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Music, theatre and politics have maintained a long-standing, if
varying and problematic, relationship. In the Ancient World, the
relationship used to be a harmonious one, scholars have us believe,
glorifying the moment at the beginning of Western history when a
political community, or polis, affirmed itself in a practice that
purportedly achieved the perfect integration of music and theatre.
To revive this original harmony was, of course, one of the main
impulses that engendered the genre of opera. However, while it is
widely recognized that the political represented a prius in the
Ancient triangle of music, theatre and politics, there has been
little attention to the status of the political in the triangle's
modern variety. Nonetheless, the relationship between the three
continues to be strong. In many contexts, the political still takes
priority, encouraging or curbing artistic creativity. The
contributions in this volume bridge the conventional chronological
division between 'late Romantic' and 'modern' music to thematize a
wide array of issues in the context of Germany. The contributors
focus on a national tradition and period in which the friction
between music, theatre and politics grew particularly intense.
Major themes include: reception history; the entwining of aesthetic
and political intentions on the part of composers, critics and
historians; and the construction and/or critique of collective
political identities in and through music theatre.
Music, theatre and politics have maintained a long-standing, if
varying and problematic, relationship. In the Ancient World, the
relationship used to be a harmonious one, scholars have us believe,
glorifying the moment at the beginning of Western history when a
political community, or polis, affirmed itself in a practice that
purportedly achieved the perfect integration of music and theatre.
To revive this original harmony was, of course, one of the main
impulses that engendered the genre of opera. However, while it is
widely recognized that the political represented a prius in the
Ancient triangle of music, theatre and politics, there has been
little attention to the status of the political in the triangle's
modern variety. Nonetheless, the relationship between the three
continues to be strong. In many contexts, the political still takes
priority, encouraging or curbing artistic creativity. The
contributions in this volume bridge the conventional chronological
division between 'late Romantic' and 'modern' music to thematize a
wide array of issues in the context of Germany. The contributors
focus on a national tradition and period in which the friction
between music, theatre and politics grew particularly intense.
Major themes include: reception history; the entwining of aesthetic
and political intentions on the part of composers, critics and
historians; and the construction and/or critique of collective
political identities in and through music theatre.
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