Abstract
“Stylistic Ownership” is an expression Yonit Kosovske used to describe the territoriality expressed by artists when performers of other styles play their main repertoire. Whether it is the merits of Sting singing Dowland, an opera diva singing Amazing
Grace, a female singing the male role in Schubert's song-cycle Winterreise, Chris Willis or Stevie Wonder singing Handel’s Messiah, Bach played on modern piano, and Chopin on harpsichord—there are performers, critics, and audiences who feel irked by such crossovers, and others who absolutely revel in it. It appears to be that the majority of stylistically bound and repertoire based communities have a distinct period of enculturation that allows for new members to enter. However, when someone attempts to jump steps and shortcut the
stylistic enculturation process, this is where the problem of stylistic ownership tends to rear its head.
Grace, a female singing the male role in Schubert's song-cycle Winterreise, Chris Willis or Stevie Wonder singing Handel’s Messiah, Bach played on modern piano, and Chopin on harpsichord—there are performers, critics, and audiences who feel irked by such crossovers, and others who absolutely revel in it. It appears to be that the majority of stylistically bound and repertoire based communities have a distinct period of enculturation that allows for new members to enter. However, when someone attempts to jump steps and shortcut the
stylistic enculturation process, this is where the problem of stylistic ownership tends to rear its head.
| Original language | English (Ireland) |
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| Publication status | Published - 2018 |
| Event | International Conference of Traditional Music: Voicing Cultures, Cultural Voices - University of Limerick Duration: 19 Jul 2017 → … |
Conference
| Conference | International Conference of Traditional Music: Voicing Cultures, Cultural Voices |
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| Period | 19/07/17 → … |