Between Centres and Peripheries: Music in Europe from the French Revolution to WWI
Partenaire
Book in English, French and Spanish edited by María Encina Cortizo and Yvan Nommick. Turnhout : Brepols, 2023. With the support of the Palazzetto Bru Zane
This volume revisits the artificial and enormously limiting historiographical concepts of centre and periphery in European musical life throughout the long 19th century and until the outbreak of the First World War.
In this period, music played a prominent role, and cities such as Paris, Vienna, Milan or London, real laboratories of artistic creation, became social and cultural references for the rest of the continent, whose inhabitants strove to imitate their musical habits such as concert and theatrical life, soirées, parties or musical promenades.
From diverse perspectives, this volume rethinks the singularity, influence and connections of different European musical centres, analysing the reproduction of cultural models and the conflicts that these models imposed on the peripheries, most of which have been ignored in the historiography of Western European music.
In addition, it will also address the birth of musico-national languages situated on the European geographical margins, that develop interesting synergies between universality and nationality.
The peripheral models of musical production and circulation in contexts far from the usual musical venues will also be addressed, as well as the derived cultural transfers.
Contents
María Encina Cortizo & Yvan Nommick – Preface
Redefining Centres in European Music
Yvan Nommick – Paris-Vienne, 1890-1914: singularités et convergences musicales
Étienne Jardin – Les écoles de musique françaises sont-elles des succursales du Conservatoire?
Nancy November – ‘Periphery’ as Centre: Canon Formation and Arrangements of Public Music in the Early Nineteenth-Century Viennese Home
Martina Kalser-Gruber – Viennese Operetta Composers and their Publishers: A Love-Hate Relationship?
Alessandra Palidda – Music for the ‘Nation’: The Creation of a Transnational Musical Style between Paris and Republican Milan
Models of Music Production in the Peripheries: Universality versus Nationality
Matthieu Cailliez – Le théâtre lyrique en Corse et en Algérie française au miroir de la presse musicale européenne (1830-1870)
Ivana Vesić – For the ‘Authentic’ National and Aesthetic Values: The Challenges of Music Production and Performance in the Kingdom of Serbia (1882-1914)
Axel Klein – Music in and from Ireland: Perspectives on an Ununited Kingdom
Ivan Moody – Centre and Periphery: Symphonic Identity in Portugal
Kelvin H. F. Lee – Form as a Relational Object: Two Stories of Metrical Dissonances, or a Music Historiographical Lesson from George Enescu
Circulation of Music in Different Contexts
Clément Noël – Le Couronnement de la Muse du Peuple de Gustave Charpentier: un théâtre citoyen à la rencontre des provinces françaises (1897-1914)
David Conway – Roma, Magyar, Jew: Complexities of Cultural Identity in the Spread of ‘Gypsy Music’ in the Long Nineteenth Century
María Encina Cortizo & Ramón Sobrino – Peripheries in Dialogue: Grasping the Sounds of l’Espagne Romantique in the Nineteenth Century
Michael Christoforidis – From Paris to the Ottoman Empire: Spanish Estudiantinas, the Popular Music Stage and Sonorities of the Belle Époque
Miriam Perandones – Quinito Valverde: transculturalidad y modernidad en su obra europea (1907-1913)
Cultural Transfer of Music
Rosemary Golding – On the Edges of Society: The Hidden Musical Cultures of Nineteenth-Century British Lunatic Asylums
Quentin Dishman – Singing la Patrie in Parisian Cafés: The Chanteuses Patriotiques (1870-1889)
Gloria A. Rodríguez-Lorenzo & Francisco J. Giménez-Rodríguez – Between Hungary and Spain: Musical Encounters behind Europe
José Ignacio Suárez García – Richard Wagner como instrumento narrativo de literatura breve en el último tercio del siglo xix en España
Persone correlate
Permalink
data di pubblicazione : 04/12/24