ABSTRACT
This significant volume moves music-historical research in the direction of deconstructing the national grand narratives in music history, of challenging the national paradigm in methodology, and thinking anew about cultural traffic, cultural transfer and cosmopolitanism in the musical past. The chapters of this book confront, or subject to some kind of critique, assumptions about the importance of the national in the musical past. The emphasis, therefore, is not so much on how national culture has been constructed, or how national cultural institutions have influenced musical production, but, rather, on the way the national has been challenged by musical practices or audience reception.
TABLE OF CONTENTS
part 1|76 pages
Confronting the national
chapter 4|14 pages
The travelling musician as cosmopolitan
chapter 5|13 pages
Communist nationalisms, internationalisms, and cosmopolitanisms
part 2|60 pages
Confronting national institutions
chapter 7|14 pages
Two men averting the gaze from the fatherland
chapter 8|14 pages
National phonography in the musical past
part 3|57 pages
Confronting national stereotypes