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Cultural Histories of Noise, Sound and Listening in Europe,
1300-1918 presents a range of historical case studies on the
sounding worlds of the European past. The chapters in this volume
explore ways of thinking about sound historically, and seek to
understand how people have understood and negotiated their
relationships with the sounding world in Europe from the Middle
Ages through to the early twentieth century. They consider, in
particular: sound and music in the later Middle Ages; the politics
of sound in the early modern period; the history of the body and
perception during the Ancien Regime; and the sounds of the city in
the nineteenth century and sound and colonial rule at the fin de
siecle. The case studies also range in geographical orientation to
include considerations not only of Britain and France, the
countries most considered in European historical sound studies in
English-language scholarship to date, but also Bosnia-Herzegovina,
British Colonial India, Germany, Italy and Portugal. Out of this
diverse group of case studies emerge significant themes that recur
time and again, varying according to time and place: sound, power
and identity; sound as a marker of power or violence; and sound,
physiology and sensory perception and technologies of sound,
consumption and meaning.
Cultural Histories of Noise, Sound and Listening in Europe,
1300-1918 presents a range of historical case studies on the
sounding worlds of the European past. The chapters in this volume
explore ways of thinking about sound historically, and seek to
understand how people have understood and negotiated their
relationships with the sounding world in Europe from the Middle
Ages through to the early twentieth century. They consider, in
particular: sound and music in the later Middle Ages; the politics
of sound in the early modern period; the history of the body and
perception during the Ancien Regime; and the sounds of the city in
the nineteenth century and sound and colonial rule at the fin de
siecle. The case studies also range in geographical orientation to
include considerations not only of Britain and France, the
countries most considered in European historical sound studies in
English-language scholarship to date, but also Bosnia-Herzegovina,
British Colonial India, Germany, Italy and Portugal. Out of this
diverse group of case studies emerge significant themes that recur
time and again, varying according to time and place: sound, power
and identity; sound as a marker of power or violence; and sound,
physiology and sensory perception and technologies of sound,
consumption and meaning.
What does it mean to think of Western Art music - and the
Austro-German contribution to that repertory - as a tradition? How
are men and masculinities implicated in the shaping of that
tradition? And how is the writing of the history (or histories) of
that tradition shaped by men and masculinities? This book seeks to
answer these and other questions by drawing both on a wide range of
German-language writings on music, sound and listening from the
so-called long nineteenth century (circa 1800-1918), and a range of
critical-theoretical texts from the post-war continental
philosophical and psychoanalytic traditions, including Lacan,
Zizek, Serres, Derrida and Kittler. The book is focussed in
particular on bringing the object of historical writing itself into
scrutiny by engaging in what Zizek has called a 'historicity' or a
way of writing about the past that not merely acknowledges the
ahistorical kernel of historical writing, but brings that kernel
into the light of day, takes account of it and puts it into play.
The book is thus committed to a kind of historical writing that is
open-ended - though not ideologically naA-ve - and that does not
fix or stabilize the nature of the relationship between so-called
'primary' and 'secondary' texts. The book consists of an
introduction, which places the study of classical music and the
Austro-German tradition within broader debates about the value of
that tradition, and four extensive case studies: an analysis of the
cultural-historical category of listening around 1800; a close
reading of A. B. Marx's Beethoven monograph of 1859; a
consideration of Heinrich Schenker's attitudes to the mob and the
vernacular more broadly and an examination, through Franz Kafka, of
the figure of Mahler's body.
What does it mean to think of Western Art music - and the
Austro-German contribution to that repertory - as a tradition? How
are men and masculinities implicated in the shaping of that
tradition? And how is the writing of the history (or histories) of
that tradition shaped by men and masculinities? This book seeks to
answer these and other questions by drawing both on a wide range of
German-language writings on music, sound and listening from the
so-called long nineteenth century (circa 1800-1918), and a range of
critical-theoretical texts from the post-war continental
philosophical and psychoanalytic traditions, including Lacan,
Zizek, Serres, Derrida and Kittler. The book is focussed in
particular on bringing the object of historical writing itself into
scrutiny by engaging in what Zizek has called a 'historicity' or a
way of writing about the past that not merely acknowledges the
ahistorical kernel of historical writing, but brings that kernel
into the light of day, takes account of it and puts it into play.
The book is thus committed to a kind of historical writing that is
open-ended - though not ideologically naA-ve - and that does not
fix or stabilize the nature of the relationship between so-called
'primary' and 'secondary' texts. The book consists of an
introduction, which places the study of classical music and the
Austro-German tradition within broader debates about the value of
that tradition, and four extensive case studies: an analysis of the
cultural-historical category of listening around 1800; a close
reading of A. B. Marx's Beethoven monograph of 1859; a
consideration of Heinrich Schenker's attitudes to the mob and the
vernacular more broadly and an examination, through Franz Kafka, of
the figure of Mahler's body.
