Pub Date : 2022-05-10DOI: 10.1017/S1479409822000106
Peter Mondelli
explore the genre, master appropriate pronunciation of the poetic texts, and become more confident interpreters. His advocacy of lesser-known literature and composers, as well as his blend of erudition, excitement, and technique, are sure to be emulated by emerging artists. Indeed, scholars are apt to find hints here to stimulate new research. Yet certain aspects of formatting and content attract attention. For instance, copyright notices appear for no apparent reason at the starts of all 33 chapters, plus the Introduction, as well as that normally found in the front matter. Misalignments within texts and translations make close study awkward at times. Finally, some terminological imprecisions remain without acknowledgement. Nevertheless, this volume offers such a cordial entrée to its subject for those curious about mélodies that these quibbles are, in the main, relatively minor. Perhaps the signal achievement of Le Chant Intime is its engaging illumination of a rich repertoire some still regard as inscrutable or exclusive. Yet as the genre continues to be studied more closely, it appears to represent a more important factor behind the evolution of nineteenth-century musical culture than many had thought. Indeed, close contextual study of the literature suggests themélodie served as a conduit and disseminator for the Symbolist aesthetic, which, in turn, prompted the emergence of Modernism in late-nineteenth-century France. Conceptual reconciliation might start here.
{"title":"Hervé Lacombe, ed., Histoire de l'opéra français: Du Consulat aux débuts de la IIIe République (Paris: Fayard, 2020). 1,258 pp. €39.00.","authors":"Peter Mondelli","doi":"10.1017/S1479409822000106","DOIUrl":"https://doi.org/10.1017/S1479409822000106","url":null,"abstract":"explore the genre, master appropriate pronunciation of the poetic texts, and become more confident interpreters. His advocacy of lesser-known literature and composers, as well as his blend of erudition, excitement, and technique, are sure to be emulated by emerging artists. Indeed, scholars are apt to find hints here to stimulate new research. Yet certain aspects of formatting and content attract attention. For instance, copyright notices appear for no apparent reason at the starts of all 33 chapters, plus the Introduction, as well as that normally found in the front matter. Misalignments within texts and translations make close study awkward at times. Finally, some terminological imprecisions remain without acknowledgement. Nevertheless, this volume offers such a cordial entrée to its subject for those curious about mélodies that these quibbles are, in the main, relatively minor. Perhaps the signal achievement of Le Chant Intime is its engaging illumination of a rich repertoire some still regard as inscrutable or exclusive. Yet as the genre continues to be studied more closely, it appears to represent a more important factor behind the evolution of nineteenth-century musical culture than many had thought. Indeed, close contextual study of the literature suggests themélodie served as a conduit and disseminator for the Symbolist aesthetic, which, in turn, prompted the emergence of Modernism in late-nineteenth-century France. Conceptual reconciliation might start here.","PeriodicalId":41351,"journal":{"name":"Nineteenth-Century Music Review","volume":"19 1","pages":"348 - 357"},"PeriodicalIF":0.3,"publicationDate":"2022-05-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49443596","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-05-05DOI: 10.1017/s1479409822000052
Yasuko Tsukahara
In Japan, there is an abundance of materials related to the various genres of traditional music that were established in each of the historical periods, from ancient times to the present day, that have been handed down and preserved. After the Meiji Period (1868–1912), in which Western musical practice took root within Japan, materials related to Western music began to accumulate concurrently with those related to traditional music. The fact that up until the present day, both of these types of materials have been preserved and passed down together, is a significant and unique feature of Japan’s musical materials heritage. In this way, on account of their precious value alone, the emphasis on the preservation of these musical materials rather than their exhibition or utilization, has been strong. As a result, the complexities of the procedures for perusing and duplicating library materials up until the twentieth century have at times been a barrier to research. This situation changed dramatically at the beginning of the twenty-first century, as the National Diet Library embarked upon an ambitious programme of digitalization of and granting of access to materials in its possession. In this essay, I consider the digital materials related to the research of nineteenth century music found in the National Diet Library Digital Collections and other libraries and archives. The materials fall into four categories: (A) books (including printed scores), (B) audio materials (among which digitized 78rpm records are prevalent), (C) searchable databases and (D) other materials. I hope that the exhaustive use of these digital materials will open up new fields of research into Japanese music.
