Description
Before the French Revolution, making music was an activity that required permission. After the Revolution, music was an object that could be possessed. Everyone seemingly hoped to gain something from owning music. Musicians claimed it as their unalienable personal expression while the French nation sought to enhance imperial ambitions by appropriating it as the collective product of cultural heritage and national industry. Musicians capitalized on these changes to protect their professionalization within new laws and institutions, while excluding those without credentials from their elite echelon.From Servant to Savant demonstrates how the French Revolution set the stage for the emergence of so-called musical "Romanticism" and the legacies that continue to haunt musical institutions and industries. As musicians and the government negotiated the place of music in a reimagined French society, new epistemic and professional practices constituted three lasting values of musical production: the composer's sovereignty, the musical work's inviolability, and the nation's supremacy.
Table of Contents
PrefaceAcknowledgementsAbbreviationsNote on Translation of SourcesIntroductionOn Privilege, Property, and ProfessionalizationThe Abolition of PrivilegeThe Politics of Historiography and the ArchiveChapter SummariesPart I Musical PrivilegeChapter 1 Legal Privilège and Musical ProductionThe Privilege to PerformMusical Privilege in Publishing, Commerce, and ManufacturingPrivilege as PropertyThe "Dilution" of PrivilegeChapter 2 Social Privilège and Musician-MasonsFrench Masonry, Music, and Parisian SociabilityBrother Servants and Occasional BrothersTalented Brothers, Architects of Music, and Free AssociatesFellow Professionals and Savants"A Little Lesson in Social Harmony"Part II PropertyChapter 3 Private Property: Music and AuthorshipProprietary Tremors on the Eve of RevolutionFrom Musical Privilege to Musical PropertyThe "Declaration of the Rights of Genius"Chapter 4 Public Servants From Pleasing Paris to Serving the NationAn Institution of Their OwnPatriotic ServantsProfessionalization and Public PatronageChapter 5 Cultural Heritage: Music as Work of ArtMusic and the Fine Arts under the RevolutionThe Conservatory's "Museum" of Musical WorksThe Museum's Imperial Agenda"The Edifice is Rising"Cultural Property and Artworks for the FutureChapter 6 National Industry: Music as a "Useful" Art and ScienceMusic, the Useful Arts, and Mechanical InventionInterlude: A Method in the MadnessMechanical Innovations: Useful to Whom?The Conservatory's Design for a "Romantic Machine"Postlude: A "Detractor" Breaks his "Silence"Conclusion: Privilege by Any Other NameAppendixBibliographyIndex
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