Whose Spain?

Negotiating "Spanish Music" in Paris, 1908-1929

Nonfiction, Entertainment, Music, Theory & Criticism, History & Criticism, Reference, History, France
Cover of the book Whose Spain? by Samuel Llano, Oxford University Press
View on Amazon View on AbeBooks View on Kobo View on B.Depository View on eBay View on Walmart
Author: Samuel Llano ISBN: 9780199996452
Publisher: Oxford University Press Publication: November 20, 2012
Imprint: Oxford University Press Language: English
Author: Samuel Llano
ISBN: 9780199996452
Publisher: Oxford University Press
Publication: November 20, 2012
Imprint: Oxford University Press
Language: English

From the very beginning of the nineteenth century, many elements of Spanish culture carried an air of 'exoticism' for the French-and nothing played more important of a role in shaping the French idea of Spain than the country's musical tradition. However, as Samuel Llano argues in Whose Spain?, perceptions and representations of Spanish musical identities changed in the early twentieth century, due to the emergence of the hispanistes. These specialists on Spanish music and culture, who wrote encyclopedic and 'scientific' articles on 'Spanish music,' strived to endow the world of Spanish music with a sense of authority and knowledge. Yet, the writings of those hispanistes and other music critics showed a highly sensationalist attitude, aimed at describing 'Spanish music' in a way that was instrumental to the interests of French musicians. At the same time, the Spanish fought to articulate their own identities through the creation and performance of new musical works. In this book, Llano analyzes the socio-political discourses underpinning critical and musicological descriptions of 'Spanish music' and the discourse's connection with French politics and culture. He also studies operas and other musical works for the stage as privileged sites for the production of Spanish musical identities, given the enhanced possibilities of performance for cultural and critical engagement. The study covers the period 1908 to 1929, when representations of 'Spanish music' in the writings of the hispaniste Henri Collet and other French musicians underwent several transformations, mostly sparked by the need to reformulate French identity during and after the First World War. Ultimately, Llano demonstrates that definitions of 'French' and 'Spanish' music were to some extent interdependent, and that the public performances of these pieces even helped the musical community in France to begein to reformulate their notions of 'Spanish music' and identity.

View on Amazon View on AbeBooks View on Kobo View on B.Depository View on eBay View on Walmart

From the very beginning of the nineteenth century, many elements of Spanish culture carried an air of 'exoticism' for the French-and nothing played more important of a role in shaping the French idea of Spain than the country's musical tradition. However, as Samuel Llano argues in Whose Spain?, perceptions and representations of Spanish musical identities changed in the early twentieth century, due to the emergence of the hispanistes. These specialists on Spanish music and culture, who wrote encyclopedic and 'scientific' articles on 'Spanish music,' strived to endow the world of Spanish music with a sense of authority and knowledge. Yet, the writings of those hispanistes and other music critics showed a highly sensationalist attitude, aimed at describing 'Spanish music' in a way that was instrumental to the interests of French musicians. At the same time, the Spanish fought to articulate their own identities through the creation and performance of new musical works. In this book, Llano analyzes the socio-political discourses underpinning critical and musicological descriptions of 'Spanish music' and the discourse's connection with French politics and culture. He also studies operas and other musical works for the stage as privileged sites for the production of Spanish musical identities, given the enhanced possibilities of performance for cultural and critical engagement. The study covers the period 1908 to 1929, when representations of 'Spanish music' in the writings of the hispaniste Henri Collet and other French musicians underwent several transformations, mostly sparked by the need to reformulate French identity during and after the First World War. Ultimately, Llano demonstrates that definitions of 'French' and 'Spanish' music were to some extent interdependent, and that the public performances of these pieces even helped the musical community in France to begein to reformulate their notions of 'Spanish music' and identity.

More books from Oxford University Press

Cover of the book Great God A'Mighty! The Dixie Hummingbirds by Samuel Llano
Cover of the book Feast of Excess by Samuel Llano
Cover of the book The Oxford Handbook of the Prehistoric Arctic by Samuel Llano
Cover of the book Brain Renaissance by Samuel Llano
Cover of the book Rebels Rising : Cities and the American Revolution by Samuel Llano
Cover of the book Welfare State Theory: Oxford Bibliographies Online Research Guide by Samuel Llano
Cover of the book Neuropsychological Management of Mild Traumatic Brain Injury by Samuel Llano
Cover of the book The Concerto by Samuel Llano
Cover of the book Structures and Beyond by Samuel Llano
Cover of the book Masters of the Battlefield: Great Commanders From the Classical Age to the Napoleonic Era by Samuel Llano
Cover of the book The Diagnosis and Treatment of Breakthrough Pain by Samuel Llano
Cover of the book Identifying and Understanding the Narcissistic Personality by Samuel Llano
Cover of the book Mission Failure by Samuel Llano
Cover of the book The King and the Land by Samuel Llano
Cover of the book Americans and the California Dream, 1850-1915 by Samuel Llano
We use our own "cookies" and third party cookies to improve services and to see statistical information. By using this website, you agree to our Privacy Policy