John Philip Sousa and Musical Americanism in Continental Europe, 1893-1917

约翰·菲利普·苏萨与欧洲大陆的音乐美国主义，1893-1917 年

• 批准号: 387748861
• 负责人: Dr. Tobias Faßhauer
• 金额: --
• 依托单位国家: 德国
• 项目类别: Research Grants
• 财政年份: 2017
• 资助国家: 德国
• 起止时间: 2016-12-31 至 2021-12-31
• 项目状态: 已结题
• 来源: https://gepris.dfg.de/gepris/projekt/387748861?language=en
• 关键词: John; Philip; Sousa; Musical; Americanism

Based on research funded under the same title from 2017 to 2020, this phase of the project aims to complete a book manuscript on the reception of the American composer and conductor John Philip Sousa on the European continent and its significance for the constitution of a European musical “Americanism.” Americanism is understood as a tendency that regarded particular musical forms of expression as typically American, reflecting then-prevalent stereotypes about the United States. The first of two main parts of the book deals with the two European tours of the Sousa Band in 1900 and 1903. It draws mainly on the very extensive press clippings collection of this ensemble, a rich source reflecting the gamut of European ideas about America, but until now largely ignored by cultural historians. Topics in this section include the progress of Sousa’s tours; the cult of Sousa as an exponent of early American mass culture akin to P. T. Barnum and Buffalo Bill (with whom he was repeatedly compared in Europe); aspects of sonic and scenic performance; as well as the musical literature performed and its reception by critics and audiences in various countries.Part two is a corpus analysis of the musical genres imported to Europe through Sousa’s activities: especially the American march type and its cousin, the twostep, on the one hand; and on the other hand, the cakewalk with its African-American connotations. On the basis of a collection of mainly German, and to a lesser extent French and Austrian Americanist compositions, initiated in 2018 as part of the present project, the musical correlates of European Americanism are analyzed, differentiating between Euro- and Afro-Americanism while at the same time highlighting their convergence. Particular use is made of the descriptive categories that the composer and music critic Max Chop developed between 1906 and 1914, mainly in the “Phonographische Zeitschrift.” Chop’s reviews of new recordings, with their constant reference to Sousa’s music, provide a kind of aesthetic of musical Americanism.In a broader historical perspective, this study highlights how the European reception of John Philip Sousa anticipated features of the more well-studied Americanist and modernist discourse of the “Jazz Age” from about 1920 onwards.

基于2017年至2020年以同一标题资助的研究，该项目的这一阶段旨在完成一本关于美国作曲家兼指挥家约翰·菲利普·索萨在欧洲大陆的接待及其对欧洲音乐剧《美国主义》构成的意义的书稿。美国主义被理解为一种倾向，认为特定的音乐表现形式是典型的美国人，反映了当时流行的对美国的刻板印象。这本书的两个主要部分中的第一部分讲述了索萨乐队在1900年和1903年的两次欧洲巡演。它主要利用了这个剧团非常广泛的新闻剪报集，这是一个丰富的来源，反映了欧洲对美国的各种想法，但到目前为止，文化历史学家基本上忽视了这一点。这一部分的主题包括索萨巡演的进展；对索萨作为早期美国大众文化的代表的崇拜，类似于P·T·巴纳姆和布法罗·比尔(他在欧洲被多次与之比较)；声音和场景表演的方面；以及音乐文学的表演及其在不同国家的评论家和观众的接受程度。第二部分是对通过索萨的活动引入欧洲的音乐流派的语料库分析：一方面是美国进行曲类型和它的表亲两步曲；另一方面是具有非裔美国人内涵的凯凯步。在本项目于2018年启动的一系列主要是德国的，其次是法国和奥地利的美国主义作品的基础上，分析了欧洲美洲主义的音乐相关性，区分了欧洲-美洲主义和非洲-美国主义，同时强调了它们的趋同。特别使用了作曲家兼音乐评论家马克斯·肖普在1906年至1914年间发展起来的描述性范畴，主要是在《留声机时代》中。Chop对新唱片的评论，不断地引用Sousa的音乐，提供了一种音乐美国主义的美学。从更广泛的历史角度，这项研究突出了约翰·菲利普·Sousa在欧洲的接受是如何从大约1920年开始预测到更多研究更充分的美国主义和现代主义话语的特征的。