LEADER 00000cam a22005417i 4500 
001    ocn907631284 
003    OCoLC 
005    20171204120335.0 
008    150417s2015    enka     b    001 0 eng d 
010      2016560460 
015    GBB583083|2bnb 
019    925441334|a929606569 
020    9781107100862 
020    1107100860 
020    |z9781316373828 
020    |z1316373827 
020    |z9781316371824 
020    |z1316371824 
040    ERASA|beng|erda|cERASA|dDLC|dBTCTA|dYDXCP|dCOO|dSNN|dWVU
       |dOCLCF|dCDX|dCUD|dNYP|dLTSCA|dTJC|dOCL|dS3O|dOCLCQ|dWCH 
049    WCHA 
050 00 ML75.5|b.M33 2015 
090    ML75.5|b.M33 
100 1  McCormick, Lisa,|d1975-|0https://id.loc.gov/authorities/
       names/n2006000652|eauthor. 
245 10 Performing civility :|binternational competitions in 
       classical music /|cLisa McCormick, University of 
       Edinburgh. 
264  1 Cambridge, United Kingdom :|bCambridge University Press,
       |c2015. 
300    xii, 287 pages :|billustrations ;|c24 cm. 
336    text|btxt|2rdacontent 
337    unmediated|bn|2rdamedia 
338    volume|bnc|2rdacarrier 
490 1  Cambridge cultural social studies 
504    Includes bibliographical references (pages 264-281) and 
       index. 
505 0  Introduction -- The rise and near demise of the 
       international music competition -- Competitions enter the 
       civil sphere -- Narrating the competition -- The 
       presentation of musical self -- Producing sound judgments 
       -- Voicing opinions -- Conclusion : What is the future of 
       music competitions? -- Appendices. 
520 8  Although competitions in classical music have a long 
       history, the number of contests has risen dramatically 
       since the Second World War, all of them aiming to launch 
       young artists' careers. This is not the symptom of 
       marketization that it might appear to be. Despite the 
       establishment of an international governing body, 
       competitions are plagued by rumors of corruption, and even
       the most mathematically sophisticated voting system cannot
       quell accusations that the best talent is overlooked. Why 
       do musicians take part? Why do audiences care so much 
       about who wins? This is the first book to address these 
       questions. In this groundbreaking study, Lisa McCormick 
       draws from firsthand observations of contests in Europe 
       and the US, in-depth interviews with competitors, jurors 
       and directors, as well as blog data from competition 
       observers to argue that competitions have endured because 
       they are not only about music, they are also about 
       civility. 
650  0 Music|xCompetitions.|0https://id.loc.gov/authorities/
       subjects/sh85088781 
650  0 Manners and customs.|0https://id.loc.gov/authorities/
       subjects/sh85080593 
650  7 Music|xCompetitions.|2fast|0https://id.worldcat.org/fast/
       1030300 
650  7 Manners and customs.|2fast|0https://id.worldcat.org/fast/
       1007815 
776 08 |iEbook version|z9781316371824 
830  0 Cambridge cultural social studies.|0https://id.loc.gov/
       authorities/names/nr94003459 
856 41 |3Table of contents|uhttps://www.loc.gov/catdir/
       enhancements/fy1615/2016560460-t.html 
856 42 |3Contributor biographical information|uhttps://
       www.loc.gov/catdir/enhancements/fy1615/2016560460-b.html 
856 42 |3Publisher description|uhttps://www.loc.gov/catdir/
       enhancements/fy1615/2016560460-d.html 
901    MARCIVE 20231220 
948    |d20180926|clti|tlti-aex 
994    C0|bWCH