Centro Studi Opera Omnia Luigi Boccherinilogocs

Research in Musicology

 

 

MUSIC, CRITICISM & POLITICS

Brepols Publishers

GENERAL EDITOR
Luca Lévi Sala

Scholarly Committee
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.

 

Vol. 1 - Protest Music in the Twentieth Century

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.

Contents

Vol. 2 - Music and War in Europe from French Revolution to World War I

edited by Étienne Jardin, Turnhout, Brepols, 2016 (Music, Criticism & Politics, 2), pp. xii+468, ISBN 978-2-503-57032-7.

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.

Contents

 

Vol. 3 - Nineteenth-Century Music Criticism

edited by Teresa Cascudo, Turnhout, Brepols, 2017 (Music, Criticism & Politics, 3), pp. xxiv + 526, ISBN 978-2-503-57497-4.

The “long nineteenth century” encompasses what has been described by some authors as “newspaper civilization”. Music was fundamental for many men and women who lived during that century. Not surprisingly, at this time, music was a common theme in the press. On the one hand, news, chronicles and criticism played a central part in the musical market, since the success of that market was predicated on the dissemination of information about performers, musical events and new repertoires. On the other hand, as we have observed, the prominence of music opened the door to new types of critical reflection in longer essays. Writings about music in those years were the result of artistic aspirations and preferences; the same writings also present evidence of prejudices and modes of perception marked by specific ideological issues. This volume collects twenty-two articles that address these issues, focusing on case studies in Europe and America. The collection reflects the growing importance of music criticism in particular and the press in general as objects of study for contemporary musicology.

Contents

Vol. 4 - Jehoash Hirshberg, Opera in Search of a Just Ruler for a Unified Italy

Turnhout, Brepols, 2017 (Music, Criticism & Politics, 4), pp. xvi+122, ISBN 978-2-503-57739-5.

With the establishment of Il Regno d’Italia in 1861 the heydays of Risorgimento opera as a powerful political tool were over. A new category of operas, which is the subject of the present book, was that of the politically oriented operas that replaced the waning category of the Risorgimento operas. Those operas turned public attention to the pitfalls and dangers of forming the new government of the unifying Italy. The new category commenced with Verdi’s Simon Boccanegra (1857), Un Ballo in Maschera (1859), and Don Carlos (1867), in which Verdi indirectly expressed his alarm at the dangers facing the future kings of Italy. A great many operas were composed in the decade of unification of Italy.  Chapter 1 suggests a classification of the operas into the categories of operas of intrigue-and-love, the last Risorgimento operas, operas of social criticism, arrangements of literary masterpieces, and religious operas, and then focusing on the new category. The major section of the book comprises case studies of five representative Italian operas of the 1860s: Isabella d’Aragona by Carlo Pedrotti, La Colpa del Cuore by Francesco Cortesi, Ruy Blas by Filippo Marchetti, Vitore Pisani by Achille Peri, and Fieschi by Achille Montuoro. Each chapter presents a summary of the plot, a detailed stylistic and formal discussion of each opera, and a discussion of the manner in which the music interprets the composer’s political and social views. A pre-condition for the selection of the case studies was that they elicited at least successo di stima in more than one city, and that they were favourbly judged by the critics, most importantly by Filippo Filippi. The use of musical forms in the service of drama, most importantly La Solita Forma,was of paramount importance and will be emphasized in the case studies and supported by the many musical examples from the unjustly forgotten operas.

 

Contents

Published with the Assistance of 'Direzione Generale per le Biblioteche, gli Istituti Culturali e il Diritto d'Autore' - MIBACT (ex circolare 108/2012 anno 2015)