scholar
Greenhouse, Steven. 1988. “They're Battling at the Bastille Again, This Time over a Brave New Opera House.” In The New York Times. September 25, Section 2, p. 39.Google Scholar
Gronow, Pekka, and Saunio, Ilpo. 1998. An International History of the Recording Industry. London and New York: Cassell.Google Scholar
Gumpert, Matthew. 2007. “‘Everyway That I Can’: Auto-Orientalism at Eurovision 2003.” Pp. 147–57 in A Song for Europe: Popular Music and Politics in the Eurovision Song Contest, edited by Raykoff, Ivan and Deam Tobin, Robert. Aldershot and Burlington, VT: Ashgate.Google Scholar
Habermas, Jürgen. 1969 [1989]. The Structural Transformation of the Public Sphere: An Inquiry into a Category of Bourgeois Society. Cambridge, MA: MIT Press.Google Scholar
Habermas, Jürgen 1984. The Theory of Communicative Action. Boston: Beacon Press.Google Scholar
Hamilton, Kenneth. 2007. After the Golden Age: Romantic Pianism and Modern Performance. New York: Oxford University Press.Google Scholar
Hays, Tim. 1996. “Development of the Music Conservatory in Europe and the United States.” Journal of the Midwest History of Education Society 23:410.Google Scholar
Hemingway, Olivia. 2010. “Major Changes at Tchaikovsky Competition.” In Classical Music Magazine. January 13.Google Scholar
Hennion, Antoine. 2001. “Music Lovers: Taste as Performance.” Theory, Culture & Society 18(5):122.Google Scholar
Hennion, Antoine 2014. “‘Blowing in the Wind’?…A Response to the Author of ‘Mastering the Jazz Standard: Sayings and Doings of Artistic Valuation.’American Journal of Cultural Sociology 2(2):253–9.Google Scholar
Herring, Susan C., Lois Ann, Scheidt, Elijah, Wright, and Sabrina, Bonus. 2005. “Weblogs as a Bridging Genre.” Information Technology & People 18(2):142.Google Scholar
Hewett, Ivan. 2007. “Joining the Queue: The Proms Audiences.” Pp. 210–31 in The Proms: A New History, edited by Doctor, J.R., Wright, D., and Kenyon, N.. London: Thames & Hudson.Google Scholar
Hixson, Walter L. 1997. Parting the Curtain: Propaganda, Culture, and the Cold War, 1945–1961. New York: St. Martin's Press.Google Scholar
Hodouchi, Ayano. 2010. “Half of the Tchaikovsky Competition to Be Held in St. Petersburg.” In Moscow News. July 9.Google Scholar
Hohendahl, Peter Uwe. 1995. Prismatic Thought: Theodor W. Adorno. Lincoln: University of Nebraska Press.Google Scholar
Holland, Bernard. 1989. “Can a Pianist Sway a Competition Jury?” In The New York Times. May 25, C21.Google Scholar
Horowitz, Joseph. 1990. The Ivory Trade: Music and the Business of Music at the Van Cliburn International Piano Competition. New York: Summit Books.Google Scholar
Horowitz, Joseph 2005. Classical Music in America: A History of Its Rise and Fall. New York: Norton.Google Scholar
Hunter, Mary. 2005. “‘To Play as If from the Soul of the Composer’: The Idea of the Performer in Early Romantic Aesthetics.” Journal of the American Musicological Society 58(2):357–98.Google Scholar
Ivry, Benjamin. 2009. “What Was the Jury Thinking?” In The Wall Street Journal (http://www.wsj.com/articles/SB124458728669699751), accessed 11 November 2011.Google Scholar
Jacobs, Ronald N. 2012. “Entertainment Media and the Aesthetic Public Sphere.” Pp. 318–40 in The Oxford Handbook of Cultural Sociology, edited by Alexander, Jeffrey C., Jacobs, Ronald N., and Smith, Philip. New York: Oxford University Press.Google Scholar
Jenkins, Henry. 1992. Textual Poachers: Television Fans and Participatory Culture. New York and London: Routledge.Google Scholar
Johnson, Cathryn, Dowd, Timothy J., and Ridgeway, Cecilia L.. 2006. “Legitimacy as a Social Process.” Annual Review of Sociology 32(1):5378.Google Scholar
