Popular Classics: Western Art Music and the Everyday Listener

流行经典：西方艺术音乐与日常听众

• 批准号: AH/X012859/1
• 负责人: Kate Mabel Guthrie
• 金额: $ 26.53万
• 依托单位: University of Bristol
• 依托单位国家: 英国
• 项目类别: Fellowship
• 财政年份: 2023
• 资助国家: 英国
• 起止时间: 2023 至 无数据
• 项目状态: 未结题
• 来源: https://gtr.ukri.org/projects?ref=AH%2FX012859%2F1
• 关键词: Popular; Classics; Western; Art; Music

This project seeks to re-write the history of twentieth-century art music from a novel perspective: that of the everyday listener. Despite significant advances in reception and listening studies over the past 30 years, histories of Western art music continue to privilege critics' and academics' voices. This has contributed to a narrow vision of music history dominated by revolutionary modernists and their elite critics-a history that obscures how older styles of art music, such as classical and romantic, that were much more widely listened to by the public, became deeply embedded in the day-to-day of modern life. My project pursues a broader account: it examines the kinds of emotional investments that non-expert listeners made in art music; and recovers the listening rituals-particularly those associated with listening at home-that reflected and shaped these cultural values. In so doing, it explains not only how such a broad audience for art music was sustained, but more importantly, why listeners believed that art music mattered. To reanimate historical audiences' perspectives, my research centres on the audience of the twentieth century's most influential music educator, Leonard Bernstein. Although best remembered as a composer and conductor, Bernstein's legacy as an educator is such that he has been credited with nothing less than "convert[ing] an entire generation of casual American music listeners into avid music lovers." To recover this other aspect of Bernstein's career, I draw on two data sets. First, I use the huge collection of undocumented fan-mail in the Leonard Bernstein Archive, which Bernstein received during the 1950s,1960s and 1970s - the decades from which the majority of his CBS broadcasts date. This correspondence sheds light on the value that past generations of listeners found in classical music and how they articulated their emotional investments. It also enables me to reconstruct the dynamic relationship that existed between pedagogue and student, even where these "encounters" were via television. Second, I will conduct at least 30 new oral history interviews with former television audience members. These oral histories will complement my archival research, recovering the listening rituals that accompanied viewing of Bernstein's broadcasts, and exploring the significance that listeners perceive these classical music encounters to have had on their long-term artistic interests. This research will be published as a monograph and a journal special edition. Beyond providing a new account of 20th-century musical culture, my project uses this historical research to initiate a conversation about arts outreach today. Recent years have witnessed a heated international debate in the Anglophone sphere about the place of the arts and humanities in education, a debate whose stakes have only been heightened by the pandemic. Attempts to justify on-going investment have focused overwhelmingly on economic and social benefits, while overlooking the question of the arts' emotional appeal. In reanimating the emotional investments made by historical audiences, my project opens the way to ask how engaging with this overlooked aspect could provide a new and powerful means of articulating why the arts matter in the present day. This question is explored through two interconnected strands of engagement activities. First, taking advantage of social media's interactive nature, I seek to engage a community interested in music education and the lessons that Bernstein's work can inspire via a monthly podcast and vlog, hosted on buzzsprout and listed on all major podcast repositories. Second, I will work collaboratively with the Project Executive and project partner Positive Note, a classical music film production company, to produce 4 youtube films and 8 TikTok shorts, aimed at KS4 pupils and their teachers, which put lessons learnt from Bernstein's audiences into practice for young audiences today.

该项目旨在从一个新颖的角度重写二十世纪艺术音乐的历史：即日常听众的角度。尽管在过去的30年里，接受和倾听研究取得了重大进展，但西方艺术音乐的历史仍然优先考虑评论家和学者的声音。这导致了一种由革命现代主义者和他们的精英评论家主导的狭隘的音乐史视野，这段历史掩盖了更广泛地被公众所聆听的古典和浪漫等古老风格的艺术音乐是如何深深地嵌入现代生活的日常生活中的。我的项目追求一个更广泛的帐户：它检查了非专业听众在艺术音乐中的情感投资;并恢复了聆听仪式，特别是那些与在家聆听有关的仪式，反映和塑造了这些文化价值观。这样一来，它不仅解释了艺术音乐如何维持如此广泛的观众，更重要的是，为什么听众认为艺术音乐很重要。 为了重新激活历史观众的视角，我的研究集中在二十世纪世纪最有影响力的音乐教育家伦纳德伯恩斯坦的观众身上。尽管伯恩斯坦作为作曲家和指挥家最为人所知，但他作为教育家的遗产是这样的，他被认为是“把整整一代随意的美国音乐听众转变为狂热的音乐爱好者”。“为了恢复伯恩斯坦职业生涯的另一个方面，我利用了两个数据集。首先，我使用了伦纳德伯恩斯坦档案馆中的大量无证粉丝邮件，这些邮件是伯恩斯坦在20世纪50年代、60年代和70年代收到的--这几十年里，他的大部分CBS广播都是从这几年开始的。这种对应关系揭示了过去几代听众在古典音乐中发现的价值，以及他们如何表达自己的情感投资。它也使我能够重建存在于教师和学生之间的动态关系，即使这些“相遇”是通过电视。第二，我将对以前的电视观众进行至少30次新的口述历史采访。这些口述历史将补充我的档案研究，恢复伴随着观看伯恩斯坦的广播的聆听仪式，并探索听众认为这些古典音乐相遇对他们长期艺术兴趣的重要性。这项研究将作为专著和期刊特刊出版。 除了提供一个新的帐户20世纪的音乐文化，我的项目使用这种历史研究发起关于艺术推广今天的对话。近年来，在英语世界里，关于艺术和人文学科在教育中的地位，国际上展开了激烈的辩论。为正在进行的投资辩护的努力绝大多数集中在经济和社会效益上，而忽视了艺术的情感吸引力问题。在重新激活历史观众所做的情感投资时，我的项目开辟了一条道路，询问如何与这个被忽视的方面接触，可以提供一种新的和强大的手段来阐明为什么艺术在当今很重要。通过两个相互关联的参与活动来探讨这个问题。首先，利用社交媒体的互动性，我希望通过每月一次的播客和视频博客，吸引对音乐教育感兴趣的社区，以及伯恩斯坦的作品可以激发灵感的课程，这些播客和视频博客托管在buzzsprout上，并在所有主要的播客库中列出。其次，我将与项目执行官和项目合作伙伴Positive Note（一家古典音乐电影制作公司）合作，制作4部YouTube电影和8部TikTok短片，针对KS 4的学生和他们的老师，将从伯恩斯坦的观众那里学到的经验教训用于今天的年轻观众。