The recipient of the 2011 Edward J. Dent Medal of the Royal Musical Association, Annegret Fauser is a cultural musicologist whose research focuses on music of the nineteenth and twentieth centuries, and in particular that of France and America. She is the author of Musical Encounters at the 1889 Paris World's Fair (2005) and Sounds of War: Music in the United States during World War II (2013). Her book with Mark Everist, Music, Theater, and Cultural Transfer: Paris 1830-1914 (2009) was awarded the Ruth A. Solie Award of the American Musicological Society, and from 2011-2013 she was Editor-in-Chief of the Journal of the American Musicological Society.
This volume explores the way in which composers, performers, and critics shaped individual and collective identities in music from Europe and the United States from the 1860s to the 1950s. Selected essays and articles engage with works and their reception by Richard Wagner, Georges Bizet (in an American incarnation), Lili and Nadia Boulanger, William Grant Still, and Aaron Copland, and with performers such as Wanda Landowska and even Marilyn Monroe. Ranging in context from the opera house through the concert hall to the salon, and from establishment cultures to counter-cultural products, the main focus is how music permits new ways of considering issues of nationality, class, race, and gender. These essays - three presented for the first time in English translation - reflect the work in both musical and cultural studies of a distinguished scholar whose international career spans the Atlantic and beyond.
Contents: Introduction. Part I Music and Politics in Late Nineteenth-Century France: `Cette musique sans tradition´: Wagner´s Tannhäuser and its French critics (2009); Visual pleasures - musical signs: dance at the Paris Opéra (2005); Oscarine and Réginette: a comic interlude in the French reception of Wagner (2007); Gendering the nations: the ideologies of French discourse on music (1870-1914) (2001); Disruptive histories: telling the story of modern music in France (2006). Part II Musical identities in the United States in the 1930s and `40s: Aaron Copland, Nadia Boulanger, and the making of an `American´ composer (2006); `Presenting a great truth´: William Grant Still´s Afro-American Symphony (1930) (2011); `Dixie Carmen´: war, race, and identity in Oscar Hammerstein´s Carmen Jones (1943) (2010). Part III Gender Politics in Music: Rheinsirenen: Loreley and other Rhine maidens (2006); Creating Madame Landowska (2006); La Guerre en dentelles: women and the Prix de Rome in French cultural politics (1998); Composing as a Catholic: rereading Lili Boulanger´s vocal music (2006); Lili Boulanger´s La Princesse Maleine: a composer and her heroine as literary icons (1997). Index.
Acknowledgements, Introduction, List o f Publications, PART ONE MUSIC AND POLITICS IN LATE NINETEENTH-CENTURY FRANCE, PART TWO MUSICAL IDENTITIES IN THE UNITED STATES IN THE 1930s AND ´40s, PART THREE GENDER POLITICS IN MUSIC, Index
The essays selected for this volume - three of which are presented for the first time in English translation - reflect the work in both musical and cultural studies of a distinguished scholar whose international career spans the Atlantic and beyond. The articles explore how composers, performers and critics shaped individual and collective identities in music from Europe and the United States from the 1860s to the 1950s and focus on how music permits new ways of considering issues of nationality, class, race and gender.
