Popular Song in the (Semi-)Private Domain? Considering the Nineteenth-Century Salon within the Context of Popular Culture

Kód výsledku v IS VaVaI

<a href="https://www.isvavai.cz/riv?ss=detail&h=RIV%2F68378033%3A_____%2F22%3A00563398" target="_blank" >RIV/68378033:_____/22:00563398 - isvavai.cz</a>

Výsledek na webu

<a href="https://www.brepols.net/products/IS-9782503600789-1" target="_blank" >https://www.brepols.net/products/IS-9782503600789-1</a>

DOI - Digital Object Identifier

—

Jazyk výsledku

angličtina

Název v původním jazyce

Popular Song in the (Semi-)Private Domain? Considering the Nineteenth-Century Salon within the Context of Popular Culture

Popis výsledku v původním jazyce

Scholars scrutinising the nineteenth-century German Lied have grappled with difficulties in situating this genre as regards its aesthetic (and commercial) value, because it is positioned somewhere between popular culture and high art. While the works rooted in this genre vary in terms of their compositional aesthetics, and indeed, may bear similarities with their pendants in other languages, they share their performance contexts: distributed as sheet music, many of these compositions were performed in (semi-)private settings beyond their own regional and/or national realms. These settings range from high-calibre musical salons (for instance those of Fanny Hensel, Berlin, and Václav Jan Tomášek, Prague) to less musically-oriented gatherings in the homes of writers, politicians, and/or people holding other forms of social responsibility. This article offers first ideas as to how the salon, as a semi-private platform, took an active part in shaping nineteenth-century popular culture and in inspiring and disseminating popular song. I focus especially on the gatherings hosted by Fanny Hensel in Berlin and Elise von Schlik in Prague.

Název v anglickém jazyce

Popular Song in the (Semi-)Private Domain? Considering the Nineteenth-Century Salon within the Context of Popular Culture

Popis výsledku anglicky

Scholars scrutinising the nineteenth-century German Lied have grappled with difficulties in situating this genre as regards its aesthetic (and commercial) value, because it is positioned somewhere between popular culture and high art. While the works rooted in this genre vary in terms of their compositional aesthetics, and indeed, may bear similarities with their pendants in other languages, they share their performance contexts: distributed as sheet music, many of these compositions were performed in (semi-)private settings beyond their own regional and/or national realms. These settings range from high-calibre musical salons (for instance those of Fanny Hensel, Berlin, and Václav Jan Tomášek, Prague) to less musically-oriented gatherings in the homes of writers, politicians, and/or people holding other forms of social responsibility. This article offers first ideas as to how the salon, as a semi-private platform, took an active part in shaping nineteenth-century popular culture and in inspiring and disseminating popular song. I focus especially on the gatherings hosted by Fanny Hensel in Berlin and Elise von Schlik in Prague.

Druh

C - Kapitola v odborné knize

CEP obor

—

OECD FORD obor

60403 - Performing arts studies (Musicology, Theater science, Dramaturgy)

Projekt

—

Návaznosti

I - Institucionalni podpora na dlouhodoby koncepcni rozvoj vyzkumne organizace

Rok uplatnění

2022

Kód důvěrnosti údajů

S - Úplné a pravdivé údaje o projektu nepodléhají ochraně podle zvláštních právních předpisů

Název knihy nebo sborníku

Popular Songs in the Nineteenth Century

ISBN

978-2-503-60078-9

Počet stran výsledku

20

Strana od-do

113-132

Počet stran knihy

384

Název nakladatele

Brepols

Místo vydání

Turnhout

Kód UT WoS kapitoly

—