Student Number: 2973416Due Date: 1/4/2015Word Count: 1101QCM Annotated Bibliography Topic: Exploring Classical Instrumental Music Question: The current established 'canon' within orchestral music includes both composers such as Beethoven whose prestige has never been challenged, alongside others whose works were initially championed beyond their time and/or place of composition, such as Mahler and Shostakovich. Discuss this statement with reference to selected orchestral works by each of these composers, and if appropriate, works by their contemporaries. How have social, cultural and technological factors, in particular the rise of the recording industry, had an impact on these composers' relative popularity within the past fifty years?

List of 10 SourcesBotstein, L. (2004). Music of a Century: Museum Culture and the Politics of Subsidy. In N. Cook &

A. Pople (Eds.), Cambridge History of 20th Century Music (pp. 40-68). Cambridge: Cambridge University Press, Retrieved from, http://books.google.com/books

Hamson, T. (2012). Thomas Hampson on Classical Music in Digital Media(YouTube). Berliner Philharmoniker, Retrieved From: https://www.youtube.com/watch?v=_8c5PPAqcNE

Lee, J. (2003). A Requiem For Classical Music. Regional Review, 13(2), 16-24, Retrieved From, http://www.bostonfed.org/economic/nerr/rr2003/q2/index.htm

Midgette, A. (2010, July 16). The future of the recording industry: is there one?. Classical Beat Washington Post. Retrieved from, http://www.washingtonpost.com/

Orleans, J. 1997. Rebuilding the Repertoire for the 21st Century. Harmony, 12(4), 1-15, Retrieved From, http://www.polyphonic.org/wp-content/uploads/2012/02/Rebuilding_Repert_Orleans.pdf

Service, T. (2014, August 7). The Great Classical Music Swindle-and Why We’re Better Of Now. The Guardian. Retrieved from, http://www.theguardian.com/au

Shreffler, A. C. (2013). Musical Canonization and Decanonization in The Twentieth Century. In V. S. K. Pietschmann & M. Wald (Eds.), The Canon of Music : Theory and History. A Handbook. (pp. 1-18). Munich: Hanser Publishers, Retrieved from, https://www.academia.edu/

The Colossal Symphony: Beethoven, Berlioz, Mahler and Shostakovich (C.Wright, Lecture Notes,

http://oyc.yale.edu/music/musi-112/lecture-20, 2012).

Taylor, D. T. (2001). Music Tehcnology Agency and Practice. In B. Bedlin (Eds.), Strange Sounds, Music, Technology and Culture (pp.15-27). Routledge: Taylor & Francis Group, Retrieved from, http://books.google.com/books

Shreffler, A. C. (2013). Musical Canonization and Decanonization in The Twentieth Century. In V. S. K. Pietschmann & M. Wald (Eds.), The Canon of Music : Theory and History. A Handbook. (pp. 1-18). Munich: Hanser Publishers, Retrieved from, https://www.academia.edu/

Weber, W. (2003). Consequences of Canon: The Institutionalization of Enmity between Contemporary and Classical Music. Common Knowledge, 9(1), 78-99

Retrieved from http://muse.jhu.edu/login?auth=0&type=summary&url=/journals/common_knowledge/v009/9.1weber.pdf

Annotations/ Literature ReviewAt the forefront of the established canon that exists in classical orchestral music we have composers such as Shostakovich, Beethoven and Mahler whose innovative prestige has never been questioned. The ever expanding and changing nature of society and the influence of technology primarily the recording industry on classical music has influenced the popularity of these composers overt the last 50 years. A myriad of sources from scholarly articles to interviews with professional musicians and industry experts have been examined to address this contemporary issues in classical music. Bostein’s text, ‘Cambridge history of 20th century music’ is a reliable and helpful source that provided insight into the changing nature of society, and the influence of cultural change on composers popularity within society. The two newspaper articles from “The Washington Post” and “The Guardian” respectively, both provide objective opinions on the recording industry and it’s relevance and influence on classical music. T, Service, in the Guardian article presents the opinion that the technological era is suited to the culture of classical music. The idea that there would be a “definitive” recording of a work, created a canon in classical music recordings to some extent. The Schreffler text and Wright’s lecture both address the canon within classical music, and the changing nature of this concept. Both texts provide relevant information that presents different educated perspectives on the definition of this canon and why, some composers such as Beethoven have remained at the forefront and others have not been as widely recognized. These resources provide insight into the intrinsic link between society, politics and culture and it’s influence on the canons establishment. The changing nature of the canon in the 21st century and the innovative nature of composers such as Shostakovitch’s recognition only been widely recognized and admired, in hindsight, reflecting the changing nature of the canon in the 21st century. Lee’s journal article, provides statistical analysis on the audience of classical music recording, how funding is allocated to this industry and how the recording industry uses the canon of orchestral music to increase its profit. This article addresses the business aspect related to the technological music industry. Orleans text although not strictly relevant, due to it’s subjective nature provides interesting insight into the repertoino lre choices that many orchestras make and how this is influenced by, the established canon. The Interview with Hamson, talks about multiple facets of digital media not just the recording industry hence it’s relevance to the topic is hindered, however, it does provide insight into

the recording industries influence on a professional orchestra. Taylor’s text is All of these resources have allowed great insight and multiple perspectives, to begin to form an argument, and thesis for the essay question.