Full Description
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.
Contents
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 Marechal' to Musique Concrete: 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
