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.

该项目旨在从小说的角度重新编写20世纪艺术音乐的历史：日常听众的历史。尽管在过去30年中的接待和听力研究取得了重大进展，但西方艺术音乐的历史继续使批评家和学术界的声音享有特权。这有助于音乐史的狭窄景象，由革命现代主义者及其精英评论家所占据，这是一个历史，它掩盖了较旧的艺术音乐风格（例如古典和浪漫）的方式，被公众广泛地倾听了，在现代生活的日常生活中深深地嵌入了。我的项目追求更广泛的帐户：它研究了非专家听众在艺术音乐中进行的各种情感投资；并在家中恢复了与聆听有关的聆听仪式 - 反映并塑造了这些文化价值观。通过这样做，它不仅解释了如此广泛的艺术音乐观众如何维持这种情况，而且更重要的是，为什么听众认为艺术音乐很重要。 为了激发历史观众的观点，我的研究集中在20世纪最具影响力的音乐教育家伦纳德·伯恩斯坦（Leonard Bernstein）的观众中。尽管最被记住是作曲家和指挥家，但伯恩斯坦作为教育家的遗产使他被归功于“将整个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，我借鉴了两个数据集。首先，我在伦纳德·伯恩斯坦档案馆（Leonard Bernstein Archive）中使用了大量无证件的粉丝邮件，伯恩斯坦（Bernstein）在1950年代，1960年代和1970年代收到了大量的收藏，这是他大多数CBS广播日期的数十年。这种信件阐明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他们的情感投资。这也使我能够重建教育和学生之间存在的动态关系，即使这些“相遇”是通过电视的。其次，我将与前电视观众至少进行30次新的口述历史访谈。这些口述历史将补充我的档案研究，恢复伴随着伯恩斯坦广播的聆听仪式，并探索听众认为这些古典音乐遇到的意义，以此对他们的长期艺术利益。这项研究将作为专着和期刊特别版发表。 除了提供有关20世纪音乐文化的新帐户外，我的项目还利用这项历史研究来发起有关艺术宣传的对话。近年来，在英语领域进行了有关艺术和人文科学在教育中的地位的激烈国际辩论，该辩论仅被大流行而增加。试图证明正在进行的投资的努力将主要集中在经济和社会利益上，同时忽略了艺术的情感吸引力。在回归历史受众所做的情感投资时，我的项目打开了询问与这个被忽视的方面的互动的方式，可以提供一种新的有力的手段，以表达今天的艺术在今天为什么重要。通过两条互连的参与活动来探讨这个问题。首先，利用社交媒体的互动性质，我试图吸引一个对音乐教育感兴趣的社区，以及伯恩斯坦的作品可以通过每月播客和视频博客启发的教训，该播客和视频博客在BuzzsProut上托管并在所有主要的播客存储库中列出。其次，我将与一家古典音乐电影制作公司的项目主管和项目合作伙伴Asport Note合作，制作4张YouTube电影和8张Tiktok短裤，针对KS4学生及其老师，这使从伯恩斯坦的观众中学到的经验教训是为了今天的年轻观众而练习。