Table of Contents

Notes on the Contributors

Introduction. Defining the New Cultural History of Music: its Origins, Current Directions and Methodologies
Jane F. Fulcher

PART I: CULTURAL IDENTITY AND ITS EXPRESSION: CONSTRUCTIONS, REPRESENTATIONS, AND EXCHANGES

Constructions or Representations of the Body, Gender, Sexuality, and Race

A Woman's Place: Antiphons and Responsories for Virgin Martyrs in the Office
James Borders

"Music, Violence, and the Stakes of Listening
Richard Leppert

"Music and Pain
Andreas Dorschel

Subjectivity and the Shaping of the Self in Society

The Road into the Open: from Narrative Closure to the Endless Performance of Subjectivity in Mahler and Freud at the Turn of the Century
John Toews

Understanding Schoenberg as Christ
Julie Brown

The Strange Landscape of Middles
Michael Beckermann

Nationalism, Cosmopolitanism, and Trans-Nationalism

The Genre of National Opera in European Comparative Perspective
Philipp Ther

Cosmopolitan, National, and Regional Identities in European Musical Life
William Weber

Mendelssohn on the Road: Music, Travel, and the Anglo-German Symbiosis
Celia Applegate

Popular and Elite Cultural Intersections or Exchanges

Shooting the Keys: Musical Horseplay and High Culture
Charles Garrett

Yvette Guilbert and the Revaluation of the Chanson populaire during the Troisième République, 1889-1914
Jacqueline Waeber

Remembrance of Jazz Past: Sidney Bechet in France
Andy Fry

PART II: CULTURAL EXPERIENCE: PRACTICES, APPROPRIATIONS, AND
EVALUATIONS

Urban, Aural, and Print Culture

An Evening at the Opera in 17th-Century Venice
Edward Muir

Josquin des Prez, Renaissance Historiography and the Cultures of Print
Kate van Orden

From 'the Voice of the Maréchal' to Musique Concrète: Pierre Schaeffer and the Case for Cultural History
Jane F. Fulcher

Symbols, Icons, and Sites of Collective Memory or Ritual

A Matter of Style: State Sacrificial Music and Cultural-Political Discourse in Southern Song China (1127-1279)
Joseph Lam

Ernani Hats: Opera as a Repertory of Political Symbols during the Risorgimento
Carlotta Sorba

Modalities of National Identity: Sibelius Builds a First Symphony
James Hepokoski

Politics, Aesthetics, and Transmission

Beethoven, Napoleon, and Political Romanticism
Leon Plantinga

Translating Herder Translating: Cultural Translation and the Making of Modernity
Philip Bohlman

The Eye of the Needle: Music as History after the Era of Recording
Leon Botstein

Afterward: Whose Culture? Whose History? Whose Music?
Michael P. Steinberg

Index

About the Author

Jane Fulcher is Professor of Musicology at the University of Michigan. She has received research awards in both the United States and Europe, including The American Council of Learned Societies, the National Endowment for the Humanities (two awards), the Wissenschaftskolleg zu Berlin, the National Humanities Center, the Institute for Advanced Study, Princeton, New Jersey (where she was the Edward T. Cone member in Music Studies for 2003-04). In
addition, she has three times been invited to be visiting professor at the Ecole des Hautes Etudes en Sciences Sociales in Paris.

Reviews

"[A] lush edition." --HistoryWire.com
"Gives the reader both an excellent overview of current thinking in the discipline and many separate insights into specific areas of this aspect of music...There's nothing comparable--or, at least, nothing comparably broad--in terms of deepening our understanding of the nexus between musicology and cultural history. Particularly nothing that seeks to sum up the current state of thinking across so wide a range of historical and geographical areas. Well worth
investigating." --Classical.net