{"title":"The Current State of Digital Musical Materials in Japan","authors":"Yasuko Tsukahara","doi":"10.1017/s1479409822000052","DOIUrl":"https://doi.org/10.1017/s1479409822000052","url":null,"abstract":"In Japan, there is an abundance of materials related to the various genres of traditional music that were established in each of the historical periods, from ancient times to the present day, that have been handed down and preserved. After the Meiji Period (1868–1912), in which Western musical practice took root within Japan, materials related to Western music began to accumulate concurrently with those related to traditional music. The fact that up until the present day, both of these types of materials have been preserved and passed down together, is a significant and unique feature of Japan’s musical materials heritage. In this way, on account of their precious value alone, the emphasis on the preservation of these musical materials rather than their exhibition or utilization, has been strong. As a result, the complexities of the procedures for perusing and duplicating library materials up until the twentieth century have at times been a barrier to research. This situation changed dramatically at the beginning of the twenty-first century, as the National Diet Library embarked upon an ambitious programme of digitalization of and granting of access to materials in its possession. In this essay, I consider the digital materials related to the research of nineteenth century music found in the National Diet Library Digital Collections and other libraries and archives. The materials fall into four categories: (A) books (including printed scores), (B) audio materials (among which digitized 78rpm records are prevalent), (C) searchable databases and (D) other materials. I hope that the exhaustive use of these digital materials will open up new fields of research into Japanese music.","PeriodicalId":41351,"journal":{"name":"Nineteenth-Century Music Review","volume":"19 1","pages":"669 - 679"},"PeriodicalIF":0.3,"publicationDate":"2022-05-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44878843","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-04-26DOI: 10.1017/S1479409822000039
M. Meinhart, Jillian C. Rogers
Investigations of how people have used music to represent, perform, enact and cope with trauma have proliferated in the last decade, although these have often focused on post-World War II musicians and musical phenomena. This work has engaged various methodologies and drawn on myriad bodies of trauma theory in order to better understand the relationships between music and trauma for Holocaust survivors, Cold War- and glasnost-era Eastern European musicians and civilians and soldiers in Iraq. However, despite the growing interest in trauma within music scholarship, scant attention has been paid to relationships between musical phenomena and trauma prior to World War II. And yet, the wars, revolutions, forced displacement, slavery and imperialism of the late nineteenth and early twentieth centuries make these years some of the most violent in the histories of modern Europe and the Americas, and thus some of the most important to address when asking questions regarding relationships between music and trauma. In this special issue's introductory essay, we consider why pre-twentieth century musicians and repertoires have historically not been addressed in scholarly literature. In so doing, we outline the aims of the issue; review relevant literature in musicology and trauma studies; discuss the benefits and challenges of applying trauma theory to nineteenth-century music and musicians and provide readers with information on this special issue's collaborative history. Although giving readers a fleshed-out overview of trauma studies from the nineteenth century to present is outside the scope of this article, this introduction nevertheless provides enough background on the status and main ideas of trauma research from the mid-nineteenth century to present day to facilitate comprehension of how the research showcased in this special issue relates to social, historical and political conceptions of trauma.
{"title":"Theorizing Trauma and Music in the Long Nineteenth Century","authors":"M. Meinhart, Jillian C. Rogers","doi":"10.1017/S1479409822000039","DOIUrl":"https://doi.org/10.1017/S1479409822000039","url":null,"abstract":"Investigations of how people have used music to represent, perform, enact and cope with trauma have proliferated in the last decade, although these have often focused on post-World War II musicians and musical phenomena. This work has engaged various methodologies and drawn on myriad bodies of trauma theory in order to better understand the relationships between music and trauma for Holocaust survivors, Cold War- and glasnost-era Eastern European musicians and civilians and soldiers in Iraq. However, despite the growing interest in trauma within music scholarship, scant attention has been paid to relationships between musical phenomena and trauma prior to World War II. And yet, the wars, revolutions, forced displacement, slavery and imperialism of the late nineteenth and early twentieth centuries make these years some of the most violent in the histories of modern Europe and the Americas, and thus some of the most important to address when asking questions regarding relationships between music and trauma. In this special issue's introductory essay, we consider why pre-twentieth century musicians and repertoires have historically not been