MUSIC, CRITICISM & POLITICS
Luca Lévi Sala
Philip Bohlman (Chicago University)
Federico Celestini (Innsbruck University)
Michel Duchesneau (Université de Montréal)
Christoph Flamm (Lübeck University)
Erik Levi (Royal Halloway, London University)
Karen Painter (University of Minnesota)
Gemma Pérez-Zalduondo (Granada University)
This series publishes major musicological monographs on the relationship between music and politics from XVII century to the present, as well as multi-authors, multi-lingual volumes on this topic. The series also focuses on the co-operation of music criticism, pamphlets and the press as a mechanism for the expression of cultural power.
edited by Roberto Illiano, Turnhout, Brepols, 2015 (Music, Criticism & Politics, 1), pp. xiv+418, isbn 978-2-503-56628-3
The subject of this monograph is protest music and ‘dissident’ composers and musicians during the twentieth century, with a particular focus on the forms with which dissent may be expressed in music and the ways composers and performers have adopted stances on political and social dissent. In the present volume, articles by scholars of different nationalities explore not only the way in which protest music is articulated in artistic-cultural discourse and the political matter, but also the role it played in situations of mutual benefit. Moreover, the phenomenon of dissent has been investigated within the contexts of musical historiography and criticism, approaching the topic from historical, sociological and philosophical points.
The Contributors are (in alphabetical order): Marie Bennett, John Cox, Christine Dysers, Marita Fornaro Bordolli, Mara Favoretto, Germán Gan Quesada, James Garratt, Stefano Gavagnin, Andrew S. Kohler, Russ Manitt, Henrik Marstal, Upa Mesbahian, Santiago Niño Morales, James O’Leary, Roger W. H. Savage, Giuseppe Sergi, Tatevik Shakhkulyan, Kara Stewart Meredith, Joe Stroud, David Thurmaier, Jessica Winterson.
Vol. 2 - Music and War in Europe from French Revolution to World War I
2014, with the commemoration of the centennial of the Great War, has been a productive year for research on the relation between music and this first world-wild conflict. Thanks to several conferences and publications, our knowledge about musical repertoire played at the home front, musical practices of soldiers, or war’s impact on the European musical life is expanding. While joining those efforts to shade light on this particularly misknown period of music history, this book aims to investigate the relationship between music and war by adopting a larger time-span: from the end of eighteenth century until the outbreak of the First World War, what kind of connections can be found between music, musicians or musical economy (edition, scores circulation, opera and concert programming, professionalization) and the different conflicts that torn the European continent apart? Bringing together more than twenty case studies dealing with several European wars, this volume also investigates the evolution of sound of war’s perception (by Martin Kaltenecker), and propose new perspectives based on recent 20th century music and war studies.