Introduction; 1. The rise and near demise of the international music competition; 2. Competitions enter the civil sphere; 3. Narrating the competition; 4. The presentation of musical self; 5. Producing sound judgments; 6. Voicing opinions; Conclusion: what is the future of music competitions?; Appendix A. Selected competitions: facts and figures; Appendix B. Membership of the World Federation of International Music Competitions (WFIMC), 1957–2012; Appendix C. Putting the 'performance perspective' in perspective.
Lisa McCormick considers the history of classical music competitions and their role in society today by examining highlights and controversies.
Lisa McCormick is a Lecturer in the department of sociology at the University of Edinburgh. She has published widely in the sociology of the arts and serves on the editorial boards of the American Journal of Cultural Sociology and Music and Art in Action. She is co-editor, with Ron Eyerman, of Myth, Meaning and Performance (2006). Her first article on music competitions, which appeared in Cultural Sociology in 2009, won the SAGE prize in excellence and/or innovation. She is also a Faculty Fellow with the Center for Cultural Sociology at Yale University, Connecticut and a Research Associate with the Centre for Death and Society at the University of Bath.
'Offering a peek into the fascinating world of international
classical music competitions, Lisa McCormick's Performing Civility
highlights the sociological tension between combat and civility. A
rich, masterful study of performing, judging, and listening.
Bravo!' Eviatar Zerubavel, Rutgers University, New Jersey
'Music competitions, as Lisa McCormick shows us in this very clever
book, place music and civility in contradiction. This contradiction
gets played out as judges, musicians and audiences are converted
into publics engaged in debate over what should count as talent,
beauty, and perfection. Performing Civility will be of interest to
cultural sociologists, political scientists, musicians, and anyone
who aspires to be a member of civil society, musically conceived.'
Tia DeNora, Exeter University
'The author moves thoroughly through different kinds of data
(newspaper articles; official competition documents; blogs;
interviews with competitors, audience members, and jurors); in that
sense the book is a real labor of love, highly detailed and a great
entry point for those interested in the study of music
competitions, the sociology of music, and the 'strong program' in
cultural sociology.' Claudio E. Benzecry, American Journal of
Sociology
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