The Oxford Handbook of Music and Intellectual Culture in the Nineteenth Century (Oxford Handbooks)

Rarely studied in their own right, writings about music are often viewed as merely supplemental to understanding music itself. Yet in the nineteenth century, scholarly interest in music flourished in fields as disparate as philosophy and natural science, dramatically shifting the relationship between music and the academy. An exciting and much-needed new volume, The Oxford Handbook of Music and Intellectual Culture in the Nineteenth Century draws deserved attention to the people and institutions of this period who worked to produce these writings. Editors Paul Watt, Sarah Collins, and Michael Allis, along with an international slate of contributors, discuss music's fascinating and unexpected interactions with debates about evolution, the scientific method, psychology, exoticism, gender, and the divide between high and low culture. Part I of the handbook establishes the historical context for the intellectual world of the period, including the significant genres and disciplines of its music literature, while Part II focuses on the century's institutions and networks - from journalists to monasteries - that circulated ideas about music throughout the world. Finally, Part III assesses how the music research of the period reverberates in the present, connecting studies in aestheticism, cosmopolitanism, and intertextuality to their nineteenth-century origins. The Handbook challenges Western music history's traditionally sole focus on musical work by treating writings about music as valuable cultural artifacts in themselves. Engaging and comprehensive, The Oxford Handbook of Music and Intellectual Culture in the Nineteenth Century brings together a wealth of new interdisciplinary research into this critical area of study. -- Book jacket Cover MUSIC AND INTELLECTUAL CULTURE IN THE NINETEENTH CENTURY Copyright CONTENTS List of Figures List of Tables List of Contributors Introduction: Music and Intellectual Culture in the Nineteenth Century Intellectual History and Intellectual Culture When and Where was the “Nineteenth Century”? Outline of the Book References PART I: TEXTS AND PRACTICES Chapter 1: History, Historicism, Historiography Adler’s Vision Uses of History Geographies of History Peoples of History References Chapter 2: Criticism The Rise of Positivism The Origins of the French Positivist Movement Positivism and Music Case Study: Edmond Hippeau Positivism Then and Now Notes References Chapter 3: Figures and Forms of Analysis Practice The Origins of Musical Analysis in Philology and Hermeneutics Music Reduced to Text Analyses for Better Listening The Rise of Musical Literacy In the Composer’s Workshop Notes References Chapter 4: Biography and Life-Writing Anecdote in Musical Biography Women in Life-Writing on the Great Composers Conclusion Musical Biography: A Timeline of Selected Major Publications of the Long Nineteenth Century References Chapter 5: Travel Writing Strategies in Documenting Musical Otherness Music and Writing Style The Musician as Travel Writer Notes References Chapter 6: Philosophy and Aesthetics Mendelssohn Nietzsche Mahler Liszt Schumann Notes References Chapter 7: Fiction and Poetry Emma and Lucie The Singing Automaton Whitman’s “Barbaric Yawp” Opera in Fiction 1: Collins, Thackeray, and Tolstoy George Eliot’s “Forgotten” Prima Donna Opera in Fiction 2: The Opera Box Opera in Fiction 3: Wagner and the Prima Donna Lucia Sings Once More References Chapter 8: Ephemera The Ephemera in Music Ephemera Collected by Composers and Performers Ephemera Collected by Music Critics Private Collectors of Music Ephemera Ephemera’s Value for Biography Other Revelations that Ephemera Yield The Accessibility of Collections and Contemporary Research Notes References Works Cited PART II: NETWORKS AND INSTITUTIONS Chapter 9: Newspapers, Little Magazines, and Anthologies Demographics of Readers and Writers Impressionist and Anonymous Criticism Higher Criticism and Training for Criticism Little Magazines Revue wagnérienne Weekly Critical Review New Quarterly Musical Review Dome Chord Intellectual Writing Repackaged: The Anthology and Beyond References Chapter 10: Learned Societies, Institutions, Associations, and Clubs State-Sponsored “Learned Societies” France and the Académie Française The Formation of Other National “Learned Societies” Musical Societies in Britain Members and Membership of Societies, Institutions, and Clubs The Société Nationale de Musique Other Concepts of the “Learned Society” The “Learned Society” and Musicology Conclusion Notes References Chapter 11: Churches and Devotional Practice Introduction History and Context Literary-Focused Works Julian’s Dictionary