- 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 Apollo, the Greek god of music, and the brutality he displays whenever his musical talent is challenged. The article also discusses the role music plays in the aestheticization of politics and how it can be used as a form of unwilling listening inflicted as a form of punishment. It relates the myth of Apollo and Marsyas, a mortal who dared challenge the Greek god to a contest of musical skill. This myth is depicted in hundreds of paintings, from Pietro Perugino's late fifteenth-century representation, to more modern depictions. Apollo was also used in paintings that decorated harpsichords and virginals, and his exploits were performed during the ommegang or public parade.
Richard Leppert is Regents Professor and Morse Alumni Distinguished Teaching Professor in the Department of Cultural Studies and Comparative Literature at the University of Minnesota. The most recent of his ten books are Beyond the Soundtrack: Representing Music in Cinema, coedited with Daniel Goldmark and Lawrence Kramer, published by the University of California Press; and Sound Judgment, for the Ashgate series Contemporary Thinkers on Critical Musicology.
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