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。然而，到19世纪末，它在资产阶级领域之外也非常普遍，这一事实至今几乎没有被注意到。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之前认为的那样边缘化。相反，古典音乐是工人阶级运动的休闲和教育活动的一个组成部分。此外，资产阶级慈善机构定期为下层阶级组织廉价的音乐会和晚上的讲座。这个项目以柏林为例调查了这一现象，从而为1900年左右的音乐会生活增添了一个关键的拼图。如果一个人把布迪厄的文化理解为一种资源，这种资源被用来为区别而斗争，那么这些形式不仅仅是音乐作品的无目的表演。它们更多地是关于不同社会群体在一个非常动态的时代中的政治、社会和文化谈判过程。这本书从两个方向接近这个话题：首先，动机，保留和冲突与使艺术音乐接近人口的广泛部分是在话语水平检查。因此，一幅尽可能全面的实际音乐会生活的图画被描绘出来了。只有那些播放艺术音乐（在当时被理解为艺术音乐）的形式才会被研究，同时这些形式对工人来说是负担得起的，与日常工厂生活相适应，并明确地针对广大人群。本研究分为两部分。首先，研究人员考察了由公民为工人组织的、被（或明或暗）理解为自上而下的教育措施的举措。第二部分，另一方面，处理来自更广泛的工人运动环境的倡议，如工人合唱团，大众剧院或工会。本文没有给出结论，而是考察了公共领域的音乐会形式。这项研究是跨学科的核心，位于历史和音乐学，文化研究和音乐社会学的交叉点。它结合了日常生活历史和情感历史的观点，为表演研究领域提供了新的见解，补充了对劳动史的广泛研究，并为倾听史做出了贡献。此外，它还包括迄今为止几乎没有审查过的原始材料（部分来自私人档案）。在音乐学领域，本研究也试图为对艺术音乐现象的批判性理解做出贡献。