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This volume demonstrates a new approach to cultural history, as it now being practiced by both historians and musicologists, and the field's quest to grasp the realms of human experience, understanding, communication and meaning through the study of music and of musical practices. The contributors employ a resonant new methodological synthesis which combines the theoretical perspectives drawn from the "new cultural history" and "new musicology" of the 1980s with recent social, sociological, and anthropological theories, or those which attempt to ground language and symbols within both social reality and a social field of power.…mehr
This volume demonstrates a new approach to cultural history, as it now being practiced by both historians and musicologists, and the field's quest to grasp the realms of human experience, understanding, communication and meaning through the study of music and of musical practices. The contributors employ a resonant new methodological synthesis which combines the theoretical perspectives drawn from the "new cultural history" and "new musicology" of the 1980s with recent social, sociological, and anthropological theories, or those which attempt to ground language and symbols within both social reality and a social field of power.
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Autorenporträt
Jane Fulcher is Professor of Musicology at the University of Michigan. She has received research awards from organizations in both the United States and Europe, including The American Council of Learned Societies, the National Endowment for the Humanities (two awards), the Wissenschaftskolleg zu Berlin, the National Humanities Center, the Institute for Advanced Study, Princeton, New Jersey (where she was the Edward T. Cone member in Music Studies for 2003-04), and The Centre National de la Recherche Scientifique. In addition, she has three times been invited to be visiting professor at the Ecole des Hautes Etudes en Sciences Sociales in Paris.
Inhaltsangabe
* Introduction. Defining the New Cultural History of Music: Its Origins, Current Directions and Methodologies * Jane F. Fulcher * PART I: CULTURAL IDENTITY AND ITS EXPRESSION: CONSTRUCTIONS, REPRESENTATIONS, AND EXCHANGES * Constructions or Representations of the Body, Gender, Sexuality, and Race * 1. A Woman's Place: Antiphons and Responsories for Virgin Martyrs in the Office * James Borders * 2. Music, Violence, and the Stakes of Listening * Richard Leppert * 3. Music and Pain * Andreas Dorschel * Subjectivity and the Shaping of the Self in Society * 4. "The Road into the Open": from Narrative Closure to the Endless Performance of Subjectivity in Mahler and Freud at the Turn of the Century * John Toews * 5. Understanding Schoenberg as Christ * Julie Brown * 6. The Strange Landscape of Middles * Michael Beckermann * Nationalism, Cosmopolitanism, and Trans-Nationalism * 7. The Genre of National Opera in European Comparative Perspective * Philipp Ther * 8. Cosmopolitan, National, and Regional Identities in European Musical Life * William Weber * 9. Mendelssohn on the Road: Music, Travel, and the Anglo-German Symbiosis * Celia Applegate * Popular and Elite Cultural Intersections or Exchanges * 10. "Shooting the Keys": Musical Horseplay and High Culture * Charles Garrett * 11. Yvette Guilbert and the Revaluation of the Chanson populaire and Chanson ancienne during the Third Republic, 1889-1914 * Jacqueline Waeber * 12. Remembrance of Jazz Past: Sidney Bechet in France * Andy Fry * PART II: CULTURAL EXPERIENCE: PRACTICES, APPROPRIATIONS, AND * EVALUATIONS * Urban, Aural, and Print Culture * 13. An Evening at the Opera in 17th-Century Venice * Edward Muir * 14. Josquin des Prez, Renaissance Historiography and the Cultures of Print * Kate van Orden * 15. From 'the Voice of the Maréchal' to Musique Concrète: Pierre Schaeffer and the Case for Cultural History * Jane F. Fulcher * Symbols, Icons, and Sites of Collective Memory or Ritual * 16. A Matter of Style: State Sacrificial Music and Cultural-Political Discourse in Southern Song China (1127-1279) * Joseph S.C. Lam * 17. Ernani Hats: Opera as a Repertory of Political Symbols during the Risorgimento * Carlotta Sorba * 18. Modalities of National Identity: Sibelius Builds a First Symphony * James Hepokoski * Politics, Aesthetics, and Transmission * 19. Beethoven, Napoleon, and Political Romanticism * Leon Plantinga * 20. Translating Herder Translating: Cultural Translation and the Making of Modernity * Philip Bohlman * 21. The Eye of the Needle: Music as History after the Era of Recording * Leon Botstein * Afterward: Whose Culture? Whose History? Whose Music? * Michael P. Steinberg * Index
* Introduction. Defining the New Cultural History of Music: Its Origins, Current Directions and Methodologies * Jane F. Fulcher * PART I: CULTURAL IDENTITY AND ITS EXPRESSION: CONSTRUCTIONS, REPRESENTATIONS, AND EXCHANGES * Constructions or Representations of the Body, Gender, Sexuality, and Race * 1. A Woman's Place: Antiphons and Responsories for Virgin Martyrs in the Office * James Borders * 2. Music, Violence, and the Stakes of Listening * Richard Leppert * 3. Music and Pain * Andreas Dorschel * Subjectivity and the Shaping of the Self in Society * 4. "The Road into the Open": from Narrative Closure to the Endless Performance of Subjectivity in Mahler and Freud at the Turn of the Century * John Toews * 5. Understanding Schoenberg as Christ * Julie Brown * 6. The Strange Landscape of Middles * Michael Beckermann * Nationalism, Cosmopolitanism, and Trans-Nationalism * 7. The Genre of National Opera in European Comparative Perspective * Philipp Ther * 8. Cosmopolitan, National, and Regional Identities in European Musical Life * William Weber * 9. Mendelssohn on the Road: Music, Travel, and the Anglo-German Symbiosis * Celia Applegate * Popular and Elite Cultural Intersections or Exchanges * 10. "Shooting the Keys": Musical Horseplay and High Culture * Charles Garrett * 11. Yvette Guilbert and the Revaluation of the Chanson populaire and Chanson ancienne during the Third Republic, 1889-1914 * Jacqueline Waeber * 12. Remembrance of Jazz Past: Sidney Bechet in France * Andy Fry * PART II: CULTURAL EXPERIENCE: PRACTICES, APPROPRIATIONS, AND * EVALUATIONS * Urban, Aural, and Print Culture * 13. An Evening at the Opera in 17th-Century Venice * Edward Muir * 14. Josquin des Prez, Renaissance Historiography and the Cultures of Print * Kate van Orden * 15. From 'the Voice of the Maréchal' to Musique Concrète: Pierre Schaeffer and the Case for Cultural History * Jane F. Fulcher * Symbols, Icons, and Sites of Collective Memory or Ritual * 16. A Matter of Style: State Sacrificial Music and Cultural-Political Discourse in Southern Song China (1127-1279) * Joseph S.C. Lam * 17. Ernani Hats: Opera as a Repertory of Political Symbols during the Risorgimento * Carlotta Sorba * 18. Modalities of National Identity: Sibelius Builds a First Symphony * James Hepokoski * Politics, Aesthetics, and Transmission * 19. Beethoven, Napoleon, and Political Romanticism * Leon Plantinga * 20. Translating Herder Translating: Cultural Translation and the Making of Modernity * Philip Bohlman * 21. The Eye of the Needle: Music as History after the Era of Recording * Leon Botstein * Afterward: Whose Culture? Whose History? Whose Music? * Michael P. Steinberg * Index
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