Trevor Herbert and Helen Barlow
- Published in print:
- 2013
- Published Online:
- September 2013
- ISBN:
- 9780199898312
- eISBN:
- 9780199345526
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199898312.003.0006
- Subject:
- Music, History, Western
The chapter deals with the recruitment and training of military musicians in the context of wider aspects of recruitment and training for music professionals. It deals with boy musicians, their ...
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The chapter deals with the recruitment and training of military musicians in the context of wider aspects of recruitment and training for music professionals. It deals with boy musicians, their training and recruitment, and with concerns over the training of musicians in London more generally and the establishment of what was to become the Royal Military School of Music.Less
The chapter deals with the recruitment and training of military musicians in the context of wider aspects of recruitment and training for music professionals. It deals with boy musicians, their training and recruitment, and with concerns over the training of musicians in London more generally and the establishment of what was to become the Royal Military School of Music.
Trevor Herbert and Helen Barlow
- Published in print:
- 2013
- Published Online:
- September 2013
- ISBN:
- 9780199898312
- eISBN:
- 9780199345526
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199898312.003.0005
- Subject:
- Music, History, Western
The chapter explains how an aristocratic officer class, as the commanding officers of militia regiments, established a network of musical units throughout Britain and Ireland. It focuses on the role ...
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The chapter explains how an aristocratic officer class, as the commanding officers of militia regiments, established a network of musical units throughout Britain and Ireland. It focuses on the role of military bands in social and musical life outside London, including the influence of military music on domestic piano music. It deals with the social and martial functions in which these musicians were engaged, and in so doing, touches on instrumentation, repertoire, recruitment and training.Less
The chapter explains how an aristocratic officer class, as the commanding officers of militia regiments, established a network of musical units throughout Britain and Ireland. It focuses on the role of military bands in social and musical life outside London, including the influence of military music on domestic piano music. It deals with the social and martial functions in which these musicians were engaged, and in so doing, touches on instrumentation, repertoire, recruitment and training.
Trevor Herbert and Helen Barlow
- Published in print:
- 2013
- Published Online:
- September 2013
- ISBN:
- 9780199898312
- eISBN:
- 9780199345526
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199898312.001.0001
- Subject:
- Music, History, Western
The book is the first to examine the relationship between the British military as a sponsor of music and musicians within wider aspects of music history during the long nineteenth century. While the ...
More
The book is the first to examine the relationship between the British military as a sponsor of music and musicians within wider aspects of music history during the long nineteenth century. While the focus is on Britain, it also deals directly or by implication with other European countries and the USA. Throughout the period the military was by far the largest employer of musicians and generator of the most widely dispersed musical networks. Consequently it was essential to the commerical infrastructures of music. For most of this period the army was a conglomerate of individual regiments and militia units led by an officer class drawn largely from the aristocracy and gentry. Military musicians functioned as the private bands of this class and were essential components in its social milieu. The book tells a remarkable and previously untold story of a massive and influential sector of the music profession. It deals with musicians in times of peace and in the terrible theatres of nineteenth-century warfare. It also reveals important musical legacies.Less
The book is the first to examine the relationship between the British military as a sponsor of music and musicians within wider aspects of music history during the long nineteenth century. While the focus is on Britain, it also deals directly or by implication with other European countries and the USA. Throughout the period the military was by far the largest employer of musicians and generator of the most widely dispersed musical networks. Consequently it was essential to the commerical infrastructures of music. For most of this period the army was a conglomerate of individual regiments and militia units led by an officer class drawn largely from the aristocracy and gentry. Military musicians functioned as the private bands of this class and were essential components in its social milieu. The book tells a remarkable and previously untold story of a massive and influential sector of the music profession. It deals with musicians in times of peace and in the terrible theatres of nineteenth-century warfare. It also reveals important musical legacies.
Elaine Kelly
- Published in print:
- 2014
- Published Online:
- October 2014
- ISBN:
- 9780199998098
- eISBN:
- 9780199394371
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199998098.001.0001
- Subject:
- Music, History, Western, Theory, Analysis, Composition
National identity in the German Democratic Republic was heavily predicated on the past. The state was posited as the second German Enlightenment, and socialism as the culmination of a legacy of ...
More
National identity in the German Democratic Republic was heavily predicated on the past. The state was posited as the second German Enlightenment, and socialism as the culmination of a legacy of rational thought dating back to the French Revolution. Nineteenth-century music featured prominently in this foundation myth. A heritage of classical realism originating with Beethoven was heralded as the precursor to socialist realism. Romanticism, in contrast, was identified as the locus for the irrationalism that had led to fascism and capitalism. This book charts the reception of this canon in the GDR. It explores the role that the musical heritage played in the construction of East German socialism, and demonstrates how the changing landscape of canon reception in later decades anticipated the GDR’s demise. As the GDR stagnated, disillusioned intellectuals deconstructed the socialist canon’s unifying narratives, and positioned it firmly within a discourse of late socialism. The book considers processes of canon formation in a variety of contexts, including musicology, composition, opera, literature, and film. It draws on a broad range of primary sources, and combines empirical archival research with conceptual methodologies adapted from discourse theory, theories of nationalism, and theories of lateness, both artistic and political. The resulting study illuminates not only the nuances of musical thought in the GDR, it also reveals the extent to which the state’s aesthetic discourse encoded a trajectory of societal ascent and decline.Less
National identity in the German Democratic Republic was heavily predicated on the past. The state was posited as the second German Enlightenment, and socialism as the culmination of a legacy of rational thought dating back to the French Revolution. Nineteenth-century music featured prominently in this foundation myth. A heritage of classical realism originating with Beethoven was heralded as the precursor to socialist realism. Romanticism, in contrast, was identified as the locus for the irrationalism that had led to fascism and capitalism. This book charts the reception of this canon in the GDR. It explores the role that the musical heritage played in the construction of East German socialism, and demonstrates how the changing landscape of canon reception in later decades anticipated the GDR’s demise. As the GDR stagnated, disillusioned intellectuals deconstructed the socialist canon’s unifying narratives, and positioned it firmly within a discourse of late socialism. The book considers processes of canon formation in a variety of contexts, including musicology, composition, opera, literature, and film. It draws on a broad range of primary sources, and combines empirical archival research with conceptual methodologies adapted from discourse theory, theories of nationalism, and theories of lateness, both artistic and political. The resulting study illuminates not only the nuances of musical thought in the GDR, it also reveals the extent to which the state’s aesthetic discourse encoded a trajectory of societal ascent and decline.
