The Oxford Handbook of Music and Intellectual Culture in the Nineteenth Century by Paul Watt -- Read -- Imperial Library of Trantor

Index

Cover Halftitle page Title Page Copyright page 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

Part I. Texts and Practices

1. History, Historicism, Historiography

Adler’s Vision Uses of History Geographies of History Peoples of History

2. Criticism

The Rise of Positivism The Origins of the French Positivist Movement Positivism and Music Case Study: Edmond Hippeau Positivism Then and Now

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

4. Biography and Life-Writing

Anecdote in Musical Biography Women in Life-Writing on the Great Composers Conclusion

5. Travel Writing

Strategies in Documenting Musical Otherness Music and Writing Style The Musician as Travel Writer

6. Philosophy and Aesthetics 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

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

Part II. Networks and Institutions

9. Newspapers, Little Magazines, and Anthologies

Demographics of Readers and Writers Impressionist and Anonymous Criticism Higher Criticism and Training for Criticism Little Magazines Intellectual Writing Repackaged: The Anthology and Beyond

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

11. Churches and Devotional Practice

Introduction History and Context Practice Spirituality Sermons on Singing Conclusion

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

13. Universities and Conservatories

Introduction Universities Conservatories Conclusion

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

Part III. Discourses

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

16. Landscape and Ecology

The Hollow Pastoral Ghost Country Taking the Tour In Foreign Climes

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

18. Science and Religion

Introduction The Scientific and Religious Background The Musical Body The Musical Mind The Musical Soul Conclusion

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

20. Emotions

Idealism and Materialism Individual and Social Emotions Aesthetes and Other Animals

21. Time and Temporality

The Problem of Time and Music’s Alleged Power 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

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

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

Index

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