Johnson, Michael. 2009. “The Dark Side of Piano Competitions.” In The New York Times. August 7 (www.nytimes.com/2009/08/08/opinion/08iht-edjohnson.html?_r=0), accessed 29 October 2012.Google Scholar
Johnson, Peter. 2010. “Illusion and Aura in the Classical Music Audio Recording.” Pp. 3751 in Recorded Music: Performance, Culture and Technology, edited by Bayley, Amanda. Cambridge, UK: Cambridge University Press.Google Scholar
Kawabata, Maiko. 2004. “Virtuoso Codes of Violin Performance: Power, Military Heroism, and Gender (1789–1830).” 19th-Century Music 28(2):89107.Google Scholar
Keefe, Simon P. 2005. “Theories of the Concerto from the Eighteenth Century to the Present Day.” Pp. 718 in The Cambridge Companion to the Concerto, edited by Keefe, Simon P.. Cambridge, UK: Cambridge University Press.Google Scholar
Kelleher, Tom, and Miller., Barbara M. 2006. “Organizational Blogs and the Human Voice: Relational Strategies and Relational Outcomes.” Journal of Computer-Mediated Communication 11(2):395414.Google Scholar
Kennedy, Dennis. 2009. The Spectator and the Spectacle: Audiences in Modernity and Postmodernity. New York: Cambridge University Press.Google Scholar
Kenyon, Nicholas (Ed.). 1988. Authenticity and Early Music: A Symposium. Oxford: Oxford University Press.Google Scholar
Kingsbury, Henry. 1988. Music, Talent, and Performance: A Conservatory Cultural System. Philadelphia: Temple University Press.Google Scholar
Kivy, Peter. 2001. The Possessor and the Possessed: Handel, Mozart, Beethoven, and the Idea of Musical Genius. New Haven, CT and London: Yale University Press.Google Scholar
KNAU. 2001. “Interview with Olga Kern.” National Public Radio. Released 17 September 2005.Google Scholar
Kozinn, Allan. 1990. “Review/Television; Backstage at the Tchaikovsky Music Competition.” In The New York Times. December 25, p. 62.Google Scholar
Kris, Ernst, and Kurz, Otto. 1979. Legend, Myth, and Magic in the Image of the Artist: A Historical Experiment. New Haven, CT and London: Yale University Press.Google Scholar
Lamont, Michèle. 2009. How Professors Think: Inside the Curious World of Academic Judgment. Cambridge, MA: Harvard University Press.Google Scholar
Larson, Magali Sarfatti. 1994. “Architectural Competitions as Discursive Events.” Theory and Society 23(4):469504.Google Scholar
Le Bon, Gustave. 2001. The Crowd: A Study of the Popular Mind. Mineola, NY: Dover Publications.Google Scholar
Lebrecht, Norman. 1997. Who Killed Classical Music? Maestros, Managers, and Corporate Politics. Secaucus, NJ: Carol Pub. Group.Google Scholar
Lebrecht, Norman 2002. “Where Has the Competition Gone?” In La Scena Musicale. July 3 (http://www.scena.org/columns/lebrecht/020703-NL-competitions.html), accessed 7 February 2012.Google Scholar
Lebrecht, Norman 2011. “Comment.” The Strad 122(1457):27.Google Scholar
Lee, Jooyoung. 2009. “Battlin' on the Corner: Techniques for Sustaining Play.” Social Problems 56(3):578–98.Google Scholar
Leppert, Richard D. 1993. The Sight of Sound: Music, Representation, and the History of the Body. Berkeley: University of California Press.Google Scholar
Leppert, Richard D. 1999. “Cultural Contradiction, Idolatry, and the Piano Virtuoso: Franz Liszt.” Pp. 236–81 in Piano Roles: Three Hundred Years of Life with the Piano, edited by Parakilas, James. New Haven, CT: Yale University Press.Google Scholar
Lerdahl, Fred. 1988. “Cognitive Constraints on Compositional Systems.” Pp. 231–59 in Generative Processes in Music: The Psychology of Performance, Improvisation, and Composition, edited by Sloboda, John A.. Oxford: Oxford University Press.Google Scholar
