Music And Postwar Transitions In The 19th And 20th Centuries
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Music and Postwar Transitions in the 19th and 20th Centuries by Anaïs Fléchet,Martin Guerpin,Philippe Gumplowicz,Barbara L. Kelly Pdf
From the Napoleonic Wars to the genocide of the Tutsis in Rwanda, via the great world conflicts of the 20th century, Music and Postwar Transitions in the 19th and 20th Centuries is the first book to highlight the significance of ‘postwar transitions’ in the field of music and to demonstrate the influence that musicians, composers, critics, institutions, and publics have had on the period that follows conflict. Leading historians, political scientists, psychologists and musicologists explore the roles of music and culture in demobilization, reconstruction, memory, reconciliation, revenge, and nationalist backlash. Moving beyond the popular conception of music as an agent of peace, this study reveals music’s more complex and ambivalent role in the process of transition from war to peace.
Music and Postwar Transitions in the 19th and 20th Centuries by Anaïs Fléchet,Martin Guerpin,Philippe Gumplowicz,Barbara L. Kelly Pdf
"Music and Postwar Transitions in the 19th and 20th Centuries is the first book to highlight the significance of the idea of 'postwar transition' in the field of music and to demonstrate how the contribution of musicians, composers, and their publics have influenced contemporary understandings of war. At the intersection of four domains including: the relationship between music and war culture, commemorative and consolatory dimensions of music, migration and exile, and the links between music, cultural diplomacy, and propaganda, leading historians, political scientists, psychologists, and musicologists explore disruptions and connections to music through the backdrop of war. In turn, this volume sheds new light on what has been a blind spot in a growing historiography"--
Music and International History in the Twentieth Century by Jessica C. E. Gienow-Hecht Pdf
Bringing together scholars from the fields of musicology and international history, this book investigates the significance of music to foreign relations, and how it affected the interaction of nations since the late 19th century. For more than a century, both state and non-state actors have sought to employ sound and harmony to influence allies and enemies, resolve conflicts, and export their own culture around the world. This book asks how we can understand music as an instrument of power and influence, and how the cultural encounters fostered by music changes our ideas about international history.
Turn-of-the-century modernists were involved, implicated, and often locked in a struggle with all the formidable legions of nineteenth-century music. The focus of this collection, essays originally published in the journal 19th-Century Music, is upon modernism in relation to its immediate heritage. Major composers whose reflections on the past come under consideration include Debussy, Mahler, Schoenberg, Stravinsky, Bartok, and Ives, while older composers such as Liszt and Wolf figure as precursors of modernist harmony and sensibility. The contributors include many leading musicologists, critics, and music theorists known for their work on nineteenth- and twentieth-century music. Some of the essays deal closely with the new musical languages that evolved in that era others deal with reception and performance issues. Many of them bring together insights from various sub-disciplines to achieve a richer kind of composite scholarship than is available to traditional musical studies.
Pursuit of the New: Louise Hanson-Dyer, Publisher and Collector by Kerry Murphy,Jennifer Hill Pdf
This book on the Australian music publisher and patron Louise Hanson-Dyer brings together, for the first time, an international group of scholars with expertise in the history of early French musicology and sound recording; fine art and design; and critical editions and music publishing in France. With a focus on the interwar period, it aims to synchronise Hanson-Dyer’s Melbourne and Paris ventures, seeing her work in a global perspective and showing how she played a significant role in the transnational cultural relationship between Australia and France. Hanson-Dyer had vision and objectives and the drive to realise them; this volume situates the consolidation of her role as cultural activist in early twentieth-century Europe and Australia and presents new light on her publication of critical musical editions, her art collections and early sound recordings.
Visions of Humanity by Sönke Kunkel,Jessica C.E. Gienow-Hecht,Sebastian Jobs Pdf
This book offers a critical reflection of the historical genesis, transformation, and problématique of “humanity” in the transatlantic world, with a particular eye on cultural representations. “Humanity,” the essays show, was consistently embedded in networks of actors and cultural practices, and its meanings have evolved in step with historical processes such as globalization, cultural imperialism, the transnationalization of activism, and the spread of racism and nationalism. Visions of Humanity applies a historical lens on objects, sounds, and actors to provide a more nuanced understanding of the historical tensions and struggles involved in constructing, invoking, and instrumentalizing the “we” of humanity.
Intimate Histories focuses on intimate relations as sites of shared pasts connecting African American and German history in the years between 1933 and 1990. By tracing topics that include anti-miscegenation laws, forced sterilization, casual sexual encounters, marriage, and friendships, Intimate Histories broadens our understanding of African American–German relations during the so-called “century of extremes.”
