{"title":"19世纪法国和英国音乐标准化的政治","authors":"E. Gillin, Fanny Gribenski","doi":"10.1093/PASTJ/GTAA007","DOIUrl":null,"url":null,"abstract":"\n This article examines mid-nineteenth-century Anglo-French relations through the prism of musical standardization. Bringing together perspectives from musicology, history of science, and political history, it demonstrates the holistic value of musical practices for the study of processes of political integration. In 1859, Napoléon III's government determined a national pitch to which musicians should tune their instruments. The following year, Britain's Society of Arts attempted to emulate this standard. Amid tense Anglo-French relations, British audiences interpreted the French pitch as a measure of the country's autocracy, and these political anxieties materialized through a redefinition of the standard. The challenges of introducing a musical pitch within a liberal political framework encountered in 1859 were subsequently echoed in debates over the reform of weights and measures following the 1860 free trade treaty between Britain and France. Both the economic and artistic integration of these countries involved the problem of how to regulate society within a laissez-faire state. Musical standardization has received little historiographical attention, but the regulation of this art offers insights into mid-nineteenth-century Anglo-French political culture. Entangled within complex network of industrial, institutional, and social structures, musical pitch demonstrates how problems of economic and social integration were inseparable from international and socio-political contexts.","PeriodicalId":47870,"journal":{"name":"Past & Present","volume":null,"pages":null},"PeriodicalIF":1.8000,"publicationDate":"2021-04-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1093/PASTJ/GTAA007","citationCount":"1","resultStr":"{\"title\":\"The Politics of Musical Standardization in Nineteenth-Century France and Britain\",\"authors\":\"E. Gillin, Fanny Gribenski\",\"doi\":\"10.1093/PASTJ/GTAA007\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"\\n This article examines mid-nineteenth-century Anglo-French relations through the prism of musical standardization. Bringing together perspectives from musicology, history of science, and political history, it demonstrates the holistic value of musical practices for the study of processes of political integration. In 1859, Napoléon III's government determined a national pitch to which musicians should tune their instruments. The following year, Britain's Society of Arts attempted to emulate this standard. Amid tense Anglo-French relations, British audiences interpreted the French pitch as a measure of the country's autocracy, and these political anxieties materialized through a redefinition of the standard. The challenges of introducing a musical pitch within a liberal political framework encountered in 1859 were subsequently echoed in debates over the reform of weights and measures following the 1860 free trade treaty between Britain and France. Both the economic and artistic integration of these countries involved the problem of how to regulate society within a laissez-faire state. Musical standardization has received little historiographical attention, but the regulation of this art offers insights into mid-nineteenth-century Anglo-French political culture. Entangled within complex network of industrial, institutional, and social structures, musical pitch demonstrates how problems of economic and social integration were inseparable from international and socio-political contexts.\",\"PeriodicalId\":47870,\"journal\":{\"name\":\"Past & Present\",\"volume\":null,\"pages\":null},\"PeriodicalIF\":1.8000,\"publicationDate\":\"2021-04-26\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"https://sci-hub-pdf.com/10.1093/PASTJ/GTAA007\",\"citationCount\":\"1\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Past & Present\",\"FirstCategoryId\":\"98\",\"ListUrlMain\":\"https://doi.org/10.1093/PASTJ/GTAA007\",\"RegionNum\":1,\"RegionCategory\":\"历史学\",\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"Q1\",\"JCRName\":\"HISTORY\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Past & Present","FirstCategoryId":"98","ListUrlMain":"https://doi.org/10.1093/PASTJ/GTAA007","RegionNum":1,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"Q1","JCRName":"HISTORY","Score":null,"Total":0}
引用次数: 1
摘要
本文从音乐标准化的角度考察了19世纪中期英法关系。它汇集了音乐学、科学史和政治史的观点,展示了音乐实践对政治整合过程研究的整体价值。1859年,拿破仑三世政府确定了一个全国性的音高,音乐家们应该根据这个音高来调音。第二年,英国艺术协会(british Society of Arts)试图效仿这一标准。在英法关系紧张的情况下,英国观众将法国的宣传解读为衡量该国专制的标准,而这些政治焦虑通过对标准的重新定义成为现实。在1859年的自由政治框架下引入音高的挑战,随后在1860年英法自由贸易条约之后关于度量衡改革的辩论中得到了回应。这些国家的经济和艺术一体化都涉及到如何在一个自由放任的国家内规范社会的问题。音乐的标准化很少受到史学的关注,但这种艺术的规范提供了对19世纪中期英法政治文化的见解。在工业、制度和社会结构的复杂网络中纠缠不清,音乐音高表明了经济和社会一体化问题是如何与国际和社会政治背景密不可分的。
The Politics of Musical Standardization in Nineteenth-Century France and Britain
This article examines mid-nineteenth-century Anglo-French relations through the prism of musical standardization. Bringing together perspectives from musicology, history of science, and political history, it demonstrates the holistic value of musical practices for the study of processes of political integration. In 1859, Napoléon III's government determined a national pitch to which musicians should tune their instruments. The following year, Britain's Society of Arts attempted to emulate this standard. Amid tense Anglo-French relations, British audiences interpreted the French pitch as a measure of the country's autocracy, and these political anxieties materialized through a redefinition of the standard. The challenges of introducing a musical pitch within a liberal political framework encountered in 1859 were subsequently echoed in debates over the reform of weights and measures following the 1860 free trade treaty between Britain and France. Both the economic and artistic integration of these countries involved the problem of how to regulate society within a laissez-faire state. Musical standardization has received little historiographical attention, but the regulation of this art offers insights into mid-nineteenth-century Anglo-French political culture. Entangled within complex network of industrial, institutional, and social structures, musical pitch demonstrates how problems of economic and social integration were inseparable from international and socio-political contexts.
期刊介绍:
Founded in 1952, Past & Present is widely acknowledged to be the liveliest and most stimulating historical journal in the English-speaking world. The journal offers: •A wide variety of scholarly and original articles on historical, social and cultural change in all parts of the world. •Four issues a year, each containing five or six major articles plus occasional debates and review essays. •Challenging work by young historians as well as seminal articles by internationally regarded scholars. •A range of articles that appeal to specialists and non-specialists, and communicate the results of the most recent historical research in a readable and lively form. •A forum for debate, encouraging productive controversy.