Lévi-Strauss, Claude. 1966 [1962]. The Savage Mind. Chicago and London: University of Chicago Press.Google Scholar
Levine, Lawrence W. 1984. “William Shakespeare and the American People: A Study in Cultural Transformation.” The American Historical Review 89(1):3466.Google Scholar
Lifanovsky, Boris. 1994. “Audience, Experts Surprised by Tchaikovsky Jury's Ruling.” In The Los Angeles Times. July 2 (http://articles.latimes.com/print/1994-07-02/entertainment/ca-11168_1_international-tchaikovsky-competition), accessed 26 October 2012.Google Scholar
Littler, William. 2004. “American Quartets Take Banff by Storm.” In The Toronto Star. September 7, D08.Google Scholar
Loomis, George. 2007. “Future Stars Shine in Moscow.” In Financial Times. July 4. ARTS, p. 11.Google Scholar
Love, Harold. 2004. “How Music Created a Public.” Criticism 46(2):257–71.Google Scholar
Lu, Julia. 2011. “Les origines du prix de Rome de musique: genèse et fonctionnement sous l’Empire.” Pp. 4557 in Le Concours du prix de Rome de musique (1803–1968), edited by Lu, Julia and Dratwicki, Alexandre. Lyon: Symétrie.Google Scholar
Madigan, Tim. 2005a. “A Teacher's Torment.” In The Fort Worth Star-Telegram. June 7, 1A.Google Scholar
Madigan, Tim 2005b. “Fan, Competitor Share Similar Backgrounds.” In The Fort Worth Star Telegram. May 23, 1B.Google Scholar
Madigan, Tim 2005c. “Veda's Children Play On.” In The Fort Worth Star Telegram. May 15, D4.Google Scholar
Magnúsdóttir, Rósa. 2006. “‘Be Careful in America, Premier Khrushchev!’ Soviet Perceptions of Peaceful Coexistence with the United States in 1959.” Cahiers du Monde Russe 47(1/2):109–30.Google Scholar
Malvern, Jack. 2014. “Music Talent Shows ‘Are Fixed,’ Claims Lloyd Webber.” In The Times (London) (www.thetimes.co.uk/tto/arts/music/classical/article4157292.ece), accessed 11 August 2014.Google Scholar
Mann, Robert. 1985. “The Naumburg Competition at 60.” In The New York Times. October 27, p. 19.Google Scholar
Markus, Hazel, and Nurius, Paula. 1986. “Possible Selves.” American Psychologist 41(9):954–69.Google Scholar
Marton, Andrew. 2005. “The Invisible Medalist,” In The Fort Worth Star Telegram. May 8, D1.Google Scholar
McCormick, Lisa. 2006. “Music as Social Performance.” Pp. 121–44 in Myth, Meaning, and Performance: Toward a New Cultural Sociology of the Arts, edited by Eyerman, Ron and McCormick, Lisa. Boulder, CO and London: Paradigm Publishers.Google Scholar
McCormick, Lisa 2012. “Music Sociology in a New Key.” Pp. 722–42 in The Oxford Handbook of Cultural Sociology, edited by Alexander, Jeffrey C., Jacobs, Ronald N., and Smith, Philip. New York: Oxford University Press.Google Scholar
McCormick, Lisa 2014. “Don't Play It Again, Sam.” American Journal of Cultural Sociology 2(2):260–65.Google Scholar
McGinnis, Pearl Yeadon. 2010. The Opera Singer's Career Guide: Understanding the European Fach System, edited by Willis, Marith McGinnis. Lanham, MD: Scarecrow Press.Google Scholar
McGuigan, Jim. 2005. “The Cultural Public Sphere.” European Journal of Cultural Studies 8(4):427–43.Google Scholar
Mellers, Wilfred. 1989. “What Is Musical Genius?” Pp. 166–80 in Genius: The History of an Idea, edited by Murray, Penelope. New York: Basil Blackwell.Google Scholar
Melograni, Piero. 2007. Wolfgang Amadeus Mozart: A Biography. Chicago: University of Chicago Press.Google Scholar
Mennell, Stephen. 1992. Norbert Elias: An Introduction. Oxford: Blackwell Publishers.Google Scholar
Merton, Robert King. 1968. Social Theory and Social Structure. New York: Free Press.Google Scholar
Moeran, Brian. 2010. “The Book Fair as a Tournament of Values.” Journal of the Royal Anthropological Institute 16(1):138–54.Google Scholar
