William Weber – författare

Opera has always been a vital and complex mixture of commercial and aesthetic concerns, of bourgeois politics and elite privilege. In its long heyday in the eighteenth and nineteenth centuries, it came to occupy a special place not only among the arts but in urban planning, too — this is, perhaps surprisingly, often still the case. The Oxford Handbook of the Operatic Canon examines how opera has become the concrete edifice it was never meant to be, by tracing its evolution from a market entirely driven by novelty to one of the most canonic art forms still in existence.Throughout the book, a lively assembly of musicologists, historians, and industry professionals tackle key questions of opera's past, present, and future. Why did its canon evolve so differently from that of concert music? Why do its top ten titles, all more than a century old, now account for nearly a quarter of all performances worldwide? Why is this system of production becoming still more top-heavy, even while the repertory seemingly expands, notably to include early music?Topics range from the seventeenth century to the present day, from Russia to England and continental Europe to the Americas. To reflect the contested nature of many of them, each is addressed in paired chapters. These complement each other in different ways: by treating the same geographical location in different periods, by providing different national or regional perspectives on the same period, or by thinking through similar conceptual issues in contrasting or changing contexts. Posing its questions in fresh, provocative terms, The Oxford Handbook of the Operatic Canon challenges scholarly assumptions in music and cultural history, and reinvigorates the dialogue with an industry that is, despite everything, still growing.

Opera has always been a vital and complex mixture of commercial and aesthetic concerns, of bourgeois politics and elite privilege. In its long heyday in the eighteenth and nineteenth centuries, it came to occupy a special place not only among the arts but in urban planning, too — this is, perhaps surprisingly, often still the case. The Oxford Handbook of the Operatic Canon examines how opera has become the concrete edifice it was never meant to be, by tracing its evolution from a market entirely driven by novelty to one of the most canonic art forms still in existence.Throughout the book, a lively assembly of musicologists, historians, and industry professionals tackle key questions of opera''s past, present, and future. Why did its canon evolve so differently from that of concert music? Why do its top ten titles, all more than a century old, now account for nearly a quarter of all performances worldwide? Why is this system of production becoming still more top-heavy, even while the repertory seemingly expands, notably to include early music?Topics range from the seventeenth century to the present day, from Russia to England and continental Europe to the Americas. To reflect the contested nature of many of them, each is addressed in paired chapters. These complement each other in different ways: by treating the same geographical location in different periods, by providing different national or regional perspectives on the same period, or by thinking through similar conceptual issues in contrasting or changing contexts. Posing its questions in fresh, provocative terms, The Oxford Handbook of the Operatic Canon challenges scholarly assumptions in music and cultural history, and reinvigorates the dialogue with an industry that is, despite everything, still growing.

Opera has always been a vital and complex mixture of commercial and aesthetic concerns, of bourgeois politics and elite privilege. In its long heyday in the eighteenth and nineteenth centuries, it came to occupy a special place not only among the arts but in urban planning, too — this is, perhaps surprisingly, often still the case. The Oxford Handbook of the Operatic Canon examines how opera has become the concrete edifice it was never meant to be, by tracing its evolution from a market entirely driven by novelty to one of the most canonic art forms still in existence.Throughout the book, a lively assembly of musicologists, historians, and industry professionals tackle key questions of opera''s past, present, and future. Why did its canon evolve so differently from that of concert music? Why do its top ten titles, all more than a century old, now account for nearly a quarter of all performances worldwide? Why is this system of production becoming still more top-heavy, even while the repertory seemingly expands, notably to include early music?Topics range from the seventeenth century to the present day, from Russia to England and continental Europe to the Americas. To reflect the contested nature of many of them, each is addressed in paired chapters. These complement each other in different ways: by treating the same geographical location in different periods, by providing different national or regional perspectives on the same period, or by thinking through similar conceptual issues in contrasting or changing contexts. Posing its questions in fresh, provocative terms, The Oxford Handbook of the Operatic Canon challenges scholarly assumptions in music and cultural history, and reinvigorates the dialogue with an industry that is, despite everything, still growing.

