Women, Song and Subjectivity in the Nineteenth Century

Kód výsledku v IS VaVaI

<a href="https://www.isvavai.cz/riv?ss=detail&h=RIV%2F68378033%3A_____%2F24%3A00588570" target="_blank" >RIV/68378033:_____/24:00588570 - isvavai.cz</a>

Výsledek na webu

<a href="https://doi.org/10.1017/9781108774079" target="_blank" >https://doi.org/10.1017/9781108774079</a>

DOI - Digital Object Identifier

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Jazyk výsledku

angličtina

Název v původním jazyce

Women, Song and Subjectivity in the Nineteenth Century

Popis výsledku v původním jazyce

In the first half of the nineteenth century, the Lied provided women composers and performers with an important vehicle for self-expression, a means to assert their creativity and agency at a time when larger, more public forms of artistic expression were less accessible to them. Studying the Lied with reference to the contexts in which it was conceived, performed, and received provides crucial insights into the interpersonal relationships fostered by music-making during this period. Equally important, analysing Lieder with these contexts in mind shows how such relationships were refracted through the prism of song. Both lines of enquiry – one historical, the other analytical – unite in an effort to uncover what Aisling Kenny and Susan Wollenberg have described as the ‘personal stamp’ that female composers and performers placed on the nineteenth-century Lied. Combining these approaches, we explore two different spaces for the expression of female subjectivity in the nineteenth century: the physical space of cultural practice – salonesque gatherings in private homes – and the creative space of cultural practice – songs that would have been heard in these gatherings. After a brief introductory discussion of nineteenth-century salon culture, we examine female subjectivity in private social gatherings, focusing on three case-studies: Elise von Schlik (1792–1855), Johanna Kinkel (1810–1858), and Fanny Hensel (1805–1847). Then, returning to Hensel and her circle, we look at a particularly rich example of female subjectivity expressed in song. In choosing three examples based in Berlin (Hensel), Bonn (Kinkel), and Prague (Schlik), we aim to position these women within their own individual circles, and to trace intersections among them. Ultimately, we argue that, despite their confined circumstances, these women and others in their circles found ways of expressing themselves and shaping their social environments, both by meeting and exchanging ideas in physical gatherings – the space of the salon – and by communicating subtle messages through words and music – the space of song.

Název v anglickém jazyce

Women, Song and Subjectivity in the Nineteenth Century

Popis výsledku anglicky

In the first half of the nineteenth century, the Lied provided women composers and performers with an important vehicle for self-expression, a means to assert their creativity and agency at a time when larger, more public forms of artistic expression were less accessible to them. Studying the Lied with reference to the contexts in which it was conceived, performed, and received provides crucial insights into the interpersonal relationships fostered by music-making during this period. Equally important, analysing Lieder with these contexts in mind shows how such relationships were refracted through the prism of song. Both lines of enquiry – one historical, the other analytical – unite in an effort to uncover what Aisling Kenny and Susan Wollenberg have described as the ‘personal stamp’ that female composers and performers placed on the nineteenth-century Lied. Combining these approaches, we explore two different spaces for the expression of female subjectivity in the nineteenth century: the physical space of cultural practice – salonesque gatherings in private homes – and the creative space of cultural practice – songs that would have been heard in these gatherings. After a brief introductory discussion of nineteenth-century salon culture, we examine female subjectivity in private social gatherings, focusing on three case-studies: Elise von Schlik (1792–1855), Johanna Kinkel (1810–1858), and Fanny Hensel (1805–1847). Then, returning to Hensel and her circle, we look at a particularly rich example of female subjectivity expressed in song. In choosing three examples based in Berlin (Hensel), Bonn (Kinkel), and Prague (Schlik), we aim to position these women within their own individual circles, and to trace intersections among them. Ultimately, we argue that, despite their confined circumstances, these women and others in their circles found ways of expressing themselves and shaping their social environments, both by meeting and exchanging ideas in physical gatherings – the space of the salon – and by communicating subtle messages through words and music – the space of song.

Druh

C - Kapitola v odborné knize

CEP obor

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OECD FORD obor

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

Projekt

<a href="/cs/project/GA22-16531S" target="_blank" >GA22-16531S: Polosoukromé hudební praxe v Praze, Vídni a Berlíně (1815–1850): Hudební repertoár v dobovém sociokulturním kontextu</a><br>

Návaznosti

P - Projekt vyzkumu a vyvoje financovany z verejnych zdroju (s odkazem do CEP)

Rok uplatnění

2024

Kód důvěrnosti údajů

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

Název knihy nebo sborníku

The Cambridge Companion to Women Composers

ISBN

978-1-108-73351-9

Počet stran výsledku

22

Strana od-do

183-204

Počet stran knihy

376

Název nakladatele

Cambridge University Press

Místo vydání

Cambridge

Kód UT WoS kapitoly

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