Morrison, Richard. 2011. “The Titanic Tchaikovsky Test.” In The Times (London). July 4 (http://www.thetimes.co.uk/tto/arts/music/classical/article3083745.ece), accessed 17 October 2012.Google Scholar
Murray, Penelope (Ed.). 1989. Genius: The History of an Idea. Oxford: Blackwell.Google Scholar
NPR. 2001. “Profile: Eleventh Van Cliburn International Piano Competition,” on Weekend All Things Considered. United States: National Public Radio. Broadcast June 9.Google Scholar
Nylander, Erik. 2014. “Mastering the Jazz Standard: Sayings and Doings of Artistic Valuation.” American Journal of Cultural Sociology 2(1):6696.Google Scholar
Osaka, Chika. 2009. “Award Turns Blind Japan Pianist into Music Sensation.” In Reuters. July 9.Google Scholar
Parks, J. D. 1983. Culture, Conflict, and Coexistence: American–Soviet Cultural Relations, 1917–1958. Jefferson, NC: McFarland.Google Scholar
Parmenter, Ross. 1960. “Music World: Fanfare or Nothing.” In The New York Times. October 30, X9.Google Scholar
Pasler, Jann. 2005. “State Politics and the ‘French’ Aesthetics of Prix-de-Rome Cantatas, 1870–1900.” Pp. 585622 in Musical Education in Europe (1770–1914), edited by Fend, Michael and Noiray, Michel. Berlin: BWV Berliner Wissenscharts-Verglag GmbH.Google Scholar
Patoski, Joe Nick. 1998. “Wowtown!” in Texas Monthly. April, p. 122.Google Scholar
Peterson, Richard, and Anand, N.. 2004. “The Production of Culture Perspective.” Annual Review of Sociology 30:311–34.Google Scholar
Pfeifer, Ellen. 2001. “Key Changes with a New Name, a New Look, and a New Maturity, Olga Kern Overcame Disappointment and Emerged with Van Cliburn Gold New Look, Sound for Olga Kern.” In Boston Globe. June 29, C14.Google Scholar
Philippon, Charles. 1985. Douze Lauréats pour un Concerto. Bruxelles: Editions G carré.Google Scholar
Pidd, Helen. 2013. “Music Schools Sex Abuse Inquiry Focuses on Nine Key Suspects.” The Guardian. 18 February (www.theguardian.com/uk/2013/feb/18/music-schools-sex-abuse-inquiry-suspects), accessed 21 September 2014.Google Scholar
Potter, Jonathan. 2002. “Two Kinds of Natural.” Discourse Studies 4(4):539–42.Google Scholar
Raykoff, Ivan. 2007. “Camping on the Borders of Europe.” Pp. 112 in A Song for Europe: Popular Music and Politics in the Eurovision Song Contest, edited by Raykoff, Ivan and Deam Tobin, Robert. Aldershot and Burlington, VT: Ashgate.Google Scholar
Ritterman, Janet. 2002. “On Teaching Performance.” Pp. 7588 in Musical Performance: A Guide to Understanding, edited by Rink, John. Cambridge, UK: Cambridge University Press.Google Scholar
Ritzer, George, and Jurgenson, Nathan. 2010. “Production, Consumption, Prosumption: The Nature of Capitalism in the Age of the Digital ‘Prosumer.’Journal of Consumer Culture 10(1):1336.Google Scholar
Roche, Maurice. 2000. Mega-events and Modernity: Olympics and Expos in the Growth of Global Culture. London and New York: Routledge.Google Scholar
Roche, Maurice 2003. “Mega-events, Time and Modernity: On Time Structures in Global Society.” Time & Society 12(1):99126.Google Scholar
Rodzinski, Richard. 2005. “Beyond the Score.” The 12th International Van Cliburn Piano Competition Program Book: 32–3.Google Scholar
Rosen, Charles. 2002. Piano Notes: The World of the Pianist. New York: Free Press.Google Scholar
Rosen, Peter. 2004. “Van Cliburn Concert Pianist.” RCA.Google Scholar
Ross, Alex. 2013. “Women, Gays, and Classical Music.” In The New Yorker. October 3 (http://www.newyorker.com/culture/culture-desk/women-gays-and-classical-music), accessed 27 April 2014.Google Scholar
Rothstein, Edward. 1994. “Music Review: Cliburn Competition Winner's Debut.” In The New York Times. November 16, C21.Google Scholar
