Notes on the Contributors
Introduction. Defining the New Cultural History of Music: its
Origins, Current Directions and Methodologies
Jane F. Fulcher
PART I: CULTURAL IDENTITY AND ITS EXPRESSION: CONSTRUCTIONS,
REPRESENTATIONS, AND EXCHANGES
Constructions or Representations of the Body, Gender, Sexuality,
and Race
A Woman's Place: Antiphons and Responsories for Virgin Martyrs in
the Office
James Borders
"Music, Violence, and the Stakes of Listening
Richard Leppert
"Music and Pain
Andreas Dorschel
Subjectivity and the Shaping of the Self in Society
The Road into the Open: from Narrative Closure to the Endless
Performance of Subjectivity in Mahler and Freud at the Turn of the
Century
John Toews
Understanding Schoenberg as Christ
Julie Brown
The Strange Landscape of Middles
Michael Beckermann
Nationalism, Cosmopolitanism, and Trans-Nationalism
The Genre of National Opera in European Comparative Perspective
Philipp Ther
Cosmopolitan, National, and Regional Identities in European Musical
Life
William Weber
Mendelssohn on the Road: Music, Travel, and the Anglo-German
Symbiosis
Celia Applegate
Popular and Elite Cultural Intersections or Exchanges
Shooting the Keys: Musical Horseplay and High Culture
Charles Garrett
Yvette Guilbert and the Revaluation of the Chanson populaire during
the Troisième République, 1889-1914
Jacqueline Waeber
Remembrance of Jazz Past: Sidney Bechet in France
Andy Fry
PART II: CULTURAL EXPERIENCE: PRACTICES, APPROPRIATIONS, AND
EVALUATIONS
Urban, Aural, and Print Culture
An Evening at the Opera in 17th-Century Venice
Edward Muir
Josquin des Prez, Renaissance Historiography and the Cultures of
Print
Kate van Orden
From 'the Voice of the Maréchal' to Musique Concrète: Pierre
Schaeffer and the Case for Cultural History
Jane F. Fulcher
Symbols, Icons, and Sites of Collective Memory or Ritual
A Matter of Style: State Sacrificial Music and Cultural-Political
Discourse in Southern Song China (1127-1279)
Joseph Lam
Ernani Hats: Opera as a Repertory of Political Symbols during the
Risorgimento
Carlotta Sorba
Modalities of National Identity: Sibelius Builds a First
Symphony
James Hepokoski
Politics, Aesthetics, and Transmission
Beethoven, Napoleon, and Political Romanticism
Leon Plantinga
Translating Herder Translating: Cultural Translation and the Making
of Modernity
Philip Bohlman
The Eye of the Needle: Music as History after the Era of
Recording
Leon Botstein
Afterward: Whose Culture? Whose History? Whose Music?
Michael P. Steinberg
Index
Jane Fulcher is Professor of Musicology at the University of
Michigan. She has received research awards in both the United
States and Europe, including The American Council of Learned
Societies, the National Endowment for the Humanities (two awards),
the Wissenschaftskolleg zu Berlin, the National Humanities Center,
the Institute for Advanced Study, Princeton, New Jersey (where she
was the Edward T. Cone member in Music Studies for 2003-04). In
addition, she has three times been invited to be visiting professor
at the Ecole des Hautes Etudes en Sciences Sociales in Paris.
"[A] lush edition." --HistoryWire.com
"Gives the reader both an excellent overview of current thinking in
the discipline and many separate insights into specific areas of
this aspect of music...There's nothing comparable--or, at least,
nothing comparably broad--in terms of deepening our understanding
of the nexus between musicology and cultural history. Particularly
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investigating." --Classical.net
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