Extending from west Africa to Madagascar, from the vast lowland Congo Basin to the archipelago of forest islands on its eastern rim, the African rain forest is surpassed in size only by the Amazon. This book sheds light on the current efforts to understand and conserve the African rain forest, an area in need of urgent action to save its biological wealth, cultural heritage, and economic potential.Written by conservation scientists and practitioners based in the African rain forest, the book offers a multidisciplinary perspective that integrates many biological and social sciences. Early chapters trace the forces--from paleoecological factors to recent human actions--that have shaped the African forest environment. The next chapters discuss the dominant biological patterns of species ranging from the distinctive elephants, gorillas, and okapi to the less well known birds, butterflies, and amphibians. Other chapters focus on how such different groups as hunter-gatherers, forest farmers, bushmeat hunters, recent immigrants, and commercial foresters have used the forests. Several authors stress the need for tighter links between research and conservation action. The final section draws lessons from the collective experience of those working in an Africa wracked by political strife and economic hardship.

Grounded in knowledge of thousands of programs, this book examines how musical life in London, Leipzig, Vienna, Boston, and other cities underwent a fundamental transformation in relationship with movements in European politics. William Weber traces how musical taste evolved in European concert programs from 1750 to 1870, as separate worlds arose around classical music and popular songs. In 1780 a typical program accommodated a variety of tastes through a patterned 'miscellany' of genres, held together by diplomatic musicians. This framework began weakening around 1800 as new kinds of music appeared, from string quartets to quadrilles to ballads, which could not easily coexist on the same programs. Utopian ideas and extravagant experiments influenced programming as ideological battles were fought over who should govern musical taste. More than a hundred illustrations or transcriptions of programs enable readers to follow Weber's analysis in detail.

Grounded in knowledge of thousands of programs, this book examines how musical life in London, Leipzig, Vienna, Boston, and other cities underwent a fundamental transformation in relationship with movements in European politics. William Weber traces how musical taste evolved in European concert programs from 1750 to 1870, as separate worlds arose around classical music and popular songs. In 1780 a typical program accommodated a variety of tastes through a patterned 'miscellany' of genres, held together by diplomatic musicians. This framework began weakening around 1800 as new kinds of music appeared, from string quartets to quadrilles to ballads, which could not easily coexist on the same programs. Utopian ideas and extravagant experiments influenced programming as ideological battles were fought over who should govern musical taste. More than a hundred illustrations or transcriptions of programs enable readers to follow Weber's analysis in detail.

First published in 1975, Music and the Middle Class made a trail-blazing contribution to the social history of music, bringing together sociological and historical methods that have subsequently become accepted as central to the discipline of musicology. Moreover, the major themes of the book are ones which scholars today continue to grapple with: the nature of the middle class(es) and their role in cultural definition; the concept of taste publics distinct from social status; and the establishment of the musical canon. This classic text is reissued here in Ashgate's Music in Nineteenth-Century Britain series, though of course the book ranges beyond its study of London to discuss in detail the contrasting concert life of Paris and Vienna. This edition features a substantial new preface which takes into account the significant work that has been done in this field since the book first appeared, and provides a unique opportunity to assess the impact the book has had on our thinking about the European middle class and its role in musical life.

First published in 1975, Music and the Middle Class made a trail-blazing contribution to the social history of music, bringing together sociological and historical methods that have subsequently become accepted as central to the discipline of musicology. Moreover, the major themes of the book are ones which scholars today continue to grapple with: the nature of the middle class(es) and their role in cultural definition; the concept of taste publics distinct from social status; and the establishment of the musical canon. This classic text is reissued here in Ashgate''s Music in Nineteenth-Century Britain series, though of course the book ranges beyond its study of London to discuss in detail the contrasting concert life of Paris and Vienna. This edition features a substantial new preface which takes into account the significant work that has been done in this field since the book first appeared, and provides a unique opportunity to assess the impact the book has had on our thinking about the European middle class and its role in musical life.

First published in 1975, Music and the Middle Class made a trail-blazing contribution to the social history of music, bringing together sociological and historical methods that have subsequently become accepted as central to the discipline of musicology. Moreover, the major themes of the book are ones which scholars today continue to grapple with: the nature of the middle class(es) and their role in cultural definition; the concept of taste publics distinct from social status; and the establishment of the musical canon. This classic text is reissued here in Ashgate''s Music in Nineteenth-Century Britain series, though of course the book ranges beyond its study of London to discuss in detail the contrasting concert life of Paris and Vienna. This edition features a substantial new preface which takes into account the significant work that has been done in this field since the book first appeared, and provides a unique opportunity to assess the impact the book has had on our thinking about the European middle class and its role in musical life.

