The Oxford Handbook of the New Cultural History of Music

ISBN-13: 9780195341867 / Angielski / Twarda / 2011 / 608 str.

Jane F Fulcher

Opis

As the field of Cultural History grows in prominence in the academic world, an understanding of the history of culture has become vital to scholars across disciplines. The Oxford Handbook of the New Cultural History of Music cultivates a return to the fundamental premises of cultural history in the cutting-edge work of musicologists concerned with cultural history and historians who deal with music. In this volume, noted academics from both of these disciplines illustrate the continuing endeavor of cultural history to grasp the realms of human experience, understanding, and communication as they are manifest or expressed symbolically through various layers of culture and in many forms of art. The Oxford Handbook of the New Cultural History of Music fosters and reflects a sustained dialogue about their shared goals and techniques, rejuvenating their work with new insights into the field itself.

Recenzje

Especially admirable (and enjoyable) is the sense of freshness and freedom of always engagingly pointed essays that challenge current orthodoxies.

Spis treści

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 A Woman's Place: Antiphons and Responsories for Virgin Martyrs in the Office James Borders "Music, Violence, and the Stakes of Listening Richard Leppert "Music and Pain Andreas Dorschel Subjectivity and the Shaping of the Self in Society 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 Schoenberg, Poet, Priest, Dictator: Reassembling Meaning in Exceptional Times Julie Brown The Strange Landscape of Middles Michael Beckermann Nationalism, Cosmopolitanism, and Trans-Nationalism The Genre of National Opera in European Comparative Perspective Philipp Ther Cosmopolitan, National, and Regional Identities in European Musical Life William Weber Mendelssohn on the Road: Music, Travel, and the Anglo-German Symbiosis Celia Applegate Popular and Elite Cultural Intersections or Exchanges Shooting the Keys: Musical Horseplay and High Culture Charles Garrett Yvette Guilbert and the Revaluation of the Chanson populaire during the Troisième République, 1889-1914 Jacqueline Waeber Remembrance of Jazz Past: Sidney Bechet in France Andy Fry PART II: CULTURAL EXPERIENCE: PRACTICES, APPROPRIATIONS, AND EVALUATIONS Urban, Aural, and Print Culture An Evening at the Opera in 17th-Century Venice Edward Muir Josquin des Prez, Renaissance Historiography and the Cultures of Print Kate van Orden 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 A Matter of Style: State Sacrificial Music and Cultural-Political Discourse in Southern Song China (1127-1279) Joseph Lam Ernani Hats: Opera as a Repertory of Political Symbols during the Risorgimento Carlotta Sorba Modalities of National Identity: Sibelius Builds a First Symphony James Hepokoski Politics, Aesthetics, and Transmission Beethoven, Napoleon, and Political Romanticism Leon Plantinga Translating Herder Translating: Cultural Translation and the Making of Modernity Philip Bohlman 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

O autorze

Jane Fulcher is Professor of Musicology at the University of Michigan. She has received research awards 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). In addition, she has three times been invited to be visiting professor at the Ecole des Hautes Etudes en Sciences Sociales in Paris.