Branding «Western Music»

María Cáceres-Piñuel; Alberto Napoli; Melanie Strumbl

This edited book aims to foster an interdisciplinary dialogue on the intersections between the coining of the «Western Music» concept and the institutionalised and entrepreneurial management of culture. It studies the emergence of the trademark «Western Music» in relation to the commodification of leisure, the institutionalisation of academic discourses, and the transnational imperial politics of culture. This collective work devotes particular attention to the ways events, such as the virtuosi concert tours, song contests, diplomatic acts, or mass broadcastings have created possibilities for homogenisation and globalisation of a corpus of musical practices, repertoires, and ways of thinking, ambiguously labelled, as «Western» along the long 20th Century.

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Table of Contents
Branding “Western Music”: An Introduction (María Cáceres-Piñuel)
Clarifying Concepts from the Historical Musicology and the Anthropology of Music
Grooves of Empire: Internationalism, Imperialism, and Branding Western Music (Annegret Fauser)
On the Need to Overcome Westernization and the Idea of Western Music: Towards a Post-Western Musical Scholarship (Anja Brunner)
Virtuosi Phenomenon as a Cosmopolitan Trademark at the End of 19th Century: Agents, Genres, and Concert Practices
Forms of Value and the Rise of the Virtuoso (Timothy D. Taylor)
Branding the German Lied: The Strategies of Julius Stockhausen (Natascha Loges)
Spanish Guitarists in Early Twentieth-Century Germany: Negotiating Musical Identities in German-Language Guitar Magazines (Cla Mathieu)
Music and Nation Branding Strategies along the 20th Century: Notations, Discourses, Institutions, and Events
Symbolic Uses of Functional Musical Text in Late 19^th Century Athens: The Case Study of Antonios Sigalas (Artemis Ignatidou)
The Netherlandish School: The Construction of a Trademark (Petra van Langen)
“Art Music Proper” in Changing Orchestral Culture: Two Case Studies of the Institutionalization of Finnish Musical Life in the Late Nineteenth and Early Twentieth Century (Olli Heikkinen & Vesa Kurkela)
Domesticating Continental Music Practices: Emergence of the Conservatory and Song Festivals in Finland 1880–1930 (Markus Mantere & Saijaleena Rantanen)
The Transformation of Thai Music within Western Frameworks during the Thai Cultural Reformation in the 1930s (Siwat Chuencharoen)
K-Classic: Branding Korean Classical Music (Meebae Lee)
Coining “Western Music” as a Brand in the USA since the Second Half of 20th Century: Music Management, Commodification, and Marketing Practices
Programming the Record, Recording the Program: The Philadelphia Orchestra on Columbia Records, 1944–1946 (Mary Horn)
Mass Classical: “Accessibility” and the Atlanta School of Composers (Kerry Brunson)
Branding with Music and Music as Brand: Classical Music in American Television Commercials (Peter Kupfer)
Biographies of the authors
Biographies of the editors
Appendix

Pages:

282

Year:

2024

ISBN (PAPERBACK):

9783034344555 (Active)

ISBN (EPUB):

9783034346054 (Active)

ISBN (PDF):

9783034346047 (Active)

DOI:

10.3726/b20075

Language:

English

Keywords:

Music Economics, Musical Targeting, Musical Labeling, Musical Imperialism, Cultural Canonisation, Programming Strategies, Musical Nation-branding, Music & Capitalism, Music & Diplomacy

Published:

Lausanne, Berlin, Bruxelles, Chennai, New York, Oxford, 282 pp., 4 col. fig., 10 b/w fig., 13 tab.

María Cáceres-Piñuel, Ph.D., teaches and researches in the areas of historical musicology and ethnomusicology at the University Autónoma of Barcelona (as a Maria Zambrano fellow) and the universities of Bern and Basel (as an associated researcher). Her interest includes historiography, gender studies, and cultural dissemination.

Alberto Napoli holds a Ph.D. in musicology from the University of Bern and studied musicology at the University of Pavia (Cremona, Italy) and at the University of North Carolina at Chapel Hill, USA. His broad spectrum of research topics ranges from the philology of 16th-century vocal music to the history of cultural politics in liberal Italy, to the analysis of Italian pop music in the 1960s.

Melanie Strumbl holds a Ph.D. in Musicology and a master’s degree in Gender Studies. She wrote her dissertation on the exhibiting practices at the International Exhibition of Music and Drama, Vienna 1892 as part of the SNF-project «The Emergence of 20th-century Experience» based out of the University of Bern.

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Branding «Western Music»

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