ABSTRACT
This collection of essays is the first book-length study of music history and cosmopolitanism, and is informed by arguments that culture and identity do not have to be viewed as primarily located in the context of nationalist narratives. Rather than trying to distinguish between a true cosmopolitanism and a false cosmopolitanism, the book presents studies that deepen understanding of the heritage of this concept – the various ways in which the term has been used to describe a wide range of activity and social outlooks. It ranges over a two hundred-year period, and more than a dozen countries, revealing how musicians and audiences have responded to a common humanity by embracing culture beyond regional or national boundaries. Among the various topics investigated are: musical cosmopolitanism among composers in Latin America, the Ottoman Empire, and Austro-Hungarian Empire; cosmopolitan popular music historiography; cosmopolitan musical entrepreneurs; and musical cosmopolitanism in the metropolises of New York and Shanghai.
TABLE OF CONTENTS
part 1|1 pages
Music and cosmopolitanism in the nineteenth century
chapter 4|15 pages
The cosmopolitan muse
part 2|1 pages
Music and cosmopolitanism in the twentieth century
chapter 5|13 pages
An ‘intricate fabric of influences and coincidences in the history of popular music’
chapter 8|14 pages
The elision of difference, newness and participation
part 3|1 pages
Music and urban cosmopolitanism