’You play exactly as if you came from America.’ Transatlantic Relations and Anti-American Bias in the Musical Life of the German Empire and the Austro-Hungarian Monarchy 1880-1915

“你的演奏就像来自美国一样。” 1880-1915 年德意志帝国和奥匈帝国音乐生活中的跨大西洋关系和反美偏见

• 批准号: 441570120
• 负责人: Professorin Dr. Christiane Tewinkel
• 金额: --
• 依托单位: Fachgruppe Musikwissenschaft
• 依托单位国家: 德国
• 项目类别: Research Grants
• 资助国家: 德国
• 项目状态: 未结题
• 来源: https://gepris.dfg.de/gepris/projekt/441570120?language=en
• 关键词: play; exactly; came; America.; Transatlantic

Anti-American bias was widespread in German speaking lands around 1900. While the term 'Americanization' was used to criticize the commercialization of musical life, Anti-American bias also arose within the realm of artistic practice itself. For example, American pianists were accused of technical deficiencies or purely mechanical play, a lack of depth and a lack of love for music, as well as a merely economic interest in music. The aim of this project is to illuminate American grand tours into German speaking lands between 1880 and 1915, to highlight the transatlantic networks that were inaugurated by teachers like Franz Liszt (Weimar) and Theodor Leschetizky (Vienna), and to analyze the music-related discourse in German in which Anti-American biases became explicit. In doing this, the project combines perspectives of musicology with those of history, linguistics and American studies.The time frame relates to the rich array of sources on the Weimar gatherings around Liszt in the 1880s on the one hand and Leschetizky’s final year in Vienna (1915) on the other, when his international acclaim as a piano teacher was addressed by countless obituaries. In Berlin, an equally attractive destination for American pianists, Liszt and Leschetizky were present through their work as composers and pianists and through numerous students that had become piano teachers themselves. Meanwhile, the American weekly Musical Courier entertained a Berlin office with specific Berlin pages that covered musical life in the capital for Americans at home and abroad.Working with such texts as well as with concert reviews, teaching protocols, biographical literature and other sources, I seek to describe the basic layout of the grand tours young American pianists undertook in those years. Secondly, I wish to discuss recurring elements of the German-speaking discourse on ‘the American/s’ in Berlin, Weimar, and Vienna: What were the specific biases that American pianists met with, and what was the function of these biases with regard to contemporary German-language debates on virtuosity and inwardness, on the concept of autonomous music, the economics of musical performances, and different ways of listening to music?

1900年左右，反美偏见在德语区普遍存在。当“美国化”一词被用来批评音乐生活的商业化时，反美偏见也出现在艺术实践本身的领域。例如，美国钢琴家被指责为技术缺陷或纯粹的机械演奏，缺乏深度和对音乐的热爱，以及对音乐的纯粹经济兴趣。这个项目的目的是照亮美国大图尔斯到德语国家之间的1880年和1915年，突出跨大西洋的网络，由教师如李斯特（魏玛）和西奥多Leschetizky（维也纳），并分析音乐相关的话语在德国反美偏见变得明显。这个项目结合了音乐学、历史学、语言学和美国研究的视角。时间框架一方面与19世纪80年代李斯特周围的魏玛聚会的丰富资料有关，另一方面与莱舍蒂茨基在维也纳的最后一年（1915年）有关，当时他作为钢琴教师的国际声誉被无数讣告所提及。在柏林，一个同样吸引美国钢琴家的目的地，李斯特和莱舍蒂茨基通过他们作为作曲家和钢琴家的工作以及通过许多学生成为钢琴教师。与此同时，美国《音乐周刊》（Musical Cynthia）在柏林的一个办公室里，专门为美国人在国内外的音乐生活开辟了柏林专版，我试图通过这些文本、音乐会评论、教学协议、传记文献和其他资料，描述那些年美国年轻钢琴家进行的盛大图尔斯之旅的基本布局。其次，我想讨论在柏林、魏玛和维也纳，德语中关于“美国人”的话语中反复出现的要素：美国钢琴家遇到的具体偏见是什么？这些偏见在当代德语中关于精湛技艺和内在性、自主音乐的概念、音乐表演的经济学以及不同的听音乐方式的辩论中起着什么作用？