Samson, Jim. 1992. “Myth and Reality: A Biographical Introduction.” Pp. 18 in The Cambridge Companion to Chopin, edited by Samson, Jim. Cambridge, UK and New York: Cambridge University Press.CrossRefGoogle Scholar
Samson, Jim 2003. Virtuosity and the Musical Work: The Transcendental Studies of Liszt. Cambridge, UK and New York: Cambridge University Press.Google Scholar
Sand, Barbara Lourie. 2000. Teaching Genius: Dorothy DeLay and the Making of a Musician. Portland, OR: Amadeus Press.Google Scholar
Sandvoss, Cornel. 2005. Fans: The Mirror of Consumption. Cambridge, UK: Polity.Google Scholar
Santoro, Marco, and Peterson, Richard A.. 2008. “Producing Cultural Sociology: An Interview with Richard A. Peterson.” Cultural Sociology 2(1):3355.Google Scholar
Sargeant, Lynn M. 2011. Harmony and Discord: Music and the Transformation of Russian Cultural Life. Oxford: Oxford University Press.Google Scholar
Schmemann, Serge. 1982. “Tchaikovsky: U.S. Finalists Wait Tensely.” In The New York Times. July 2, Section 1, p. 11.Google Scholar
Schmidt, Dana Adams. 1957. “Soviet Gestures on Amity Studied: State Department is Wary of New Moscow Efforts to Lessen Tensions.” In The New York Times. June 20, p. 4.Google Scholar
Schonberg, Harold C. 1961. “A Matter of Bias.” In The New York Times. October 1, X11.Google Scholar
Schonberg, Harold C. 1978. “Competitions – Good for Music?” In The New York Times. December 3, D17.Google Scholar
Schonberg, Harold C. 1987[1963]. The Great Pianists. New York: Simon & Schuster.Google Scholar
Schubart, Mark. 1958. “Moscow Rolls Out Red Carpet.” In The New York Times. April 29, X9.Google Scholar
Schweitzer, Vivien. 2002. “Scandal at Moscow's Tchaikovsky Competition.” In Pianist. September 20 (http://www.vivienschweitzer.com/archive/tchaikcomp.html), accessed 6 August 2014.Google Scholar
Sennett, Richard. 1977. The Fall of Public Man. New York: Knopf.Google Scholar
Service, Tom. 2011a. “Everything to Play for at the Tchaikovsky Competition.” In On Classical. The Guardian. September 20 (www.theguardian.com/music/2011/sep/20/tchaikovsky-competition-moscow-gergiev), accessed 7 February 2012.Google Scholar
Service, Tom 2011b. “The Drama Continues at the Tchaikovsky Competition in Moscow.” In On Classical. The Guardian. June 29 (www.theguardian.com/music/tomserviceblog/2011/jun/29/tchaikovsky-competition-moscow), accessed 8 July 2011.Google Scholar
Shlachter, Barry. 2009a. “At the Only Rehearsal, a Moment of Tension and Then Natural Timing.” In The Fort Worth Star Telegram. May 28, B10.Google Scholar
Shlachter, Barry 2009b. “Getting a Break from ‘Nobu Fever.’” In The Fort Worth Star Telegram. August 5, B10.Google Scholar
Shlachter, Barry 2009c. “Japanese Pianist Doesn't Need to See to Dazzle Cliburn Audiences.” In The Fort Worth Star Telegram. May 25, B01.Google Scholar
Shlachter, Barry 2009d. “Learning Piano – and How to Cope.” In The Fort Worth Star Telegram. June 3, B14.Google Scholar
Silverman, David. 2007. A Very Short, Fairly Interesting and Reasonably Cheap Book about Qualitative Research. Los Angeles: Sage Publications.Google Scholar
Simmel, Georg. 1950. The Sociology of Georg Simmel, translated, edited, and with an Introduction by Wolff, Kurt H.. Glencoe, IL: Free Press.Google Scholar
Singer, Mark. 2007. “Fantasia for Piano.” In The New Yorker. Volume 83, Issue 27, p. 66.Google Scholar
Slocum, Kay Brainerd. 1995. “‘Confrérie, Bruderschaft’ and Guild: The Formation of Musicians’ Fraternal Organisations in Thirteenth- and Fourteenth-Century Europe.” Early Music History 14:257–74.Google Scholar
