{"title":"Music In Society And Culture","description":null,"products":[{"product_id":"nation-and-classical-music-book-matthew-riley-9781783271429","title":"Nation and Classical Music","description":"How and why do listeners come over time to 'feel the nation' through particular musical works?  Sunday Times Best Reads of 2016  This book develops a comparative analysis of the relationship between western art music, nations and nationalism. It explores the influence of emergent nations and nationalism on the development of classical music in Europe and North America and examines the distinctive themes, sounds and resonances to be found in the repertory of each of the nations. Its scope is broad, extending well beyond the period 1848-1914 when national music flourished most conspicuously. The interplay of music and nation encompasses the oratorios of Handel, the open-air music of the French Revolution and the orchestral works of Beethoven and Mendelssohn and extends into the mid-twentieth century in the music of Prokofiev, Shostakovich and Copland. The book addresses the representation of the national community, the incorporation of ethnic vernacular idioms into art music, the national homeland in music, musical adaptations of national myths and legends, the music of national commemoration and the canonisation of national music. Bringing together insights from nationalism studies, musicology and cultural history, it will be essential reading not only for musicologists but for cultural historians and historians of nationalism as well.   MATTHEW RILEY is Reader in Music at the University of Birmingham.    The late ANTHONY D. SMITH was Professor Emeritus of Nationalism andEthnicity at the London School of Economics.","brand":"WoB","offers":[{"title":"GB \/ LIKE_NEW \/ INTERNAL","offer_id":50593953874193,"sku":"GOR014009394","price":0.0,"currency_code":"GBP","in_stock":false},{"title":"US \/ NEW \/ INGRAM","offer_id":51051847090449,"sku":"NIN9781783271429","price":0.0,"currency_code":"GBP","in_stock":false},{"title":"GB \/ VERY_GOOD \/ INTERNAL","offer_id":51558319882513,"sku":"GOR009697910","price":0.0,"currency_code":"GBP","in_stock":true},{"title":"GB \/ NEW \/ INGRAM","offer_id":52680520597777,"sku":"NLS9781783271429","price":0.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/4072\/6801\/files\/1783271426.jpg?v=1751432600"},{"product_id":"history-in-mighty-sounds-musical-constructions-of-german-national-identity-1848-book-barbara-eichner-9781843837541","title":"History in Mighty Sounds: Musical Constructions of German National Identity, 1848 -1914","description":"An indispensable study of nineteenth-century German music, history and nationalism.  Music played a central role in the self-conception of middle-class Germans between the March Revolution of 1848 and the First World War. Although German music was widely held to be 'universal' and thus apolitical, it participated- like the other arts - in the historicist project of shaping the nation's future by calling on the national heritage. Compositions based on - often heavily mythologised - historical events and heroes, such as the Battle of the Teutoburg Forest or the medieval Emperor Barbarossa, invited individual as well as collective identification and brought alive a past that compared favourably with contemporary conditions.   History in Mighty Sounds mapsout a varied picture of these 'invented traditions' and the manifold ideas of 'Germanness' to which they gave rise, exemplified through works by familiar composers like Max Bruch or Carl Reinecke as well as their nowadays little-known contemporaries. The whole gamut of musical genres, ranging from pre- and post-Wagnerian opera to popular choruses to symphonic poems, contributes to a novel view of the many ways in which national identities were constructed,shaped and celebrated in and through music. How did artists adapt historical or literary sources to their purpose, how did they negotiate the precarious balance of aesthetic autonomy and political relevance, and how did notions of gender, landscape and religion influence artistic choices? All musical works are placed within their broader historical and biographical contexts, with frequent nods to other arts and popular culture. History in Mighty Sounds will be indispensable reading for anyone interested in nineteenth-century German music, history and nationalism.    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Performing Propaganda looks at musical life in Paris during the First World War. This conflict was one in which civilian life played a fundamental part in the war effort; and music was no exception. The book examines how Western art music became a central part of the home-front war effort, employed by both musicians and government as a powerful tool of propaganda. It situates French art music of the First World War within its social, cultural and political context, and within the wider temporal framework of the Franco-Prussian and Second World Wars. Drawing on a diverse range of archival material, including concert and operatic programmes, the musical and daily press, documents detailing government involvement in musical activity, and police records, it explores how various facets of French musical life served, in very different ways, as propaganda. In short, it explores why music mattered during a period of prolonged conflict, whether as emotional catalyst, weapon, or tool. This book will be of interest to musicologists, to cultural historians working on early twentieth-century France, and to scholars of the First World War,as well as to a more general readership with an interest in music during times of adversity.    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This book explores connections between the physical care of the sick based on the study of medicine, concepts of healing founded on religious thought, and the practice of music at the Ospedale di Santo Spirito (Hospital of the Holy Spirit) in Rome. The hospital was a unique institution that was regulated  by the Roman Catholic Church but simultaneously  reflected the significant shifts in scientific thought emerging during the period that coincided with post-Tridentine reforms in the church.   The volume discusses the hospital's foundation, architecture and links with the papacy. It also reflects on the then acceptable \"ways of knowing\" informed by religious concerns and medical traditions. The tripartite relationship between religion, medicine and music within the institution was  complex. At times they existed side-by-side, at others they intersected. 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Music and Ultra-Modernism in France examines the priorities of three generational groupings: the pre-war Société Musicale Indépendente of Ravel and his circle, Les Six in the 1920s and Jeune France in 1936. Exploring the ideas of consensus, resistance and rupture, the book contributes an important and nuanced reflection to the current debate on modernism in music. It considers the roles composers, critics and biographers played in shaping debates about contemporary music, showing how composers including Ravel, Poulenc, Milhaud, Jolivet and Messiaen and critics such as Paul Landormy, André Coeuroy and Roland-Manuel often worked in partnership to bring their ideas to a publicforum. It also expands the notion of 'interwar' through the essential inclusion of World War I and the years before, reconfiguring the narrative for that period.  This book challenges some of the stereotypes that characterisethe period, in particular, neo-classicism and the dominance of secularism. 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The art of reciting a text out loud, known as Vortragskunst, be it in a private circle or in a concert hall, originated in German-speaking countries in the 1760s, and by the nineteenth century had become a well-established practice subjected to an artistic blossoming unparalleled in the rest of Europe.  In this book Jacqueline Waeber explains and examines how and why this happened, focusing on the origins of poetic recitation and its development during the late eighteenth and early nineteenth centuries, a period essential to the development of modern German literature and theatre, bookended by the two main figures who contributed to the theoretical and aesthetical tenets of poetic recitation, the poet Friedrich Gottlieb Klopstock (1724-1803) and Johann Wolfgang von Goethe (1749-1832).    Poetic recitation quickly gained attraction for the Lied and the musical melodrama, both musical genres that were driven by a search for new declamatory styles. 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