Theorizing Trauma and Music in the Long Nineteenth Century

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.