addressed in scholarly literature. In so doing, we outline the aims of the issue; review relevant literature in musicology and trauma studies; discuss the benefits and challenges of applying trauma theory to nineteenth-century music and musicians and provide readers with information on this special issue's collaborative history. Although giving readers a fleshed-out overview of trauma studies from the nineteenth century to present is outside the scope of this article, this introduction nevertheless provides enough background on the status and main ideas of trauma research from the mid-nineteenth century to present day to facilitate comprehension of how the research showcased in this special issue relates to social, historical and political conceptions of trauma.","PeriodicalId":41351,"journal":{"name":"Nineteenth-Century Music Review","volume":"20 1","pages":"3 - 32"},"PeriodicalIF":0.3,"publicationDate":"2022-04-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45626866","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-04-07DOI: 10.1017/S1479409821000495
Anja Bunzel, S. Wollenberg
Nineteenth-century salon culture has received important attention in recent years with regard to examining the nature and function of the salon as an institution, together with notions of the salonesque. Social gatherings of this kind provided for the participants a semi-public, non-commercial and inclusive space. Typically music played a key role in the gatherings; however, the extent of its cultivation, and the compositional and technical degree of complexity involved, varied according to the individual circumstances. While, on the one hand, Robert Schumann in 1841 dismissed ‘salon music’ as too sentimental and intellectually dull, on the other hand Johann Christian Lobe warned in 1853 that we should not generalize about the music performed in salons. Lobe supported his plea by giving examples of salon music possessing more than ephemeral qualities: he instanced Schumann’s Kinderszenen, Beethoven’s Bagatelles, Weber’s Aufforderung zum Tanze Op. 65, Schubert’s marches for four-hand piano, and Mendelssohn’s Lieder ohne Worte. Lobe’s list and Schumann’s concerns point to two problems: first, the definition of ‘salon music’ is far from clear; and secondly, the range of aesthetic and technical aspects related to musical performance in salons is diffuse. Ballstaedt attempted to capture the nuances of the ‘serious’ and the ‘popular’within this context by differentiating between ‘music for the salon’, consisting of light-hearted music composed for the purpose of entertainment, and ‘music in salons’, encompassing all music which could be heard
近年来，19世纪沙龙文化受到了重要的关注，人们将沙龙作为一种机构的性质和功能，以及沙龙风格的概念进行了研究。这种社交聚会为参与者提供了一个半公共的、非商业的、包容的空间。通常，音乐在聚会中起着关键作用;然而，它的培养程度，以及所涉及的组成和技术复杂程度，根据个人情况而有所不同。一方面，罗伯特·舒曼(Robert Schumann)在1841年认为“沙龙音乐”过于煽情和智力迟钝，另一方面，约翰·克里斯蒂安·波勒(Johann Christian Lobe)在1853年警告说，我们不应该对沙龙演奏的音乐进行概括。为了支持他的请求，波勒列举了一些沙龙音乐的例子，这些音乐不仅仅具有短暂的品质:舒曼的《孩子》、贝多芬的《小小奏》、韦伯的《探泽曲》作品65、舒伯特的四手钢琴进行曲和门德尔松的《抒情》。波勒的名单和舒曼的担忧指向两个问题:首先，“沙龙音乐”的定义远不明确;其次，与沙龙音乐表演有关的美学和技术方面的范围是分散的。Ballstaedt试图通过区分“沙龙音乐”和“沙龙音乐”来捕捉“严肃”和“流行”之间的细微差别，“沙龙音乐”是指为娱乐目的而创作的轻松音乐，而“沙龙音乐”则包括所有可以听到的音乐
{"title":"Rethinking Salon Music: Case-Studies in Analysis","authors":"Anja Bunzel, S. Wollenberg","doi":"10.1017/S1479409821000495","DOIUrl":"https://doi.org/10.1017/S1479409821000495","url":null,"abstract":"Nineteenth-century salon culture has received important attention in recent years with regard to examining the nature and function of the salon as an institution, together with notions of the salonesque. Social gatherings of this kind provided for the participants a semi-public, non-commercial and inclusive space. Typically music played a key role in the gatherings; however, the extent of its cultivation, and the compositional and technical degree of complexity involved, varied according to the individual circumstances. While, on the one hand, Robert Schumann in 1841 dismissed ‘salon music’ as too sentimental and intellectually dull, on the other hand Johann Christian Lobe warned in 1853 that we should not generalize about the music performed in salons. Lobe supported his plea by giving examples of salon music possessing more than ephemeral qualities: he instanced Schumann’s Kinderszenen, Beethoven’s Bagatelles, Weber’s Aufforderung zum Tanze Op. 65, Schubert’s marches for four-hand piano, and Mendelssohn’s Lieder ohne Worte. Lobe’s list and Schumann’s concerns point to two problems: first, the definition of ‘salon music’ is far from clear; and secondly, the range of aesthetic and technical aspects related to musical performance in salons is diffuse. Ballstaedt attempted to capture the nuances of the ‘serious’ and the ‘popular’within this context by differentiating between ‘music for the salon’, consisting of light-hearted music composed for the purpose of entertainment, and ‘music in salons’, encompassing all music which could be heard","PeriodicalId":41351,"journal":{"name":"Nineteenth-Century Music Review","volume":"20 1","pages":"359 - 364"},"PeriodicalIF":0.3,"publicationDate":"2022-04-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45311241","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-04-06DOI: 10.1017/S1479409822000040
Erin Johnson-Williams
