Aller au contenu principal

Entre centres et périphéries. La musique en Europe de 1789 à 1914.

Date du colloque :
6-9 mai 2021

Partenaire

Colloque en ligne organisé du 6 au 9 mai 2021 par le Centro Studi Opera Omnia Luigi Boccherini, le Research Group ERASMUSH (université d’Oviedo, Espagne) et le Palazzetto Bru Zane.

Alors que l’organisation administrative moderne privilégie la polarisation du pouvoir dans des capitales (nationales ou régionales), la musique suit-elle exactement le même chemin ? 
La création artistique semble bien répondre à cette idée de diffusion par rayonnement, mais la vie musicale des villes périphériques n’est pourtant pas toujours assujettie aux initiatives centrales. À l’échelle de l’Europe, il s’agira ici de dépasser l’idée reçue – souvent forgée dans les capitales culturelles – que le reste du territoire tente uniquement d’imiter ce qui se passe au sein des grands pôles urbains.

Comité scientifique : Maria Encina Cortizo, Roberto Illiano, Étienne Jardin, Fulvia Morabito, Massimiliano Sala, Ramón Sobrino, José Ignacio Suárez 

Programme

Keynotes

Étienne JardIn – Rethinking Interactions between French Music Schools and Paris Conservatoire during the 19th Century

Yvan Nommick – Paris-Vienne, 1890-1914 : singularités et convergences musicales

Models of Music Production in the Peripheries

Sophie Horrocks – Culture Wars in the French Peripheries: Travelling Troupes and the 9th «arrondissement» between 1824-64

Ivana Vesić – For the ‘Pure’ National and High-Art Values: Music Production and Performance in the Kingdom of Serbia (1882-1914)

Francesc Cortès I Mir – Mirando a París y Bayreuth: las representaciones operísticas del G. T. del Liceu de Barcelona en el cambio de siglo

María Sanhuesa Fonseca – Acordes de una existencia: el entorno musical de los marqueses de Canillejas (Asturias–Madrid) en el tránsito al siglo xx

Fernando Barrera-Ramírez – En la periferia de la periferia: música y bandolerismo en torno a la figura de Diego Corrientes

M. Belén Vargas Liñán – Centro y periferia en la Península Ibérica: relaciones musicales entre Granada y Madrid en el siglo xix

Annette Kappeler, Giulia Brunello et Raphaël Bortolotti – An Italian Provincial Theatre: Repertoire, Public, Actors, Administration and Stage Material of Feltre’s Teatro Sociale in the 19th Century

Music for New Spaces and the Circulation of Music in Different Contexts

Sarah Fuchs – Centres, Peripheries, and Phono-Cinéma-Théâtre (1900-1903)

Clément Noël – Le «Couronnement de la Muse du Peuple» de Gustave Charpentier : un théâtre citoyen à la rencontre des provinces françaises (1897-1914)

Rosemary Golding – On the Edges of Society: The Hidden Musical Cultures of Nineteenth-century British Lunatic Asylums

Quentin Dishman – «Hommes, enfants, femmes, nous répondrons!»: The Chanteuse Patriotique in Paris’ Cafés-Concerts, 1870-1889

Floris Meens – «Lust zu einer Soiree»: The Nineteenth-century Transfer of Music (Cultures) between The Netherlands and Germany

Universality vs. Nationality

Bella Brover-Lubovsky – Music and Social Mobility in the Late Eighteenth-Century Russian Empire

Axel Klein – Music in and from Ireland: Perspectives on an Ununited Kingdom

Ivan Moody – Centre and Periphery: Symphonic Identity in Portugal

Virginia E. Whealton – Poland as Periphery and Musical Center: Wojciech/Albert Sowinski’s Theorizations of Polish Musical Identity

Redefining Centres and Peripheries in European Music

Michael Christoforidis – Spanish Estudiantinas, the Popular Music Stage and Sonorities of the Belle Époque

María Encina Cortizo – The Attraction of the Periphery: Sounds from a Picturesque Spain Imagined by the Other in the 19th Century

Miriam Perandones Lozano – Quinito Valverde in Paris (1907-1912): An Approach to the Study

Jonathan Mallada Álvarez – ¿Centro español, periferia europea? Los casos de Fuller y Frégoli en la escena madrileña (1893-1896)

Klára Hedvika Mühlová – Czech and Slovak Music Theory in the Long 19th Century and Its Contextual Transformations

Jeroen Van Gessel – «I’ve Been Lucky with the Operas!»: Music Tourism and the Making of European Music Capitals

Cultural Transfer of Music

David Conway – Roma, Magyar, Jew. The Spread of ‘Gipsy’ Music in the long 19th Century

Gloria A. Rodríguez-Lorenzo et Francisco J. Giménez-Rodríguez – Between Hungary and Spain: Musical Encounters behind Europe

Alessandra Palidda – Music for the ‘Nation’: The Creation of a Transnational Musical Style between Paris and Republican Milan

Matthieu Cailliez – Le théâtre lyrique en Corse et en Algérie française au miroir de la presse musicale européenne (1830-1870)

Maria Alice Volpe – «Concertos Populares» as Models of Production, Dissemination and Reception of French and Brazilian Symphonic Music in the late Nineteenth- and early Twentieth-century Rio de Janeiro

Kelvin H. F. Lee – Enescu’s Formal Fields: Centre, Periphery and Cultural Transfer

Music from the Peripheries: Genres and Repertoires

Nancy November – Arrangement or Derrangement? Cultivating Arrangements of Public Music in the Early Nineteenth-Century Viennese Home

Ramón Sobrino – La internacionalización de la música española a través de Sarasate y el repertorio para violín en la segunda mitadl del siglo xix: jotas, habaneras y zapateados en Europa

Nicolas Boiffin – Centres and Peripheries of a Musical Genre: The Idea of «Lied» in the German Music Criticism between 1875 and 1914

Eric Boaro – City Bands, Orphanages and Amateur Organists. Sacred Music in the Lombard Countryside at the End of the Nineteenth Century

Aviram Freiberg – The Csakan as Representative of Biedermeier Culture

Daniela Braun – Joining the Center and the Periphery. The Viola d’amore at the Paris Opera

The Commercialization of Music

Martina Kalser-Gruber – Viennese Operetta Composers and their Publishers: A Love-Hate Relationship?

Peter Mondelli – A Goguette Assemblage: A Manuscript Chansonnier in an Age of Print

The Reception and Adaptations of the Canon on the Margins of Europe

Nuria Blanco Álvarez – La huella bufa de Offenbach en las zarzuelas de Manuel Fernández Caballero

Andrea Garcia Torres – Rising Modern Theatre: The Reception of «Vaudeville» on the Spanish Stage

José Ignacio Suárez García – Relatos periféricos: Richard Wagner como instrumento narrativo en la literatura menor española del último tercio del siglo xix

Programme

Personnes en lien

Chef d'orchestre, Compositeur

Gustave CHARPENTIER

(1860 - 1956)

Compositeur, Violoncelliste

Jacques OFFENBACH

(1819 - 1880)

Permalien

https://www.bruzanemediabase.com/node/67103

date de publication : 05/10/23