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Music and Postwar Transitions (19th-21th Century)
Anaïs Fléchet, Martin Guerpin, Philippe Gumplowicz et Barbara Kelly 2023 Berghahn Books $135.00/£99.00 ISBN 978-1-80073-894-2
Présentation
From the Napoleonic Wars to the genocide of the Tutsis in Rwanda, via the great world conflicts of the 20th century, Music and Postwar Transitions in the 19th and 20th Centuries is the first book to highlight the significance of ‘postwar transitions’ in the field of music and to demonstrate the influence that musicians, composers, critics, institutions, and publics have had on the period that follows conflict. Leading historians, political scientists, psychologists and musicologists explore the roles of music and culture in demobilization, reconstruction, memory, reconciliation, revenge, and nationalist backlash. Moving beyond the popular conception of music as an agent of peace, this study reveals music’s more complex and ambivalent role in the process of transition from war to peace.
Table des matières
Foreword
Jay Winter
Introduction Toward a Musical Approach to Postwar Transitions
Anaïs Fléchet, Martin Guerpin, Philippe Gumplowicz, and Barbara L. Kelly
Part I. Reconstructing the Music World
1. Transitioning from the Turmoil through Music: Withdrawal, Patriotism, Sublimation: Georges Bizet in the Early 1870s
Hervé Lacombe
2. Revolutionary Music from War to Peace: Mexico, 1910s–1930s
Pablo Palomino
3. First Concerts on the International Stage: The British Comebacks of the Vienna and Berlin Philharmonics in 1947/48
Friedemann Pestel
Part II. A Gradual Demobilization: Music, Cultures of War, and National Imaginations
4. Discourse on Music and the Postwar Transition: The Case of France after the Franco-Prussian Conflict of 1870–1871
Emmanuel Reibel
5. Singing about the Former Enemy: Two Postwar Transition Periods Seen through the Lens of the Café-Concert and Music Hall Chanson, 1871–1923
Martin Guerpin
6. War of Taste in Popular and Folk Music: French Chanson, 1940–1942
Philippe Gumplowicz
7. Postwar Transitions and Uses of Music in a Central European Borderland Region: Tyrol and the Aftermath of Two World Wars, 1900–2010s 137
Michael Wedekind
Part III. Memory, Mourning, and Commemoration
8. Béranger’s Napoleonic Songs: Mourning, Memory, and the Future 159
Sophie‑Anne Leterrier
9. “Will We Return Unscathed?” Paul Hindemith’s Minimax and the Trauma of War
Lesley Hughes
10. The Construction of a Transatlantic Repertoire of Resistance and Mourning in the Postwar Years: Sources Collected by Shmerke Kaczerginski (Vilna, New York, Buenos Aires)
Jean-Sébastien Noël
11. Singing the Unspeakable in Rwanda in the Summer of 1994: Music in the Context of the Genocidal Abyss through a Portrait of the Artist
Benjamin Chemouni and Assumpta Mugiraneza
Part IV. Music for Peace and Reconciliation?
12. Peacemaking and Festivities at the Congress of Paris, 1856
Damien Mahiet
13. Internationalism and Musical Exchange in Post–World War I Europe, 1918–1923
Barbara L. Kelly
14. Music: A Weapon for Peace? The United States, UNESCO, and the Creation of the International Music Council, 1945–1953
Anaïs Fléchet
Afterword. Survival, Desire, Empowerment, and the Absence of Words: Music in Postwar Transitions, 1800–1950
Jessica Gienow-Hecht
> Pour en savoir plus
From the Napoleonic Wars to the genocide of the Tutsis in Rwanda, via the great world conflicts of the 20th century, Music and Postwar Transitions in the 19th and 20th Centuries is the first book to highlight the significance of ‘postwar transitions’ in the field of music and to demonstrate the influence that musicians, composers, critics, institutions, and publics have had on the period that follows conflict. Leading historians, political scientists, psychologists and musicologists explore the roles of music and culture in demobilization, reconstruction, memory, reconciliation, revenge, and nationalist backlash. Moving beyond the popular conception of music as an agent of peace, this study reveals music’s more complex and ambivalent role in the process of transition from war to peace.