Under the recurring headline ‘the Concertina's Deadly Work in the Trenches’, several British newspapers reported in early 1900 that, during the ongoing siege of Mafeking, British army concertina players were capturing enemy soldiers by simply playing strains of the concertina to distract them out of their hiding places. ‘One is sorry to learn that the art of music should be pressed into service to lure persons to destruction’, a commentator in the Musical News noted, but then, it was rationalized, ‘all's fair in war’. This hybrid use of the concertina during the South African War was further employed as a metaphor for the decay of the physical body itself: as has been noted by Elizabeth van Heyningen, food in Boer concentration camps was so meagre that the meat served to prisoners was once described as coming from a ‘carcase [who] looks like a concertina drawn out fully with all the wind knocked out’. Likewise, Krebs (1999) has discussed the presence of the concertina in the trenches as an example of contemporaneous stereotypes about the susceptibility of Boer soldiers to music in relation to perceived notions that they were backwards and easily manipulated. Drawing upon references to music – particularly the ubiquitous, anthropomorphised, instrument of the concertina – in concentration camps during the South African War, this paper will situate the use of British military music at the dawn of the twentieth century within the framework of trauma studies, proposing that the soundscapes of imperial war were implicitly tinged with traces of physical suffering.
{"title":"‘The Concertina's Deadly Work in the Trenches’: Soundscapes of Suffering in the South African War","authors":"Erin Johnson-Williams","doi":"10.1017/S1479409822000040","DOIUrl":"https://doi.org/10.1017/S1479409822000040","url":null,"abstract":"Under the recurring headline ‘the Concertina's Deadly Work in the Trenches’, several British newspapers reported in early 1900 that, during the ongoing siege of Mafeking, British army concertina players were capturing enemy soldiers by simply playing strains of the concertina to distract them out of their hiding places. ‘One is sorry to learn that the art of music should be pressed into service to lure persons to destruction’, a commentator in the Musical News noted, but then, it was rationalized, ‘all's fair in war’. This hybrid use of the concertina during the South African War was further employed as a metaphor for the decay of the physical body itself: as has been noted by Elizabeth van Heyningen, food in Boer concentration camps was so meagre that the meat served to prisoners was once described as coming from a ‘carcase [who] looks like a concertina drawn out fully with all the wind knocked out’. Likewise, Krebs (1999) has discussed the presence of the concertina in the trenches as an example of contemporaneous stereotypes about the susceptibility of Boer soldiers to music in relation to perceived notions that they were backwards and easily manipulated. Drawing upon references to music – particularly the ubiquitous, anthropomorphised, instrument of the concertina – in concentration camps during the South African War, this paper will situate the use of British military music at the dawn of the twentieth century within the framework of trauma studies, proposing that the soundscapes of imperial war were implicitly tinged with traces of physical suffering.","PeriodicalId":41351,"journal":{"name":"Nineteenth-Century Music Review","volume":"20 1","pages":"119 - 151"},"PeriodicalIF":0.3,"publicationDate":"2022-04-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43021656","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-04-05DOI: 10.1017/s1479409822000064
Callum Blackmore
{"title":"Ohé! les p'tits agneaux!: A Parisian revue de fin d'année for 1857, edited by Richard Sherr. Recent Researches in the Music of the Nineteenth and Early Twentieth Centuries 82–83 (Middleton, WI: A-R editions, 2021). Introductory Materials and Act 1. clix + 205pp. $450. Act 2, Act 3, Critical Report, and Appendices. viii + 207pp. $450.","authors":"Callum Blackmore","doi":"10.1017/s1479409822000064","DOIUrl":"https://doi.org/10.1017/s1479409822000064","url":null,"abstract":"","PeriodicalId":41351,"journal":{"name":"Nineteenth-Century Music Review","volume":"548 ","pages":"1-3"},"PeriodicalIF":0.3,"publicationDate":"2022-04-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138506997","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-04-01DOI: 10.1017/s1479409822000180
{"title":"Notes on Article Contributors","authors":"","doi":"10.1017/s1479409822000180","DOIUrl":"https://doi.org/10.1017/s1479409822000180","url":null,"abstract":"","PeriodicalId":41351,"journal":{"name":"Nineteenth-Century Music Review","volume":"19 1","pages":"1 - 1"},"PeriodicalIF":0.3,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45096532","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-04-01DOI: 10.1017/s1479409822000192
{"title":"NCM volume 19 issue 1 Cover and Back matter","authors":"","doi":"10.1017/s1479409822000192","DOIUrl":"https://doi.org/10.1017/s1479409822000192","url":null,"abstract":"","PeriodicalId":41351,"journal":{"name":"Nineteenth-Century Music Review","volume":"19 1","pages":"b1 - b2"},"PeriodicalIF":0.3,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42114283","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-04-01DOI: 10.1017/s1479409822000179
Nineteenth-Century Music Review locates music within all aspects of culture in the long nineteenth century, covering the widest possible range of methods, topics and concepts. Articles provide both depth and breadth in their contribution to this expanding field. A rich supply of book, CD, DVD and score reviews reflects the journal’s commitment to stimulate and advance critical discussion.
