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

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，它也非常存在于资产阶级范围之外，这一事实到目前为止几乎没有人注意到。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假设的那样微不足道。相反，古典音乐是工人阶级运动休闲和教育活动的组成部分。此外，资产阶级慈善家经常为下层阶级组织廉价的音乐会和讲座之夜。这个项目以柏林为例对这一现象进行了调查，从而为1900年前后的音乐会生活增添了关键的一块。如果一个人理解布尔迪厄的文化，将其作为一种资源，用于争取区别，这些形式不仅仅是音乐作品的无目的表演。这本书从两个方面探讨了不同社会群体在一个非常动态的时代的政治、社会和文化谈判过程。首先，在话语层面上考察了与让艺术音乐普及给广大民众相关的动机、保留意见和冲突。因此，画出了一幅尽可能全面的实际音乐会生活的图景。只有那些播放艺术音乐的格式(如当时所理解的那样)，同时工人负担得起，与日常工厂生活相适应，并明确针对广大人口群体的格式进行了审查。本研究分为两个部分。首先，考察了公民为工人组织的举措，这些举措被含蓄或明确地理解为自上而下的教育措施。另一方面，第二部分涉及来自更广泛的工人运动环境的倡议，如工人合唱团、受欢迎的剧院或工会。这项研究的核心是跨学科的，位于历史学和音乐学、文化研究和音乐社会学的交叉点上。它结合了日常生活史和情感史的视角，为表演研究领域提供了新的见解，补充了对劳工史的广泛研究，并对倾听的历史做出了贡献。此外，它还包括迄今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，这项研究也试图有助于对艺术音乐现象的批判性理解。

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.