Small, Christopher. 1998. Musicking: The Meanings of Performing and Listening. Hanover and London: Wesleyan University Press.Google Scholar
Smith, Philip. 2005. Why War? The Cultural Logic of Iraq, the Gulf War, and Suez. Chicago: University of Chicago Press.Google Scholar
Stanley, Alessandra. 1994. “Musical Tradition of Acrimony.” In The New York Times. July 2, Sect. 1, p. 9.Google Scholar
Stelter, Brian. 2012. “‘Idol’ Grapples with Its Own Competition.” In The New York Times. May 22 (http://mobile.nytimes.com/2012/05/23/arts/television/american-idol-ponders-a-ratings-dip-on-fox.html), accessed 6 August 2014.Google Scholar
Stockfelt, Ola. 1997. “Adequate Modes of Listening.” Pp. 129–46 in Keeping Score: Music, Disciplinarity, Culture, edited by Schwarz, David, Kassabian, Anahid, and Siegel, Lawrence. Charlottesville: University Press of Virginia.Google Scholar
Stockhem, Michel. 1993. La Chapelle Musicale Reine Elisabeth. Louvain-la-Neuve: Duculot.Google Scholar
Strachan, Alex 2008. “In Strikebound TV-land, Idol Seen as a Godsend,” in The Gazette (Montreal). January 15, Arts & Life, D7.Google Scholar
Street, John. 2005. “‘Showbusiness of a Serious Kind’: A Cultural Politics of the Arts Prize.” Media, Culture & Society 27(6):819–40.Google Scholar
Stults, Raymond. 1998. “Scandal at Tchaikovsky.” In The Moscow Times. July 4.Google Scholar
Sutton, Anne F. 1992. “Merchants, Music and Social Harmony: The London Puy and its French and London Contexts, circa 1300.” The London Journal 17(1):117.Google Scholar
Tait, Simon. 1994. “These Hands Are Made for Winning.” In The Times (London). September 16, p. 34.Google Scholar
Taruskin, Richard. 1995. Text and Act: Essays on Music and Performance. New York: Oxford University Press.Google Scholar
Taruskin, Richard 2005a. “Getting Rid of Glue.” Pp. 59129 in The Oxford History of Western Music. Oxford and New York: Oxford University Press.Google Scholar
Taruskin, Richard 2005b. “Music of Feudalism and Fin' Amors.” Pp. 105–46 in The Oxford History of Western Music. New York: Oxford University Press.Google Scholar
Taruskin, Richard 2005c. “Virtuosos.” Pp. 251–88 in The Oxford History of Western Music. Oxford: Oxford University Press.Google Scholar
Taubman, Howard. 1958. “A Winner on His Merits.” In The New York Times. April 20, X9.Google Scholar
Taylor, Philip. 2007. Anton Rubinstein: A Life in Music. Bloomington: Indiana University Press.Google Scholar
Teviotdale, Elizabeth C. 1993. “The Invitation to the Puy d'Évreux.” Current Musicology 52:7.Google Scholar
Thompson, Wendy, and Waterman, Fanny. 1990. Piano Competition: The Story of the Leeds. London: Faber and Faber.Google Scholar
Tommasini, Anthony. 2001. “Still Seeking a Successor to Cliburn.” In The New York Times. May 27, AR19.Google Scholar
Tommasini, Anthony 2008. “Cold War, Hot Pianist. Now Add Fifty Years.” In The New York Times. March 9, AR1.Google Scholar
Topping, Seymour. 1960. “Van Cliburn Wins Moscow Ovation.” In The New York Times. June 3, p. 17.Google Scholar
Tremayne, Mark. 2007. Blogging, Citizenship, and the Future of Media. London: Routledge.Google Scholar
Tsay, Chia-Jung. 2013. “Sight over Sound in the Judgment of Music Performance.” Proceedings of the National Academy of Sciences 110(36):14580–85.Google Scholar
Turley, Alan C. 2001. “Max Weber and the Sociology of Music.” Sociological Forum 16(4):633–53.Google Scholar
Turner, Victor Witter. 1982. From Ritual to Theatre: The Human Seriousness of Play. New York: Performing Arts Journal Publications.Google Scholar
Turner, Victor Witter 1995. The Ritual Process: Structure and Anti-Structure. New York: Aldine de Gruyter.Google Scholar
