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Beskrivning
Music and Postwar Transitions takes a groundbreaking and much anticipated dive into the concept of postwar transitions and how these affect and are affected by the world of music. Leading scholars in the field explore new approaches to create a novel understanding of music and postwar periods.
Anaïs Fléchet is Associate professor in International History at the University Paris-Saclay, and member of the research team Centre d’histoire culturelle des sociétés contemporaines. Her research focuses on music, international history, Brazil and the Global South.
Innehållsförteckning
List of IllustrationsForewordJay WinterIntroduction: Rethinking post-war transitions from a musical perspectiveAnaïs Fléchet, Martin Guerpin, Philippe Gumplowicz, Barbara L. KellyPart I: Reconstructing the Music WorldChapter 1. Emerging from the turmoil: Georges Bizet in the early 1870sHervé LacombeChapter 2. A Post-Revolutionary Musical Order: Mexico, 1910-1930Pablo PalominoChapter 3. First Concerts on Familiar Ground? The Post-War International Comebacks of the Vienna and Berlin Philharmonics, 1947/48Friedemann PestelPart II: A gradual demobilisation: music, cultures of war and national imaginationsChapter 4. Discourse on music and the post-war transition: The case of France after the Franco-Prussian conflict of 1870-1871Emmanuel ReibelChapter 5. Singing about war and the enemy after a conflict: Two post-war transitions in France (1871, 1914-1918) at the café-concert and the music hallMartin GuerpinChapter 6. From Cœuroyto Céline: Popular music in the ‘war of good taste’ during the false post-conflict transition period, 1940-1942Philippe GumplowiczChapter 7. Wars, Ethnic Conflicts and the Political Use of Folk MusicMichael WedekindPart III: Memory, mourning and commemorationChapter 8. Béranger’s Napoleonic songs: mourning, memory and the futureSophie‑Anne LeterrierChapter 9. Paul Hindemith’s Minimax and the Trauma of WarLesley HughesChapter 10. A transatlantic repertoire of resistance and mourning in the post-war years: The songs from the ghettos and camps collected by Shmerke Kaczerginski (Vilnius, New York, Buenos Aires)Jean-Sébastien NoëlChapter 11. Singing the unspeakable in Rwanda in the summer of 1994: Music in the context of the genocidal abyss through a portrait of the artistBenjamin Chemouni and Assumpta Mugiraneza Part IV: Music for peace and reconciliation?Chapter 12. ‘Congress never works better than when it dances’: Music, Peacemaking, and Congress Diplomacy, 1814-1856Damien MahietChapter 13. Internationalism and Musical Exchange in post-World-War 1 EuropeBarbara L. KellyChapter 14. Music and peace‑building? The creation of the International Music Council (1946-1950)Anaïs FléchetPostface: The Quest for Harmony?Music and post‑war transitions from international perspectiveJessica Gienow-Hecht
