Christopher Campo-Bowen – författare

Visions of the Village offers a nuanced account of the cultural history, political salience, and social resonances of Czech village operas, especially those by composers Bed%rich Smetana, Antonín Dvo%rák, and Leoš Janáček. By examining music-critical writings, institutional and government records, letters, and other archival sources, Christopher Campo-Bowen examines how musical representations of the idealized village acquired and provided meaning for Czech audiences, serving as the basis for understandings of a wide range of sociocultural and political issues, including gender, class, nationalism, imperialism, ethnicity, and race. This book explores how operas like Smetana's The Bartered Bride, Dvo%rák's The Devil and Kate, and Janáček's Jenůfa served as focal points for the articulation of an essentialist sense of Czech identity. In addition to composers and their operas, Campo-Bowen investigates the output of critics, administrators, and other urban intellectuals like Otakar Hostinský, František Adolf %Subert, and Zdeněk Nejedlý to understand the impact of village operas on public discourse. Through this in-depth analysis, this book uncovers how music functions at the nexus of the desire for politically resonant ethnoracial identities and the representation of ruralness, from the nineteenth century to the present.

This volume focuses on the circumstances of women’s music-making in the vibrant and diverse environment of the Czech lands during the nineteenth century. It sheds light on little-known women musicians, while also considering more well-known works and composers from new woman-centric perspectives. It shows how the unique environment of Habsburg Central Europe, especially Bohemia and Lower Austria, intersects with gender to reveal hitherto unexplored networks that challenge the methodological nationalism of music studies as well as the discipline’s continued emphasis on singular canonical figures. The main areas of enquiry address aspects of performance and identity both within the Czech lands and abroad; women’s impact on social life with a view to different private, semiprivate, and public contexts and networks; and compositional aesthetics in musical works by and about women, analysed through the lens of piano works, song, choir music, and opera, always with the reception of these works in mind.