Validire, Jean-Louis. 2005. “Le violoncelle continue son ascension.” In Le Figaro. November 22, p. 35.Google Scholar
Wagner-Pacifici, Robin Erica. 2000. Theorizing the Standoff: Contingency in Action. Cambridge, UK and New York: Cambridge University Press.CrossRefGoogle Scholar
Ward, Alyson. 2005. “Blinded by the Flight: Pianists Feel the Need for Speed – but Fast Doesn't Equal Finesse.” In The Fort Worth Star Telegram. June 5.Google Scholar
Ward, Alyson 2009. “2 Share Gold for Only Second Time.” In The Fort Worth Star Telegram. June 8, B06.Google Scholar
Ward, Charles. 2001. “Cliburn Competition Slated.” In The Houston Chronicle. May 20, p. 12.Google Scholar
Wayne, Leslie. 2006. “Perry R. Bass, 91, Patriarch of Famed Texas Oil Family, Dies.” In The New York Times. June 2, B8.Google Scholar
Weber, Max. 1958. The Rational and Social Foundations of Music. Carbondale: Southern Illinois University Press.Google Scholar
Weber, William. 1975. Music and the Middle Class: The Social Structure of Concert Life in London, Paris and Vienna. London: Croom Helm.Google Scholar
Weber, William 2004. “The Musician as Entrepreneur and Opportunist, 1700–1914.” Pp. 324 in The Musician as Entrepreneur, 1700–1914: Managers, Charlatans, and Idealists, edited by Weber, William. Bloomington and Indianapolis: Indiana University Press.Google Scholar
Weintraub, Jeff Alan. 1997. “The Theory and Politics of the Public/Private Distinction.” Pp. 142 in Public and Private in Thought and Practice: Perspectives on a Grand Dichotomy, edited by Weintraub, Jeff Alan and Kumar, Krishan. Chicago: University of Chicago Press.Google Scholar
Weirich, Robert. 1984. “A Look at the Competition Syndrome.” In Clavier. May–June, pp. 25–7.Google Scholar
Weiss, Piero, and Taruskin, Richard. 1984. Music in the Western World: A History in Documents. New York and London: Schirmer Books, Collier Macmillan.Google Scholar
Williamon, Aaron. 1999. “The Value of Performing from Memory.” Psychology of Music 27:8495.Google Scholar
Williams, Rod. 2007. “The Great Classical Piano Swindle.” In Intelligent Life. Autumn, pp. 6675.Google Scholar
Wilson, Elizabeth. 1999. Jacqueline du Pré: Her Life, Her Music, Her Legend. New York: Arcade.Google Scholar
Winter, Robert S. 2004. “Orthodoxies, Paradoxes, and Contradictions.” Pp. 1654 in Nineteenth-Century Piano Music, edited by Todd, R. Larry. New York and London: Routledge.Google Scholar
Witkin, Robert W. 1998. Adorno on Music. London and New York: Routledge.Google Scholar
Woodall, Tim. 2012. “Coming to a Screen Near You.” In Classical Music Magazine (The Competition Issue). Pp. 23–5.Google Scholar
Zeeble, Bill. 2009. “Asian Pianists Sweep Van Cliburn Competition.” In Voice of America News. June 9.Google Scholar

Save book to Kindle

To save this book to your Kindle, first ensure no-reply@cambridge.org is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

  • References
  • Lisa McCormick, University of Edinburgh
  • Book: Performing Civility
  • Online publication: 05 October 2015
  • Chapter DOI: https://doi.org/10.1017/CBO9781316181478.012
Available formats
×

Save book to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

  • References
  • Lisa McCormick, University of Edinburgh
  • Book: Performing Civility
  • Online publication: 05 October 2015
  • Chapter DOI: https://doi.org/10.1017/CBO9781316181478.012
Available formats
×

Save book to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

  • References
  • Lisa McCormick, University of Edinburgh
  • Book: Performing Civility
  • Online publication: 05 October 2015
  • Chapter DOI: https://doi.org/10.1017/CBO9781316181478.012
Available formats
×