{"title":"NCM volume 19 issue 1 Cover and Front matter","authors":"","doi":"10.1017/s1479409822000179","DOIUrl":"https://doi.org/10.1017/s1479409822000179","url":null,"abstract":"Nineteenth-Century Music Review locates music within all aspects of culture in the long nineteenth century, covering the widest possible range of methods, topics and concepts. Articles provide both depth and breadth in their contribution to this expanding field. A rich supply of book, CD, DVD and score reviews reflects the journal’s commitment to stimulate and advance critical discussion.","PeriodicalId":41351,"journal":{"name":"Nineteenth-Century Music Review","volume":"19 1","pages":"f1 - f5"},"PeriodicalIF":0.3,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42204856","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-03-30DOI: 10.1017/s1479409822000027
S. Robinson
The Centennial International Exhibition held in Melbourne in 1888 showcased the city's exceptional wealth and cultural aspirations. As part of the exhibition, the visiting English conductor Frederic Hymen Cowen presented 263 orchestral concerts, cultivating a taste for classical music that would sustain a further orchestra, conducted by the English composer G.W.L. Marshall-Hall, that presented several concerts per year from 1892 to 1912. Immigration both before and during that period was a key factor in the urbanization and modernization of Melbourne as well as the success and achievements of Marshall-Hall's orchestra. Yet little is known about individual members and the trajectories of their careers. By examining the lists of members appearing in 19 years’ worth of programmes of the orchestra, this study contributes to the practice of ‘urban musicology’ by providing compelling evidence of the role of immigration in laying the foundation of music performance and performance training in a settler colonial city, and highlights three major steps in the evolution of the profession: the increasing presence in the orchestra of talented and in some cases exceptionally talented Australian-born musicians who were to succeed the older European-born and -trained musicians; the growing participation of women in the orchestra as well as the profession more broadly; and the strengthening of the Musicians’ Union's stranglehold on professional accreditation at the expense of women, amateurs and foreigners.
{"title":"Music and Modernity in the Colonial City: A Biography of Melbourne's Marshall-Hall Orchestra (1892–1912)","authors":"S. Robinson","doi":"10.1017/s1479409822000027","DOIUrl":"https://doi.org/10.1017/s1479409822000027","url":null,"abstract":"The Centennial International Exhibition held in Melbourne in 1888 showcased the city's exceptional wealth and cultural aspirations. As part of the exhibition, the visiting English conductor Frederic Hymen Cowen presented 263 orchestral concerts, cultivating a taste for classical music that would sustain a further orchestra, conducted by the English composer G.W.L. Marshall-Hall, that presented several concerts per year from 1892 to 1912. Immigration both before and during that period was a key factor in the urbanization and modernization of Melbourne as well as the success and achievements of Marshall-Hall's orchestra. Yet little is known about individual members and the trajectories of their careers. By examining the lists of members appearing in 19 years’ worth of programmes of the orchestra, this study contributes to the practice of ‘urban musicology’ by providing compelling evidence of the role of immigration in laying the foundation of music performance and performance training in a settler colonial city, and highlights three major steps in the evolution of the profession: the increasing presence in the orchestra of talented and in some cases exceptionally talented Australian-born musicians who were to succeed the older European-born and -trained musicians; the growing participation of women in the orchestra as well as the profession more broadly; and the strengthening of the Musicians’ Union's stranglehold on professional accreditation at the expense of women, amateurs and foreigners.","PeriodicalId":41351,"journal":{"name":"Nineteenth-Century Music Review","volume":"1 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2022-03-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42246917","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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