Description
Matthew Head explores the cultural meanings of Mozart's Turkish music in the composer's 18th-century context, in subsequent discourses of Mozart's significance for 'Western' culture, and in today's (not entirely) post-colonial world. Unpacking the ideological content of Mozart's numerous representations of Turkey and Turkish music, Head locates the composer's exoticisms in shifting power relations between the Austrian and Ottoman Empires, and in an emerging orientalist project. At the same time, Head complicates a presentist post-colonial critique by exploring commercial stimuli to Mozart's turquerie, and by embedding the composer's orientalism in practices of self-disguise epitomised by masquerade and carnival. In this context, Mozart's Turkish music offered fleeting liberation from official and proscribed identities of the bourgeois Enlightenment.
Table of Contents
Acknowledgements, List of Music Examples, Introduction Mozart's Orientalism, Osmin's Rage, 1. Orientalism, History, and Theatre, 2. Mozart's Orientalism: Scope and Contexts, 3. A Copy of a Copy: Mozart's Sources, 4. Turkish Music, Masquerade, and Self-Othering, 5. Emplotting Turkish Music: Sonata in A (K. 331 / 300i), 6. Mozart Imperialisms, Sources Cited, Index
