Analysing musical culture in nineteenth-century Europe: towards a musical turn?
2010; Taylor & Francis; Volume: 17; Issue: 6 Linguagem: Inglês
10.1080/13507486.2010.535121
ISSN1469-8293
Autores Tópico(s)Theater, Performance, and Music History
ResumoAbstract The aim of this article is to establish the extent to which the history of music can offer new perspectives on the modern period. We need a change of perspective, moving away from the aesthetic debates on music to an investigation of actual experiences and practices of participants. Audience behaviour provides a link between musical production and society. In order to make opera houses and concert halls visible as social spheres, this article draws on examples from the musical life of Berlin and London in the 1800s. Music should no longer be regarded as a peripheral phenomenon, but instead as a potential historical question. The analysis of musical performances prompts at least one: music matters. Keywords: cultural historymusic and societyEuropean Historyaudience behaviour Acknowledgements I would like to express my deep sense of gratitude to Volker Berghahn, Heinz-Gerhard Hapt, Margret Menninger, Juergen Osterhammel, James Retallack, Jutta Toelle, Bernd Weisbrod, and Sarah Zalfen, who read the text and provided valuable suggestions for its improvement. Notes 1. Cf. Charle Charle, Christophe. 2008. Théâtres en capitales. Naissance de la société du spectacle à Paris, Berlin, Londres et Vienne 1860–1914, Paris: Albin Michel. [Google Scholar], Théâtres en capitales; Blanning Blanning, Tim. 2008. The Triumph of Music. Composers, Musicians and Their Audiences 1700 to the Present, London: Penguin. [Google Scholar], The Triumph of Music; Hall-Witt Hall-Witt, Jennifer. 2000. "Representing the Audiences in the Age of Reform. Critics and the Elite at the Italian Opera in London". In Music and British Culture, 1785–1914. 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