How are national identities constructed and articulated through
music? Popular music has long been associated with political
dissent, and the nation state has consistently demonstrated a
determination to seek out and procure for itself a stake in the
management of 'its' popular musics. Similarly, popular musics have
been used 'from the ground up' as sites for both populist and
popular critiques of nationalist sentiment, from the position of
both a globalizing and a 'local' vernacular culture. The
contributions in this book arrive at a critical moment in the
development of the study of national cultures and musicology. The
book ranges from considerations of the ideological focus of
cultural nationalism through to analyses of musical hybridity and
musical articulations of other kinds of identities at odds with
national identity. The processes of global homogenization are
thereby shown to have brought about a transitional crisis for
national cultural identities: the evolution of these identities,
particularly with reference to the concept of 'authenticity' in
music, is situated within broader debates on power, political
economy and constructions of the self. Theorizations of practice
are employed after the manner of Bourdieu, Gramsci, Goffman,
Gadamer, Habermas, Bhabha, Lacan and Zizek. Each contribution acts
as a case study to characterize the strategies through which
differing modes of musical discourse engage, critique or obscure
discourses on national identity. The studies include discussions
of: musical representations of Irishness; the relationship between
Afropop and World Music; Norwegian club music; the revival of
traditional music in Serbia; resistance to cultural homogeneity in
Brazil; contemporary Uyghur song in Northwest China; rap and race
in French society; technobanda from the barrios of Los Angeles, and
Spanish/Moroccan raA-. In this way, the book seeks to characterize
the ideological configurations that help to activate and sustain
hegemonic, amb
How are national identities constructed and articulated through
music? Popular music has long been associated with political
dissent, and the nation state has consistently demonstrated a
determination to seek out and procure for itself a stake in the
management of 'its' popular musics. Similarly, popular musics have
been used 'from the ground up' as sites for both populist and
popular critiques of nationalist sentiment, from the position of
both a globalizing and a 'local' vernacular culture. The
contributions in this book arrive at a critical moment in the
development of the study of national cultures and musicology. The
book ranges from considerations of the ideological focus of
cultural nationalism through to analyses of musical hybridity and
musical articulations of other kinds of identities at odds with
national identity. The processes of global homogenization are
thereby shown to have brought about a transitional crisis for
national cultural identities: the evolution of these identities,
particularly with reference to the concept of 'authenticity' in
music, is situated within broader debates on power, political
economy and constructions of the self. Theorizations of practice
are employed after the manner of Bourdieu, Gramsci, Goffman,
Gadamer, Habermas, Bhabha, Lacan and Zizek. Each contribution acts
as a case study to characterize the strategies through which
differing modes of musical discourse engage, critique or obscure
discourses on national identity. The studies include discussions
of: musical representations of Irishness; the relationship between
Afropop and World Music; Norwegian club music; the revival of
traditional music in Serbia; resistance to cultural homogeneity in
Brazil; contemporary Uyghur song in Northwest China; rap and race
in French society; technobanda from the barrios of Los Angeles, and
Spanish/Moroccan raA-. In this way, the book seeks to characterize
the ideological configurations that help to activate and sustain
hegemonic, amb
This volume brings together for the first time book chapters,
articles and position pieces from the debates on music and
identity, which seek to answer classic questions such as: how has
music shaped the ways in which we understand our identities and
those of others? In what ways has scholarly writing about music
dealt with identity politics since the Second World War? Both
classic and more recent contributions are included, as well as
material on related issues such as music's role as a resource in
making and performing identities and music scholarship's ambivalent
relationship with scholarly activism and identity politics. The
essays approach the music-identity relationship from a wide range
of methodological perspectives, ranging from critical
historiography and archival studies, psychoanalysis, gender and
sexuality studies, to ethnography and anthropology, and social and
cultural theories drawn from sociology; and from continental
philosophy and Marxist theories of class to a range of
globalization theories. The collection draws on the work of
Anglophone scholars from all over the globe, and deals with a wide
range of musics and cultures, from the Americas, Australasia,
Europe, the Middle East and Africa. This unique collection of key
texts, which deal not just with questions of gender, sexuality and
race, but also with other socially-mediated identities such as
social class, disability, national identity and accounts and
analyses of inter-group encounters, is an invaluable resource for
music scholars and researchers and those working in any discipline
that deals with identity or identity politics.
Sound, Music, Affect features brand new essays that bring together
the burgeoning developments in sound studies and affect studies.
The first section sets out key methodological and theoretical
concerns, focussing on the relationships between affective models
and sound. The second section deals with particular musical case
studies, exploring how reference to affect theory might change or
reshape some of the ways we are able to make sense of musical
materials. The third section examines the politics and practice of
sonic disruption: from the notion of noise as 'prophecy', to the
appropriation of 'bad vibes' for pleasurable aesthetic and
affective experiences. And the final section engages with some of
the ways in which affect can help us understand the politics of
chill, relaxation and intimacy as sonic encounters. The result is a
rich and multifaceted consideration of sound, music and the
affective, from scholars with backgrounds in cultural theory,
history, literary studies, media studies, architecture, philosophy
and musicology.
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