- The Oxford Handbook of the New Cultural History of Music
- Introduction: Defining the New Cultural History of Music, Its Origins, Methodologies, and Lines of Inquiry
- Gender, Performativity, and Allusion in Medieval Services for the Consecration of Virgins
- Music, Violence, and the Stakes of Listening
- Music and Pain
- “The Road into the Open”: From Narrative Closure to the Endless Performance of Subjectivity in Mahler and Freud at the Turn of the Century
- Understanding Schoenberg as Christ
- The Strange Landscape of Middles
- The Genre of National Opera in a European Comparative Perspective
- Cosmopolitan, National, and Regional Identities in Eighteenth-Century European Musical Life
- Mendelssohn on the Road: Music, Travel, and the Anglo-German Symbiosis
- “Shooting the Keys”: Musical Horseplay and High Culture
- Yvette Guilbert and the Revaluation of the <i>Chanson Populaire</i> and <i>Chanson Ancienne</i> during the Third Republic, 1889–1914
- Remembrance of Jazz Past: Sidney Bechet in France
- An Evening at the Opera in Seventeenth-Century Venice
- Josquin des Prez, Renaissance Historiography, and the Cultures of Print
- From “the Voice of the Maréchal” to Musique Concrète: Pierre Schaeffer and the Case for Cultural History
- A Matter of Style: State Sacrificial Music and Cultural-Political Discourse in Southern Song China (1127–1279)
- <i>Ernani</i> Hats: Italian Opera as a Repertoire of Political Symbols during the Risorgimento
- Modalities of National Identity: Sibelius Builds a First Symphony
- Beethoven, Napoleon, and Political Romanticism
- Translating Herder Translating: Cultural Translation and the Making of Modernity
- The Eye of the Needle: Music as History after the Age of Recording
- Afterword: Whose Culture? Whose History? Whose Music?
Abstract and Keywords
This article explains how humor acts not only as a kind of psychological comfort or comic relief, but also as an opportunity for cultural critique and a site of competition and interchange between elite and popular culture. The discussion focuses on how musical humorists have connected with different aspects of the world of classical music. It also determines what this connection shows about cultural history and the changing status of classical music in the United States.
Charles Hiroshi Garrett is associate professor of musicology at the University of Michigan School of Music, Theatre, and Dance. His graduate work at the University of California–Los Angeles was supported by an AMS Howard Mayer Brown Fellowship, as well as an AMS-50 Fellowship, and his dissertation received the Wiley Housewright Award from the Society for American Music. His book, Struggling to Define a Nation: American Music and the Twentieth Century (2008), was awarded the Irving Lowens Memorial Book Award by the Society for American Music. He now serves as editor in chief of The Grove Dictionary of American Music (2d ed.).
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