Table des matières
Foreword
Jay Winter
Introduction Toward a Musical Approach to Postwar Transitions
Anaïs Fléchet, Martin Guerpin, Philippe Gumplowicz, and Barbara L. Kelly
Part I. Reconstructing the Music World
1. Transitioning from the Turmoil through Music: Withdrawal, Patriotism, Sublimation: Georges Bizet in the Early 1870s
Hervé Lacombe
2. Revolutionary Music from War to Peace: Mexico, 1910s–1930s
Pablo Palomino
3. First Concerts on the International Stage: The British Comebacks of the Vienna and Berlin Philharmonics in 1947/48
Friedemann Pestel
Part II. A Gradual Demobilization: Music, Cultures of War, and National Imaginations
4. Discourse on Music and the Postwar Transition: The Case of France after the Franco-Prussian Conflict of 1870–1871
Emmanuel Reibel
5. Singing about the Former Enemy: Two Postwar Transition Periods Seen through the Lens of the Café-Concert and Music Hall Chanson, 1871–1923
Martin Guerpin
6. War of Taste in Popular and Folk Music: French Chanson, 1940–1942
Philippe Gumplowicz
7. Postwar Transitions and Uses of Music in a Central European Borderland Region: Tyrol and the Aftermath of Two World Wars, 1900–2010s 137
Michael Wedekind
Part III. Memory, Mourning, and Commemoration
8. Béranger’s Napoleonic Songs: Mourning, Memory, and the Future 159
Sophie‑Anne Leterrier
9. “Will We Return Unscathed?” Paul Hindemith’s Minimax and the Trauma of War
Lesley Hughes
10. The Construction of a Transatlantic Repertoire of Resistance and Mourning in the Postwar Years: Sources Collected by Shmerke Kaczerginski (Vilna, New York, Buenos Aires)
Jean-Sébastien Noël
11. Singing the Unspeakable in Rwanda in the Summer of 1994: Music in the Context of the Genocidal Abyss through a Portrait of the Artist
Benjamin Chemouni and Assumpta Mugiraneza
Part IV. Music for Peace and Reconciliation?
12. Peacemaking and Festivities at the Congress of Paris, 1856
Damien Mahiet
13. Internationalism and Musical Exchange in Post–World War I Europe, 1918–1923
Barbara L. Kelly
14. Music: A Weapon for Peace? The United States, UNESCO, and the Creation of the International Music Council, 1945–1953
Anaïs Fléchet
Afterword. Survival, Desire, Empowerment, and the Absence of Words: Music in Postwar Transitions, 1800–1950
Jessica Gienow-Hecht
> Pour en savoir plus
Informations complémentaires
Anaïs Fléchet is Assistant Professor in History at the University of Paris-Saclay (UVSQ) and the Assistant Director of the Centre d’histoire culturelle des sociétés contemporaines. Her research focuses on music, international history, Brazil and the Global South.
Martin Guerpin is Assistant professor in Musicology at Paris-Saclay University. His research focuses on the relations between art and popular music, the relationship between music and identities (XIXth XXIth centuries), and musical life in casinos.
Philippe Gumplowicz is Emeritus Professor at the University Paris-Saclay. He previously served as the Head of the Department of Langues Arts Musique and Director of the School of Humanities at University Paris-Saclay.
Barbara L. Kelly is Professor of Music and Head of the School of Music at the University of Leeds. From 2015 to 2022 she was Director of Research and Professor of Musicology at the Royal Northern College of Music. She is also President of the Royal Musical Association (2021-24) and was elected to the Academia Europaea in 2020.
Martin Guerpin is Assistant professor in Musicology at Paris-Saclay University. His research focuses on the relations between art and popular music, the relationship between music and identities (XIXth XXIth centuries), and musical life in casinos.
Philippe Gumplowicz is Emeritus Professor at the University Paris-Saclay. He previously served as the Head of the Department of Langues Arts Musique and Director of the School of Humanities at University Paris-Saclay.
Barbara L. Kelly is Professor of Music and Head of the School of Music at the University of Leeds. From 2015 to 2022 she was Director of Research and Professor of Musicology at the Royal Northern College of Music. She is also President of the Royal Musical Association (2021-24) and was elected to the Academia Europaea in 2020.
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