Beyond concert halls. Classical music for wider audiences in Berlin around 1900

超越音乐厅。

• 批准号: 471282516
• 负责人: Wiebke Sophie Elisabeth Rademacher
• 金额: --
• 依托单位国家: 德国
• 项目类别: Publication Grants
• 财政年份: 2021
• 资助国家: 德国
• 起止时间: 2020-12-31 至 2022-12-31
• 项目状态: 已结题
• 来源: https://gepris.dfg.de/gepris/projekt/471282516?language=en
• 关键词: Beyond; concert; halls.; Classical; music

Classical music is inextricably interwoven with the history of the bourgeoisie – recent research suggests. However, the fact that it was also very present beyond the bourgeois sphere towards the end of the 19th century has so far remained almost unnoticed. Yet the role of art music in the working-class milieu around 1900 was not as marginal as previously assumed. On the contrary, classical music was an integral part of the leisure and educational activities of the working class movement. In addition, bourgeois philanthropes regularly organised inexpensive concerts and lecture evenings for the lower classes. This project investigates this phenomenon using Berlin as an example and thus adds a crucial piece of the puzzle to the picture of concert life around 1900. If one understands culture with Bourdieu as a resource that is used in struggles for distinction, these formats are about much more than just purpose-free performances of musical works. They are much rather about political, social and cultural negotiation processes of different social groups in a very dynamic time.This book approaches the topic from two directions: First, the motivations, reservations and conflicts associated with making art music accessible to broad parts of the population are examined at the level of discourse. Consequently, a picture as comprehensive as possible of actual concert life is drawn. Only those formats are examined in which art music (as it was understood at the time) was played, and which at the same time were affordable for workers, compatible with everyday factory life and were aimed decidedly at broad sections of the population. The study is divided into two parts. First, initiatives are examined that were organised by citizens for workers and that were – implicitly or explicitly – understood as top-down educational measures. The second part, on the other hand, deals with initiatives from the broader environment of the workers’ movement, such as workers’ choirs, popular theatres or trade unions. Instead of a conclusion, concert formats in the public sphere are examined.This study is interdisciplinary at its core and is located at the intersections of history and musicology, cultural studies and the sociology of music. It combines perspectives of the history of everyday life and the history of emotions, provides new insights for the field of performance studies, complements extensive research on labour history and contributes to the history of listening. In addition, it includes source material (partly from private archives) that has hardly been examined to date. In the musicological realm, the study also attempts to contribute to a-critical understanding of the phenomenon of art music.

最近的研究表明，古典音乐与资产阶级的历史密不可分。但是，到迄今为止，它在资产阶级领域之外也非常出现，这一事实几乎尚未引起人们的注意。然而，艺术音乐在1900年左右的工人阶级环境中的作用并不像以前假设的那么边缘。相比之下，古典音乐是工人阶级运动休闲和教育活动不可或缺的一部分。此外，资产阶级慈善事业定期组织了下层阶级的廉价关注和演讲晚会。该项目以柏林为例调查了这一现象，因此在1900年左右的音乐会生活中增加了一个至关重要的难题。如果人们以布迪厄（Bourdieu）的文化来理解一种用于区别斗争的资源，那么这些格式将不仅仅是音乐作品的目的无目的表演。他们在一个非常有活力的时期内的政治，社会和文化谈判过程非常重要。本书从两个方向讲述了该主题：首先，在话语层面上检查了与使艺术音乐可访问的艺术音乐相关的动机，保留和冲突。因此，绘制了尽可能全面的实际音乐会生活的图片。仅检查了这些格式，其中播放了艺术音乐（当时播放），同时对工人来说是负担得起的，与每天的工厂生活兼容，并且针对人口的广泛部分。该研究分为两个部分。首先，研究了由公民为工人组织的倡议，这些计划是隐性或明确的理解是作为自上而下的教育措施。另一方面，第二部分涉及工人运动更广泛环境的举措，例如工人合唱团，流行的剧院或工会。对公共领域中的音乐会格式不是结论。这项研究的核心是跨学科的，位于历史和音乐，文化研究和音乐社会学的交集。它结合了每天生活历史和情感历史的观点，为绩效研究领域提供了新的见解，完成了对劳动史的广泛研究，并为聆听的历史做出了贡献。此外，它还包括迄今为止几乎没有检查过的原始资料（部分来自私人档案）。在音乐学领域中，该研究还试图为对艺术音乐现象的批判性理解做出贡献。