Piano Culture and Cosmopolitanism. A Global History of Keyboard Instruments, c. 1850-1930

钢琴文化与世界主义。

• 批准号: 288540761
• 负责人: Dr. Claudius Torp
• 金额: --
• 依托单位: Lehrstuhl für Neuere und Neueste Geschichte
• 依托单位国家: 德国
• 项目类别: Research Grants
• 财政年份: 2016
• 资助国家: 德国
• 起止时间: 2015-12-31 至 2019-12-31
• 项目状态: 已结题
• 来源: https://gepris.dfg.de/gepris/projekt/288540761?language=en
• 关键词: Piano; Culture; Cosmopolitanism.; Global; History

The project addresses the tension between the cultural specificity and the global resonance of European art music through the lens of keyboard instruments and their highly uneven dissemination across the globe. Between 1850 and 1930, when European piano culture developed great cosmopolitan cachet and the piano trade itself grew into a global business, the social and cultural role of the piano and its derivatives, the harmonium and the mechanical pianola, varied considerably according to the contexts of their appropriation. Thus the project addresses both the scope and the limits of a global culture of European origin. It does so, on a global level, by mapping the cultural topography of key institutions of music transfer, from the instrument trade to conservatories, and, on a local level, by investigating how piano culture was appropriated through the workings of musical intermediaries such as composers, musicians, missionaries and piano students. Their musical practices in the United States, South Africa, India and Japan, in particular, will serve to show the diverse conditions under which keyboard instruments and the attending European high culture were adopted, adapted or rejected. Interpreting the history of the piano from the perspective of the glocalization of material culture is also a way to historicize the concept of cosmopolitanism. The analysis will be based on a variety of unpublished and published sources ranging from piano company archives and special music collections to autobiographical material and music journalism.

该项目通过键盘乐器的透镜及其在地球仪各地极不均衡的传播，解决欧洲艺术音乐的文化特性与全球共鸣之间的紧张关系。1850年至1930年间，欧洲钢琴文化发展出巨大的国际化声望，钢琴贸易本身也发展成为一项全球性业务，钢琴及其衍生品、风琴和机械钢琴的社会和文化作用根据其使用背景而发生了很大变化。因此，该项目涉及欧洲起源的全球文化的范围和限制。在全球范围内，它通过绘制从乐器贸易到音乐学院的主要音乐传播机构的文化地形图，并在地方层面上，通过调查钢琴文化如何通过作曲家，音乐家，传教士和钢琴学生等音乐中介机构的运作而被挪用。他们在美国，南非，印度和日本的音乐实践，特别是将有助于显示键盘乐器和参加欧洲高等文化被采用，适应或拒绝的不同条件。从物质文化全球本土化的角度来解读钢琴的历史，也是对世界主义概念进行历史化的一种方式。分析将基于各种未出版和出版的来源，从钢琴公司档案和特殊音乐收藏到自传材料和音乐新闻。