Fulcher Jane F. (ed.) The Oxford Handbook of the New Cultural History of Music

Oxford University Press, 2011. — 642 p.The Oxford Handbook of the New Cultural History of Music edited by Jane F. Fulcher 2011:
• Presents the first systematic combination of musicologists and historians
• Demonstrates how music provides a unique mode of access into specific sites of cultural representation, exchange, contestation and the construction of experience
• Outlines new theoretical dimensions or inquiries characteristic of "the New Cultural History of Music"
• Features contributors at the forefront of both musicology and history.As the field of Cultural History grows in prominence in the academic world, an understanding of the history of culture has become vital to scholars across disciplines. The Oxford Handbook of the New Cultural History of Music cultivates a return to the fundamental premises of cultural history in the cutting-edge work of musicologists concerned with cultural history and historians who deal with music. In this volume, noted academics from both of these disciplines illustrate the continuing endeavor of cultural history to grasp the realms of human experience, understanding, and communication as they are manifest or expressed symbolically through various layers of culture and in many forms of art. The Oxford Handbook of the New Cultural History of Music fosters and reflects a sustained dialogue about their shared goals and techniques, rejuvenating their work with new insights into the field itself.Table of ContentsIntroduction. Defining the New Cultural History of Music: Its Origins, Current Directions and Methodologies
Jane F. FulcherPart I: Cultural Identity and Its Expression: Constructions, Representations, and ExchangesConstructions or Representations of the Body, Gender, Sexuality, and RaceA Woman's Place: Antiphons and Responsories for Virgin Martyrs in the Office
James BordersMusic, Violence, and the Stakes of Listening
Richard LeppertMusic and Pain
Andreas DorschelSubjectivity 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 ToewsUnderstanding Schoenberg as Christ
Julie BrownThe Strange Landscape of Middles
Michael BeckermannNationalism, Cosmopolitanism, and Trans-NationalismThe Genre of National Opera in European Comparative Perspective
Philipp TherCosmopolitan, National, and Regional Identities in European Musical Life
William WeberMendelssohn on the Road: Music, Travel, and the Anglo-German Symbiosis
Celia ApplegatePopular and Elite Cultural Intersections or Exchanges"Shooting the Keys": Musical Horseplay and High Culture
Charles GarrettYvette Guilbert and the Revaluation of the Chanson populaire and Chanson ancienne during the Third Republic, 1889-1914
Jacqueline WaeberRemembrance of Jazz Past: Sidney Bechet in France
Andy FryPart II: Cultural Experience: Practices, Appropriations, and EvaluationsUrban, Aural, and Print CultureAn Evening at the Opera in 17th-Century Venice
Edward MuirJosquin des Prez, Renaissance Historiography and the Cultures of Print
Kate van OrdenFrom 'the Voice of the Maréchal' to Musique Concrète: Pierre Schaeffer and the Case for Cultural History
Jane F. FulcherSymbols, Icons, and Sites of Collective Memory or RitualA Matter of Style: State Sacrificial Music and Cultural-Political Discourse in Southern Song China (1127-1279)
Joseph S.C. LamErnani Hats: Opera as a Repertory of Political Symbols during the Risorgimento
Carlotta SorbaModalities of National Identity: Sibelius Builds a First Symphony
James HepokoskiPolitics, Aesthetics, and TransmissionBeethoven, Napoleon, and Political Romanticism
Leon PlantingaTranslating Herder Translating: Cultural Translation and the Making of Modernity
Philip BohlmanThe Eye of the Needle: Music as History after the Era of Recording
Leon BotsteinAfterward: Whose Culture? Whose History? Whose Music?
Michael P. SteinbergIndex