- The Oxford Handbook of the New Cultural History of Music
- Introduction: Defining the New Cultural History of Music, Its Origins, Methodologies, and Lines of Inquiry
- Gender, Performativity, and Allusion in Medieval Services for the Consecration of Virgins
- Music, Violence, and the Stakes of Listening
- Music and Pain
- “The Road into the Open”: From Narrative Closure to the Endless Performance of Subjectivity in Mahler and Freud at the Turn of the Century
- Understanding Schoenberg as Christ
- The Strange Landscape of Middles
- The Genre of National Opera in a European Comparative Perspective
- Cosmopolitan, National, and Regional Identities in Eighteenth-Century European Musical Life
- Mendelssohn on the Road: Music, Travel, and the Anglo-German Symbiosis
- “Shooting the Keys”: Musical Horseplay and High Culture
- Yvette Guilbert and the Revaluation of the <i>Chanson Populaire</i> and <i>Chanson Ancienne</i> during the Third Republic, 1889–1914
- Remembrance of Jazz Past: Sidney Bechet in France
- An Evening at the Opera in Seventeenth-Century Venice
- Josquin des Prez, Renaissance Historiography, and the Cultures of Print
- From “the Voice of the Maréchal” to Musique Concrète: Pierre Schaeffer and the Case for Cultural History
- A Matter of Style: State Sacrificial Music and Cultural-Political Discourse in Southern Song China (1127–1279)
- <i>Ernani</i> Hats: Italian Opera as a Repertoire of Political Symbols during the Risorgimento
- Modalities of National Identity: Sibelius Builds a First Symphony
- Beethoven, Napoleon, and Political Romanticism
- Translating Herder Translating: Cultural Translation and the Making of Modernity
- The Eye of the Needle: Music as History after the Age of Recording
- Afterword: Whose Culture? Whose History? Whose Music?
Abstract and Keywords
This article is concerned with the examination of music history. It first shows that the methodological and scholarly trends of the past two decades explicitly and implicitly reflect three modern cultural and political obsessions. It then shows that the shifting context and character of musical perception have influenced how people interpret what is historically significant in the history of music. The next section discusses the influence of recording in music history, as well as its parallelism in art historical scholarship.
Leon Botstein has been the president of Bard College since 1975. As a conductor, he serves as the music director of both the American Symphony Orchestra and the Jerusalem Symphony Orchestra. He is the author of Jefferson's Children: Education and the Promise of American Culture, editor of the Musical Quarterly, coeditor of Jews and the City of Vienna, 1870–1938, and editor of The Complete Brahms. He has been the recipient of the Carnegie Corporation Academic Leadership Award, the Award for Distinguished Service to the Arts from the American Academy of Arts and Letters, Harvard University's Centennial Award, and the Austrian Cross of Honour for Science and Art.
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