This wide-ranging contribution to the study of nationalism and the social history of music examines the relationship between choral societies and national mobilization in the nineteenth century. From Norway to the Basque country and from Wales to Bulgaria, this pioneering study explores and compares the ways choral societies influenced and reflected the development of national awareness under differing political and social circumstances. By the second half of the nineteenth century, organized communal singing became a primary leisure activity that attracted all layers of society. Though strongly patriotic in tone, choral societies borrowed from each other and relied heavily on prominent German or French models. This volume is the first to address both the national and transnational significance of choral singing.
Contributors are: Carmen De Las Cuevas Hevia, Jan Dewilde, Tomáš Kavka, Anne Jorunn Kydland, Krisztina Lajosi, Joep Leerssen, Sophie-Anne Leterrier, Jane Mallinson, Tatjana Marković, Fiona M. Palmer, Karel Šima, Andreas Stynen, Dominique Vidaud, Ivanka Vlaeva, Jozef Vos, Gareth Williams, Hana Zimmerhaklová.
This volume collects twenty of Lawrence Kramer’s seminal writings on art song (especially Lieder), opera, and word-music relationships. All examine the formative role of culture in musical meaning and performance, and all seek to demonstrate the complexity and nuance that arise when words and music interact. The diverse topics include words and music, music and poetry, subjectivity, the sublime, mourning, sexuality, decadence, orientalism, the body, war, Romanticism, modernity, and cultural change. Several of the earlier essays have been revised for this volume, which also contains a preface by the author and a foreword by Richard Leppert. The volume should be essential reading for scholars, students, performing musicians, and other music-lovers interested in musicology, word-music relationships, cultural studies, aesthetics, and intermediality.