A prominent conductor explores how aesthetic criteria masked the political goals of countries during the three great wars of the past century This book offers a major reassessment of classical music in the twentieth century. John Mauceri argues that the history of music during this span was shaped by three major wars of that century: World War I, World War II, and the Cold War. Probing why so few works have been added to the canon since 1930, Mauceri examines the trajectories of great composers who, following World War I, created voices that were unique and versatile, but superficially simpler. He contends that the fate of composers during World War II is inextricably linked to the political goals of their respective governments, resulting in the silencing of experimental music in Germany, Italy, and Russia; the exodus of composers to America; and the sudden return of experimental music—what he calls “the institutional avant-garde”—as the lingua franca of classical music in the West during the Cold War.
Dreams of Germany by Neil Gregor,Thomas Irvine Pdf
For many centuries, Germany has enjoyed a reputation as the ‘land of music’. But just how was this reputation established and transformed over time, and to what extent was it produced within or outside of Germany? Through case studies that range from Bruckner to the Beatles and from symphonies to dance-club music, this volume looks at how German musicians and their audiences responded to the most significant developments of the twentieth century, including mass media, technological advances, fascism, and war on an unprecedented scale.
Twentieth-Century Music in the West by Tom Perchard,Stephen Graham,Tim Rutherford-Johnson,Holly Rogers Pdf
This is the first introductory survey of western twentieth-century music to address popular music, art music and jazz on equal terms. It treats those forms as inextricably intertwined, and sets them in a wide variety of social and critical contexts. The book comprises four sections – Histories, Techniques and Technologies, Mediation, Identities – with 16 thematic chapters. Each of these explores a musical or cultural topic as it developed over many years, and as it appeared across a diversity of musical practices. In this way, the text introduces both key musical repertoire and critical-musicological approaches to that work. It historicises music and musical thinking, opening up debate in the present rather than offering a new but closed narrative of the past. In each chapter, an overview of the topic's chronology and main issues is illustrated by two detailed case studies.
Confronting the National in the Musical Past by Elaine Kelly,Markus Mantere,Derek Scott Pdf
This significant volume moves music-historical research in the direction of deconstructing the national grand narratives in music history, of challenging the national paradigm in methodology, and thinking anew about cultural traffic, cultural transfer and cosmopolitanism in the musical past. The chapters of this book confront, or subject to some kind of critique, assumptions about the importance of the national in the musical past. The emphasis, therefore, is not so much on how national culture has been constructed, or how national cultural institutions have influenced musical production, but, rather, on the way the national has been challenged by musical practices or audience reception.
Revisiting the Historiography of Postwar Avant-Garde Music by Anne-Sylvie Barthel-Calvet,Christopher Brent Murray Pdf
This collection of essays delves into the historiographical traditions that have dominated how the stories of European postwar avant-garde music are told, seeking to approach commonplaces of that history writing from new perspectives. The contributors revisit subjects as varied as the impact of long-playing records on the emergence of open works, Messiaen’s interest in non-European musical traditions, Xenakis’s turn to information theory, Kagel’s strategic invention of a new genre, Berio’s dependence on funding from American foundations, and the ways in which figures like Boulez, Stockhausen, Pousseur, and Nono constructed their musical ancestries. Leading experts in their respective fields, the volume’s authors have sought to rethink the historiography of European experimental music of the 1950s, 1960s, and 1970s in ways that resituate that small but influential milieu in broader historical and cultural contexts. In doing so, they suggest new directions and insights for students and specialists of twentieth-century music and music historiography.
Explicitly or not, the historical musicology of post-Revolutionary France has focused on Paris as a proxy for the rest of the country. This distorting lens is the legacy of political and cultural struggle during the long nineteenth century, indicating a French Revolution unresolved both then and now. In light of the capital's power as the seat of a centralizing French state (which provincials found 'colonizing') and as a cosmopolitan musical crossroads of nineteenth-century Europe, the struggles inherent in creating sustainable musical cultures outside Paris, and in composing local and regionalist music, are ripe for analysis. Replacement of 'France' with Paris has encouraged normative history-writing articulated by the capital's opera and concert life. Regional practices have been ignored, disparaged or treated piecemeal. This book is a study of French musical centralization and its discontents during the period leading up to and beyond the "provincial awakening" of the Belle Époque. The book explains how different kinds of artistic decentralization and regionalism were hard won (or not) across a politically turbulent century from the 1830s to World War II. In doing so it redraws the historical map of musical power relations in mainland France. Based on work in over 70 archives, chapters on conservatoires, concert life, stage music, folk music and composition reveal how tensions of State and locality played out differently depending on the structures and funding mechanisms in place, the musical priorities of different communities, and the presence or absence of galvanizing musicians. Progressively, the book shifts from musical contexts to musical content, exploring the pressure point of folk music and its translation into "local color" for officials who perpetually feared national division. Control over composition on the one hand, and the emotional intensity of folk-based musical experience on the other, emerges as a matter of consistent official praxis. In terms of "French music" and its compositional styles, what results is a surprising new historiography of French neoclassicism, bound into and growing out of a study of diversity and its limits in daily musical life.
