Orientalism and the nineteenth-century Lied

东方主义与十九世纪艺术歌曲

• 批准号: 2435120
• 金额: --
• 依托单位: University of Oxford
• 依托单位国家: 英国
• 项目类别: Studentship
• 财政年份: 2020
• 资助国家: 英国
• 起止时间: 2020 至 无数据
• 项目状态: 未结题
• 来源: https://gtr.ukri.org/projects?ref=studentship-2435120
• 关键词: Orientalism; nineteenth; century; Lied

Orientalism has been a subject of heated debate ever since Edward Said's 1978 publication, with scholars from a multiplicity of backgrounds working to redefine the boundaries of Orientalism as it applies to underexplored cultures and artforms. Despite the advances of Orientalism in the intellectual sphere generally - and in musicology in particular - the Orientalist Lied has been largely overlooked. Addressing this lacuna, my project will explore how the Orient was imagined and represented in nineteenth-century Austro-German Lieder. I will not only investigate the ways in which Romantic texts, contexts and encounter informed the production of Orientalist Lieder, particularly in their interaction with Romantic-aesthetic topoi, but also how Orientalist Lied performance and Orientalist networks shaped the conceptions and status of the Orient in nineteenth-century culture. It is in this sense that the project aims to use recent scholarship on the multiple ontologies of the Lied - from text to act - to shine light on the multimedia phenomenon of the Orient, as well as using the conceptual power of the textual and performed Orient to reflect upon the importance of the Orientalist Lied in Austro-German musical culture. Focusing on a range of social spaces, including the home, the salon, and the concert hall, I will investigate how and to what extent Lieder express parities, disparities and interconnections between private and public Orientalisms. Although the boundaries between private and public spaces were porous (the tensions between private and public being held in tension by the salon itself, whose gradated contexts spanned the private to the semi-public), domestic spaces were largely constructed in opposition to a bureaucratic external world and offered a site for the early-Romantic practice of Bildung, where musicians rubbed shoulders with poets and artists and built relationships premised on ideals of sociability, exchange and self-improvement through intellectual challenge. How might discussions and contact networks in these settings have influenced the lineaments and dissemination of Orientalist Lieder? Conversely, if Orientalist Lieder were produced for 'public' consumption, did composers and singers retain 'exotic', musical schemata to suit the so-called 'Massengeschmack' or 'romanticise' (in the Novalisian sense) the Orient to accord with ideas of interiority, selfhood and cultural translation? Expanding outwards, what might the differences and similarities tell us about nuanced responses of nineteenth-century music consumers to Orientalist musical materials? The interrogation of Orientalism in Lieder will require a methodical consideration of Orientalist references found in primary textual sources and visual artworks from the period under review. With regard to text, I will ask whether Orientalist music held a comparably privileged position in the writings of the early Romantics and the burgeoning practice of music criticism and (ethno-)musicological writing. What role did Orientalism play for E.T.A. Hoffmann or contributors to the Berliner Allgemeine Musikalische Zeitung? And how might this have differed from Robert Schumann's Neue Zeitschrift fur Musik, for example? Despite the centrality of Orientalism in the Lied and poetic repertory, particularly through Goethe's West-östlicher Divan (1819), which inspired some of the period's most beloved Lieder (with notable examples by Schubert in 1821 and Schumann in Myrthen, 1840), much of the source material - indeed, a hidden repertory - is still to be uncovered. It is precisely because of this neglect that revisiting the primary material with critical, Orientalist eyes must constitute a starting-point for the advancement of a theory of Lied Orientalism in nineteenth-century culture.

自爱德华·赛义德1978年出版以来，东方主义一直是一个激烈辩论的主题，来自多种背景的学者致力于重新定义东方主义的边界，因为它适用于未充分探索的文化和艺术形式。尽管东方主义在一般知识领域--尤其是在音乐学领域--取得了进步，但东方主义艺术歌曲在很大程度上被忽视了。为了解决这个空白，我的项目将探索东方是如何想象和表现在十九世纪的奥地利-德国艺术歌曲。我将不仅研究浪漫主义文本、语境和遭遇如何影响东方艺术歌曲的创作，特别是它们与浪漫主义美学主题的互动，而且研究东方艺术歌曲表演和东方主义网络如何塑造东方在19世纪文化中的概念和地位。正是在这个意义上，该项目的目的是利用最近的奖学金对艺术歌曲的多种本体论-从文本到行为-照亮东方的多媒体现象，以及使用文本和表演东方的概念力量，以反映在奥地利-德国音乐文化中的东方主义艺术歌曲的重要性。关注一系列的社会空间，包括家庭，沙龙和音乐厅，我将研究如何以及在何种程度上艺术歌曲表达私人和公共东方主义之间的平等，差异和相互联系。尽管私人空间和公共空间之间的界限是多孔的（私人和公共之间的紧张关系被沙龙本身所控制，沙龙的等级背景从私人到半公共），家庭空间在很大程度上是与官僚主义的外部世界相对立的，并为早期浪漫主义的教化实践提供了场所，在那里，音乐家们与诗人和艺术家们肩并肩，建立起基于社交、交流和通过智力挑战自我提高的理想的关系。在这些背景下的讨论和联系网络如何影响了东方艺术歌曲的轮廓和传播？反过来说，如果东方艺术歌曲是为“公众”消费而创作的，作曲家和歌手是否保留了“异国情调”的音乐图式，以适应所谓的“Massengeschmack”或“浪漫化”（在诺瓦拉主义的意义上），使东方雅阁，自我和文化翻译的想法？向外扩展，19世纪音乐消费者对东方主义音乐材料的微妙反应的差异和相似之处可能告诉我们什么？对艺术歌曲中的东方主义的审问需要系统地考虑在主要文本来源和审查期间的视觉艺术作品中发现的东方主义参考。关于文本，我会问东方主义音乐是否在早期浪漫主义者的作品中以及音乐批评和（民族）音乐学写作的新兴实践中占据了一个特殊的地位。东方主义在E.T.A.中扮演了什么角色？霍夫曼还是《柏林汇报》的撰稿人？这与罗伯特·舒曼的《新音乐杂志》有何不同？尽管东方主义在艺术歌曲和诗歌曲目中占据中心地位，特别是通过歌德的《西-奥斯特利歇·迪万》（1819年），激发了这一时期最受欢迎的艺术歌曲（舒伯特在1821年和舒曼在Myrthen，1840年的著名例子），但大部分原始材料-实际上，一个隐藏的曲目-仍然有待发现。正是因为这种忽视，以批判的东方主义眼光重新审视原始材料必须成为十九世纪文化中东方主义谎言理论发展的起点。