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Books > Arts & Architecture > Music > Western music, periods & styles > Romantic music (c 1830 to c 1900)
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Whose Spain? - Negotiating Spanish Music in Paris, 1908-1929 (Hardcover, New)
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Whose Spain? - Negotiating Spanish Music in Paris, 1908-1929 (Hardcover, New)
Series: Currents in Latin American and Iberian Music
Expected to ship within 12 - 17 working days
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From the very beginning of the nineteenth century, many elements of
Spanish culture carried an air of 'exoticism' for the French-and
nothing played more important of a role in shaping the French idea
of Spain than the country's musical tradition. However, as Samuel
Llano argues in Whose Spain?, perceptions and representations of
Spanish musical identities changed in the early twentieth century,
due to the emergence of the hispanistes. These specialists on
Spanish music and culture, who wrote encyclopedic and 'scientific'
articles on 'Spanish music,' strived to endow the world of Spanish
music with a sense of authority and knowledge. Yet, the writings of
those hispanistes and other music critics showed a highly
sensationalist attitude, aimed at describing 'Spanish music' in a
way that was instrumental to the interests of French musicians. At
the same time, the Spanish fought to articulate their own
identities through the creation and performance of new musical
works. In this book, Llano analyzes the socio-political discourses
underpinning critical and musicological descriptions of 'Spanish
music' and the discourse's connection with French politics and
culture. He also studies operas and other musical works for the
stage as privileged sites for the production of Spanish musical
identities, given the enhanced possibilities of performance for
cultural and critical engagement. The study covers the period 1908
to 1929, when representations of 'Spanish music' in the writings of
the hispaniste Henri Collet and other French musicians underwent
several transformations, mostly sparked by the need to reformulate
French identity during and after the First World War. Ultimately,
Llano demonstrates that definitions of 'French' and 'Spanish' music
were to some extent interdependent, and that the public
performances of these pieces even helped the musical community in
France to begein to reformulate their notions of 'Spanish music'
and identity.
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