Descripción
María Encina Cortizo, Ivan Nommick (eds). Pages: xiv + 434 p. Language(s):English, French, Spanish. Publication Year:2023. Brepols. ISBN: 978-2-503-60848-8. Hardback --- SUMMARY 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. TABLE OF CONTENTS Between Centres and Peripheries Preface Redefining Centres in European Music 1. YVAN NOMMICK (Université Paul-Valéry, Montpellier 3) Paris Vienne, 1890-1914: singularités et convergences musicales 2. ÉTIENNE JARDIN (Palazzetto Bru Zane, Venice) Les écoles de musique françaises sont-elles des succursales du Conservatoire? 1. NANCY NOVEMBER (The University of Auckland) «Periphery» as Centre: Canon Formation and Arrangements of Public Music in the Early Nineteenth-Century Viennese Home 2. MARTINA KALSER-GRUBER (Danube University Krems) Viennese Operetta Composers and their Publishers: A Love-Hate Relationship? 3. ALESSANDRA PALIDDA (Oxford Brooks University) Music for the Nation : the Creation of a Transnational Musical Style between Paris and Republican Milan Models of Music Production in the Peripheries: Universality vs. Nationality 4. MATTHIEU CAILLIEZ (Université Grenoble Alpes) Le théâtre lyrique en Corse et en Algérie française au miroir de la presse musicale européenne (1830-1870) 5. IVANA VESIĆ (Institute of Musicology SASA, Belgrade) For the Authentic National and Aesthetic Values: the challenges of Music Production and Performance in the Kingdom of Serbia (1882-1914) 6. AXEL KLEIN (Research Associate, Research Foundation for Music in Ireland-RFMI) Music in and from Ireland: Perspectives on an Ununited Kingdom 7. IVAN MOODY (CESEM Universidade NOVA, Lisbon) Centre and Periphery: Symphonic Identity in Portugal 8. KELVIN H. F. LEE (University of Leuven) Form as a Relational Object: Two Stories of Metrical Dissonances, or a Music-Historiographical Lesson from George Enescu Circulation of Music in Different Contexts 9. CLÉMENT NOËL (EHESS, Paris) Le «Couronnement de la Muse du Peuple» de Gustave Charpentier: un théâtre citoyen à la rencontre des provinces françaises (1897-1914) 10. DAVID CONWAY (Honorary Research Associate, University College London) Roma, Magyar, Jew: Complexities of Cultural Identity in the Spread of «Gypsy Music» in the Long Nineteenth Century 11. MARÍA ENCINA CORTIZO RAMÓN SOBRINO (Universidad de Oviedo) Peripheries in Dialogue: Grasping the Sounds of «L Espagne Romantique» in the Nineteenth Century 12. MICHAEL CHRISTOFORIDIS (The University of Melbourne) From Paris to the Ottoman Empire: Spanish Estudiantinas, the Popular Music Stage and Sonorities of the Belle Époque 13. MIRIAM PERANDONES LOZANO (Universidad de Oviedo) Quinito Valverde: transculturalidad y modernidad en su obra europea (1907-1913) Cultural Transfer of Music 14. ROSEMARY GOLDING (The Open University) On the Edg. N° de ref. del artículo 02396
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