of Hymnology Musical Studies Practice Plainchant Church Music at the Church Congress Spirituality Sermons on Singing Hymnal Prefaces Conclusion Notes References Chapter 12: Libraries and Archives Introduction Institutions and Individuals Obsolescence and Alienation Cultural Memory and Notions of Storage Completism and Obtainability of Sources The Rare and the Quaint Vitalization: Returning to a Pristine State of Music Conclusion Notes References Chapter 13: Universities and Conservatories Introduction Universities Conservatories Conclusion notes References Chapter 14: The Concert Series Two Worlds? Idealism and the Public Sphere “True Joy Is a Serious Matter” Good and Bad Genres The Supply Side Insecurities, Compromises, Alternatives Amateur Singing Old and New Debates, Conflicts, Conclusions Note References PART III: DISCOURSES Chapter 15: Musical Canons Conceptual Approaches to Musical Canon Musical Idealism and the Concept of Classical Music The Unnamed Canon of Old Opera Aspects of Canon in Popular Music The Crisis of Contemporary Music References Chapter 16: Landscape and Ecology The Hollow Pastoral Ghost Country Taking the Tour In Foreign Climes Notes References Chapter 17: The National and the Universal Writing the World: Weltliteratur, Universal History, and World Music Discovering Difference, Inventing Commonality Singing the World: Herder, the Volk, and Cultural Relativism The Individual and the Community Notes References Chapter 18: Science and Religion Introduction The Scientific and Religious Background The Musical Body The Musical Mind The Musical Soul Conclusion Notes References Chapter 19: Popular Song and Working-Class Culture Popular Song on a Global Stage Ethnic Characters and Comic Popular Song Female Characters and Working-Class Femininity Working-Class Masculinity and Song Conclusion Notes References Chapter 20: Emotions Idealism and Materialism Individual and Social Emotions Aesthetes and Other Animals References Chapter 21: Time and Temporality Music’s Structuring of Time The Song of the Self: Music and the Subjective Experience of Time The Song of the World: Music and the Sound of History Between Nothing and Eternity: Music and the Immediacy of the Moment Musical Genres and Temporal Signification Temporal Legacies: The Twentieth Century and Beyond Notes References Chapter 22: Ethics The Imaginary Legacy of Formalism Toward a Narrative of Nineteenth-Century Musical Ethics Kant and the Eighteenth-Century Background Schopenhauer’s Ethics of Music Metaethics Suffering and Salvation Schopenhauer and Schelling Nietzsche and Musical Ethics After Schopenhauer Conclusion Notes References Chapter 23: Music Scholarship and Disciplinarity Introduction Crystallization of a Discipline Initial Multidisciplinary Training: History, Philosophy, and . . . Law Scholarly Interdisciplinarity New Sciences for the Study of Music: From Sociology to Psychology Internationalization of the Discipline: German Musicology under the French Microscope Interdisciplinary Perspectives Notes References Index In the nineteenth century, ideas about musics flourished in fields as disparate as philosophy and natural science, dramatically shifting the relationship between music and the broader intellectual landscape. An exciting and much-needed new volume, The Oxford Handbook of Music and Intellectual Culture in the Nineteenth Century draws attention to the ways in which music came to permeate a wide field of discourses, and investigates the people and institutions involved in shaping this interaction. Editors Paul Watt, Sarah Collins, and Michael Allis, along with an international team of scholars, discuss music's fascinating and unexpected interactions with debates about evolution, the scientific method, psychology, temporality, ecology, and the divide between high and low culture. Part I of the handbook establishes the historical context for the intellectual world of the period, including the significant genres and disciplines of its music literature, while Part II focuses on the century's institutions and networks - from journalists to monasteries - that circulated ideas about music throughout the world. Finally, Part III assesses how the music research of the period reverberates in the present, connecting studies in aestheticism, cosmopolitanism, and intertextuality to their nineteenth-century origins. The Handbook challenges Western music history's traditionally sole focus on musical work by treating writings about music as valuable cultural artifacts in themselves. Engaging and comprehensive, The Oxford Handbook of Music and Intellectual Culture in the Nineteenth Century brings together a wealth of new interdisciplinary research into this critical area of study. -- Från omslagsfliken