Disavowing the Instrumental Battle Piece.
The long nineteenth century is bounded by conflicts that significantly altered the relationship between war and music. One musical genre to benefit early on was the instrumental battle piece, whose decline in popularity most scholarship assigns to around 1815. In fact, it can be argued that it survi...
| Published in: | Journal of Musicological Research Vol. 34; no. 3; pp. 204 - 224 |
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| Format: | Article |
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Taylor & Francis Ltd
Jul-Sep2015
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| Online Access: | View this record in EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=108592990&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 108592990 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 01411896 7WF jtl: Journal of Musicological Research issn: 01411896 maglogo: N pubinfo: dt: Jul-Sep2015 vid: 34 iid: 3 pid: 377 pub: Taylor & Francis Ltd artinfo: ui: 108592990 10.1080/01411896.2015.1050328 ppf: 204 ppct: 20 formats: fmt: – @attributes: type: T – @attributes: type: P size: 1.3MB tig: atl: Disavowing the Instrumental Battle Piece. aug: au: Kregor, Jonathan affil: University of Cincinnati su: Music & war Instrumental music Beethoven, Ludwig van, 1770-1827 1812 Overture (Poem) Kossuth (Poem) En blanc et noir (Music) World War I History sug: subj: Music & war Instrumental music Beethoven, Ludwig van, 1770-1827 1812 Overture (Poem) Kossuth (Poem) En blanc et noir (Music) World War I History ab: The long nineteenth century is bounded by conflicts that significantly altered the relationship between war and music. One musical genre to benefit early on was the instrumental battle piece, whose decline in popularity most scholarship assigns to around 1815. In fact, it can be argued that it survived for another century, transformed from a conveyor of heroic mythology to a politicized palimpsest of national and personal trauma through a process of disavowal, in which authors consciously projected chaos and disorder. Most battle pieces famous in the early nineteenth century, such as Kotzwara’sThe Battle of Pragueand Beethoven’sWellingtons Sieg, feature a set of common ingredients that were poeticized and de-historicized toward mid-century in works such as Spohr’s Fourth Symphony. The tokenistic appearance of the traditional battle elements in Tchaikovsky’s “1812” Overture, Bartók’sKossuth, and Debussy’sEn blanc et noirsuggests a widespread ontological subversion of the battle-music narrative in the generation leading up to the First World War. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Journal of Musicological Research is the property of Taylor & Francis Ltd and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Journal of Musicological Research holder: Taylor & Francis Ltd dt: @attributes: year: 2015 holdings: @attributes: islocal: N |
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