The many faces of everyday musical life: Approaching music history from “below”

IF 0.2 0 MUSIC
M. Loeser
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引用次数: 1

Abstract

Is it useful to write history on everyday musical life? And how can we do it? This article introduces a historiographical concept initiated by historians such as Carlo Ginzburg, Alf L?dtke and Richard van D?lmen already in the 1970s, in an attempt to renew the writing of history. Instead of the reconstruction and interpretation of grand narratives and deep structures in society, economy and culture, these historians offer close descriptions of ?average citizens? with their daily musical routines, motivations and preferences, and the result is oft en a cluster of fascinating and wide-ranging insights into different forms of contact with music. Following this general approach, I hope to offer a panorama of everyday musical culture in Hamburg in the early eighteenth century. The sources used for this study include different musical genres such as opera, cantata and instrumental ?table music?, as well as books, newspaper reports, subscription lists, diaries, behavioural guides and archival documents. This material permits insights into the uses made of musicians such as Johann Mattheson, Georg Philipp Telemann and Reinhard Keiser, as well as into the social lives of the Hamburg citizenship.
日常音乐生活的方方面面:从“底层”看音乐史
写日常音乐生活的历史有用吗?我们该怎么做呢?本文介绍了由卡洛·金兹堡、阿尔夫·L?德克和理查德·范·D?早在20世纪70年代,我就开始尝试重新书写历史。这些历史学家没有对社会、经济和文化中的宏大叙事和深层结构进行重建和解释,而是对“普通公民”进行了细致的描述。与他们的日常音乐惯例,动机和偏好,结果往往是一组迷人的和广泛的见解,不同形式的接触音乐。按照这种一般的方法,我希望提供18世纪早期汉堡日常音乐文化的全景。本研究使用的音乐来源包括不同的音乐类型,如歌剧、康塔塔和器乐桌乐。,以及书籍、报纸报道、订阅清单、日记、行为指南和档案文件。这些材料可以让我们深入了解音乐家的用途,如约翰·马西森、乔治·菲利普·特曼和莱因哈德·凯泽,以及汉堡公民的社会生活。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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CiteScore
0.20
自引率
0.00%
发文量
5
审稿时长
12 weeks
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