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The Elocutionists
Emerging in the 1850s, elocutionists recited poetry or drama with music to create a new type of performance. The genre--dominated by women--achieved remarkable popularity. Yet the elocutionists and their art fell into total obscurity during the twentieth century. Marian Wilson Kimber restores elocution with music to its rightful place in performance history. Gazing through the lenses of gender and genre, Wilson Kimber argues that these female artists transgressed the previous boundaries between private and public domains. Their performances advocated for female agency while also contributing to a new social construction of gender. Elocutionists, proud purveyors of wholesome entertainment, pointedly contrasted their "acceptable" feminine attributes against those of morally suspect actresses. As Wilson Kimber shows, their influence far outlived their heyday. Women, the primary composers of melodramatic compositions, did nothing less than create a tradition that helped shape the history of American music.
Musicology and Dance
Long treated as peripheral to music history, dance has become prominent within musicological research, as a prime and popular subject for an increasing number of books, articles, conference papers and special symposiums. Despite this growing interest, there remains no thorough-going critical examination of the ways in which musicologists might engage with dance, thinking not only about specific repertoires or genres, but about fundamental commonalities between the two, including embodiment, agency, subjectivity and consciousness. This volume begins to fill this gap. Ten chapters illustrate a range of conceptual, historical and interpretive approaches that advance the interdisciplinary study of music and dance. This methodological eclecticism is a defining feature of the volume, integrating insights from critical theory, film and cultural studies, the visual arts, phenomenology, cultural anthropology and literary criticism into the study of music and dance.
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The Cambridge Companion to Mendelssohn
This book surveys the life, work, and posthumous reception of nineteenth-century German-Jewish composer Felix Mendelssohn.
Clara Schumann Studies
Develops a holistic and gender-aware understanding of Clara Schumann as pianist, composer and teacher in nineteenth-century Germany.
A Portrait of Mendelssohn
Since his death in 1847, Felix Mendelssohn’s music and personality have been both admired and denigrated to extraordinary degrees. In this valuable book Clive Brown weaves together a rich array of documents—letters, diaries, memoirs, reviews, news reports, and more—to present a balanced and fascinating picture of the composer and his work. Rejecting the received view of Mendelssohn as a facile, lightweight musician, Brown demonstrates that he was in fact an innovative and highly cerebral composer who exerted a powerful influence on musical thought into the twentieth century. Brown discusses Mendelssohn’s family background and education; the role of religion and race in his life and reputation; his experiences as practical musician (pianist, organist, string player, conductor) and as teacher and composer; the critical reception of his works; and the vicissitudes of his posthumous reputation. The book also includes a range of hitherto unpublished sketches made by Mendelssohn. The result is an unprecedented portrayal of the man and his achievements as viewed through his own words and those of his contempories.
Workers in Hard Times
Seeking to historicize the 2007-2009 Great Recession, this volume of essays situates the current economic crisis and its impact on workers in the context of previous abrupt shifts in the modern-day capitalist marketplace. Contributors use examples from industrialized North America, South America, Europe, Asia, and Australia to demonstrate how workers and states have responded to those shifts and to their disempowering effects on labor. Since the Industrial Revolution, contributors argue, factors such as race, sex, and state intervention have mediated both the effect of economic depressions on workers' lives and workers' responses to those depressions. Contributors also posit a varying dynami...
Mendelssohn Perspectives
If the invective of Nietzsche and Shaw is to be taken as an endorsement of the lasting quality of an artist, then Felix Mendelssohn Bartholdy takes pride of place beside Tennyson and Brahms in the canon of great nineteenth-century artists. Mendelssohn Perspectives presents valuable new insights into Mendelssohn’s music, biography and reception. Critically engaging a wide range of source materials, the volume combines traditional musical-analytical studies with those that draw on other humanistic disciplines to shed new light on the composer’s life, and on his contemporary and posthumous reputations. Together, these essays bring new historical and interpretive dimensions to Mendelssohn studies. The volume offers essays on Mendelssohn's Jewishness, his vast correspondence, his music for the stage, and his relationship with music of the past and future, as well as the compositional process and handling of form in the music of both Mendelssohn and his sister, the composer Fanny Hensel. German literature and aesthetics, gender and race, philosophy and science, and issues of historicism all come to bear on these new perspectives on Mendelssohn.
Louise Talma
American composer Louise Talma (1906-1996) was the first female winner of two back-to-back Guggenheim Awards (1946, 1947), the first American woman to have an opera premiered in Europe (1962), the first female winner of the Sibelius Award for Composition (1963), and the first woman composer elected to the American Academy and Institute of Arts and Letters (1974). This book analyses Talma’s works in the context of her life, focusing on the effects on her work of two major changes she made during her adult life: her conversion to Catholicism as an adult, under the guidance of Nadia Boulanger, and her adoption of serial compositional techniques. Employing approaches from traditional musical a...
The Operetta Empire
"When the world comes to an end," Viennese writer Karl Kraus lamented in 1908, "all the big city orchestras will still be playing The Merry Widow." Viennese operettas like Franz Lehár's The Merry Widow were preeminent cultural texts during the Austro-Hungarian Empire's final years. Alternately hopeful and nihilistic, operetta staged contemporary debates about gender, nationality, and labor. The Operetta Empire delves into this vibrant theatrical culture, whose creators simultaneously sought the respectability of high art and the popularity of low entertainment. Case studies examine works by Lehár, Emmerich Kálmán, Oscar Straus, and Leo Fall in light of current musicological conversations about hybridity and middlebrow culture. Demonstrating a thorough mastery of the complex early twentieth‐century Viennese cultural scene, and a sympathetic and redemptive critique of a neglected popular genre, Micaela Baranello establishes operetta as an important element of Viennese cultural life—one whose transgressions helped define the musical hierarchies of its day.