In 1812, less than forty years after breaking from Britain, the United States found itself in another war with its former colonial master. Now, during the two hundredth anniversary of the War of 1812 comes Neither Victor nor Vanquished, William Weber’s reappraisal of this critical but frequently misunderstood conflict. In the first half of the book, Weber reexamines the war’s military aspects, highlighting the asymmetric nature of the conflict as the world’s foremost naval power with a credible professional army stood against an idealist republic with commercial and agricultural aspirations but without an adequate navy and army. Weber also attempts to recalibrate popular conceptions of the U.S. forces’ generally poor performance during “Mr. Madison’s War,” and frames the War of 1812 in the context of both the Jeffersonian Revolution that preceded the war and the accelerated territorial expansion and consolidation of the United States that eventually led to the American Civil War. The book’s thought-provoking second half presents alternative outcomes for the War of 1812, reminding us that history is made, not predetermined. Various scenarios arise from differences in two key factors-the quality of generalship in both armies and the direction of the Napoleonic Wars, which Britain was simultaneously fighting. Weber imagines a worst case scenario for the young republic, an ending worse than a simple military defeat. Indeed, history might have provided a different answer to Francis Scott Key’s central question, “O, say does that star-spangled banner yet wave / O’er the land of the free and the home of the brave?” A final what-if explores a nineteenth-century America that chooses to avoid the War of 1812 and, consequently, the rise of Andrew Jackson.

A bold application of the concept of "canonical" works to the development of French operatic and concert life in the eighteenth and nineteenth centuries.This long-awaited book by a leading historian of European music life offers a fresh reading of concert and operatic life by showing how certain musical works in eighteenth- and nineteenth-century France came to be considered "canonic": that is, admirable and worthy of being taken as models. In a series of interlinked essays, William Weber draws particular attention to the ways in which such reputations could shift in different eras and circumstances.The first chapter outlines how such a surge of reputation came about for Jean-Baptiste Lully after his death in 1687, followed a century later by one for the operas of Christoph-Willibald Gluck and Niccolò Piccinni. Next, Beverly Wilcox contributes a crucial chapter exploring how a canon of sacred works evolved at the Concert Spirituel between 1725 and 1790. Subsequent chapters detail the rise of an "incipient canon" for Joseph Haydn's music in the 1780s; a new operatic canon centered on works of Gioachino Rossini and Giacomo Meyerbeer; a century-long canonic repertory at the theater of the Opéra-Comique; and, between 1860 and 1914, frequent concert performances of excerpts from Wagner's operas, sometimes along with excerpts from Meyerbeer's.Throughout, Weber and Wilcox demonstrate how the French musical press reflected musical taste, and also shaped it, across two centuries.

Allteftersom tiden gick försämrades världens relationer med varandra. De samarbeten som länderna i världen tidigare haft med varandra bröts och många avslutade handeln mellan olika världsdelar. Tidigare långtgående överstatliga samarbeten skrotades och gav upphov till nya allianser som den Östasiatiska koalitionen och de Amerikanska förenade nationerna. I norden föddes det likaså en allians. En hämndlysten sådan. Ag-kaptenen Gustav Karlsköld leder 2 000 av sina bästa soldater för att strida mot moldav-turkarna i slaget om Turkiet 2045. Den nordeuropeiska kaptenen väljer att strida till siste man mot de moldav-turkiska styrkorna och dess överväldigande armé. Samtidigt i Moldavien försöker den finske soldaten Oskari Virtanen tillsammans med resten av sitt kompani hålla upp ordningen och vinna stöd åt Ag-generalen Edward Schenström. Kulle 230 är en berättelse som erinrar oss om de oroliga vindar som har blåst förbi genom historien. Den Nordeuropeiska unionens kamp för våld och död påminner oss bland annat om nazisternas krigshets under andra världskriget, men också amerikanernas starka hämndbegär efter 11 september. Och idag när likadana vindar åter har börjat blåsa i världen känns berättelsen mer aktuell än någonsin.