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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.
How have men used art music? How have they listened to and
brandished the musical forms of the Western classical tradition and
how has music intervened in their identity formations? This
collection of essays addresses these questions by examining some of
the ways in which men, music and masculinity have been implicated
with each other since the Middle Ages. Feminist musicologies have
already dealt extensively with music and gender, from the
'phallocentric' tendencies of the Western tradition, to the
explicit marginalization of women from that tradition. This book
builds on that work by turning feminist critical approaches towards
the production, rhetorical engagement and subversion of
masculinities in twelve different musical case studies. In other
disciplines within the arts and humanities, 'men's studies' is a
well-established field. Musicology has only recently begun to
address critically music's engagement with masculinity and as a
result has sometimes thereby failed to recognize its own discursive
misogyny. This book does not seek to cover the field
comprehensively but, rather, to explore in detail some of the ways
in which musical practices do the cultural work of masculinity. The
book is structured into three thematic sections: effeminate and
virile musics and masculinities; national masculinities, national
musics; and identities, voices, discourses. Within these themes,
the book ranges across a number of specific topics: late medieval
masculinities; early modern discourses of music, masculinity and
medicine; Renaissance Italian masculinities; eighteenth-,
nineteenth- and early twentieth-century ideas of creativity, gender
and canonicity; masculinity, imperialist and nationalist ideologies
in the nineteenth century, and constructions of the masculine voice
in late nineteenth- and twentieth-century opera and song. While the
case studies are methodologically disparate and located in
different historical and geographical locations, they all share a
common concern for a critical revaluation of the role of
masculinity (in all its varied representations) in art music
practices.
How have men used art music? How have they listened to and
brandished the musical forms of the Western classical tradition and
how has music intervened in their identity formations? This
collection of essays addresses these questions by examining some of
the ways in which men, music and masculinity have been implicated
with each other since the Middle Ages. Feminist musicologies have
already dealt extensively with music and gender, from the
'phallocentric' tendencies of the Western tradition, to the
explicit marginalization of women from that tradition. This book
builds on that work by turning feminist critical approaches towards
the production, rhetorical engagement and subversion of
masculinities in twelve different musical case studies. In other
disciplines within the arts and humanities, 'men's studies' is a
well-established field. Musicology has only recently begun to
address critically music's engagement with masculinity and as a
result has sometimes thereby failed to recognize its own discursive
misogyny. This book does not seek to cover the field
comprehensively but, rather, to explore in detail some of the ways
in which musical practices do the cultural work of masculinity. The
book is structured into three thematic sections: effeminate and
virile musics and masculinities; national masculinities, national
musics; and identities, voices, discourses. Within these themes,
the book ranges across a number of specific topics: late medieval
masculinities; early modern discourses of music, masculinity and
medicine; Renaissance Italian masculinities; eighteenth-,
nineteenth- and early twentieth-century ideas of creativity, gender
and canonicity; masculinity, imperialist and nationalist ideologies
in the nineteenth century, and constructions of the masculine voice
in late nineteenth- and twentieth-century opera and song. While the
case studies are methodologically disparate and located in
different historical and geographical locations, they all share a
common concern for a critical revaluation of the role of
masculinity (in all its varied representations) in art music
practices.
The first genuinely interdisciplinary study of creativity in early
modern England In the seventeenth century, the concept of
creativity was far removed from most of the fundamental ideas about
the creative act - notions of human imagination, inspiration,
originality and genius - that developed in the eighteenthand
nineteenth centuries. Instead, in this period, students learned
their crafts by copying and imitating past masters and did not
consciously seek to break away from tradition. Most new material
was made on the instructions of apatron and had to conform to
external expectations; and basic tenets that we tend to take for
granted-such as the primacy and individuality of the author-were
apparently considered irrelevant in some contexts. The aim of this
interdisciplinary collection of essays is to explore what it meant
to create buildings and works of art, music and literature in
seventeenth-century England and to investigate the processes by
which such creations came into existence. Through a series of
specific case studies, the book highlights a wide range of ideas,
beliefs and approaches to creativity that existed in
seventeenth-century England and places them in the context of the
prevailing intellectual, social and cultural trends of the period.
In so doing, it draws into focus the profound changes that were
emerging in the understanding of human creativity in early modern
society - transformations that would eventually lead to the
development of a more recognisably modern conception of the notion
of creativity. The contributors work in and across the fields of
literary studies, history, musicology, history of art and history
of architecture, and their work collectively explores many of the
most fundamental questions about creativity posed by the early
modern English 'creative arts'. REBECCA HERISSONE is Head of Music
and Senior Lecturer in Musicology at the University of Manchester.
ALAN HOWARD is Lecturer in Music at the University of East Anglia
and Reviews Editor for Eighteenth-Century Music. Contributors:
Linda Phyllis Austern, Stephanie Carter, John Cunningham, Marina
Daiman, Kirsten Gibson, Raphael Hallett, Rebecca Herissone, Anne
Hultzsch, Freyja Cox Jensen, Stephen Rose, Andrew R. Walkling,
Amanda Eubanks Winkler, James A. Winn.
This collection situates the North-East within a developing
nationwide account of British musical culture. Music in North-East
England provides a wide-ranging exploration of musical life in the
North-East of England during the early modern period. It
contributes to a growing number of studies concerned with
developing a nationwide account of British musical culture. By
defining the North-East in its widest sense, the collection
illuminates localised differences, distinct musical cultures in
urban centres and rural locations, as well as region-wide networks,
and situates regional musical life in broader national and
international contexts. Music in North-East England affords new
insights into aspects of musical life that have been the focus of
previous studies of British musical life - such as public concerts
- but also draws attention to aspects that have attracted less
scholarly attention in histories of early modern British musical
culture: the musical activities and tastes of non-elite consumers;
interactions between art music and cheap print and popular song;
music education beyond London and its satellite environs; the
recovery of northern urban soundscapes; and the careers of
professional musicians who have not previously been the focus of
major published musicological studies.
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