aq1 pue.1o,ro;d,fuolsrqJo pIaU aq] uiq]I.\l :;_-- Jo asuas e,(q pelladord uaaq'l;ed ut'seq stsaqlu.{s sItIJ,sáIJoaql 1mr3o1odč*_:-- pue'ie:t3o1ol]os'IpI]os ]ua]al q}r.tt laqla8o1 'so36r aq}Jo,,,(3o1o:tsnru _\\;;.. --1 ,,,{;o}stq JpJnl1n] ,!rau,, eql uJo{ umpJp sai8o1opoqtau pue sa,l,rl:ads;ad Tp]I_;: _: _ 3o srsaqlu/s,u.au 8utre;q 3q1 sI (Jala^\oq'1l saqsm8ullslp 1€tIrAý\,e:tl:erd i€Jn]i:] _ _l spaíqo lEJnlFJ q8nolq} pá}uf lunurLuo) pue papnJlsuo3 st aruat,radxa q:ns ,.: _ . -uJual pup a:uauadxa pue '8uipue]sJapun '8utuearu 3urdsel8 ;o-,fuolsrq -?_:_-,: ;o 1eo3 aql 01 uJnloJ o} luaurlll'ullJo] pJJPqs €Jo lpsal aqJ sP (,Ie.^,oeJolt]'o! ::* ,, a,iu Áaq; ,sldaruo: Ip]IlaJooq} Jo a8uu.t uotllluof e 8ur,{o1drua pue seutnbul _? * ui 3ur3B3ua a.te slst8o1o:Isnu puĚ suelJo}slq'sa,ltl:ads-tad 8ur8,ra,tuo: íiqiu:;:. : _ , }Insal p s€ 'leql peJ eli} a;ou8t t"ll l1n]UJ}p st 1t 'peapu1 ,I1a'lt s€ .{8o1orrsnrl ,],] ] - ] -l]slp aql uI lnq.fuolsrq ur,(po lou IB^i^aJ e 3uro8;apun uaeq ser{'Lu]o_] .\i:_ : -]ul}slp e ut ',fuolsiq PJn}In] luq] luapl^a ,{J3utsea;:ur 3(uo]aq suq lt srea_i ] *:-:_ S!INITdI3SI( DNIDUEI^NO] O/vrI NI sIsiIHINÁs TY)IIEuOIIHI fr\fiN EHI ,I uiIH)Tn{ ,ď itNYí ÁulÍlor{I ďo Sflt{IT CINIV 'SEID oTo aoHJiIIN'sNuD Iu o SJ.I'JISnW Jo ÁuoISIH TYunJTn3 MIINT EHJ D t{It{I í§Q : NIo IJ.f ílo ou Jli I .; " R(]DUCTioN focus on discursir.e constrtrctions of the social rr.orld rnde:;l;e :, :,_ 'o_r]ectil'e" or social r,erification. The French historian Roger Chartier resis:.:.j ::r,s. .oncerns in Iris Olt the Edge of the Cli.ff: History, Language, and Practica:1: _iý-. ;s .jid ,\nerican lristorians ioyce Appleby, Lynn Hunt, and N{argaret Jacob even e:ijiei in their Telling the Truth abotlt History, published tn ry94. lt is evident that both fields are now increasingly alr,are of the necessitv of unclerstanding the often complex interaction of social, political, and artistic phenonrenii in our analysis of the symbolic reaim. Just as historians attempt to glasp the construction and transmission of meaning, so musicologists are turning their inquiries llot only to cuitural representations but also to social dynarnics and to music's distinctive "register" of communication as an abstract and performing art,r For many musicologists the most fruitfui aspect of recent historical directions has been the turn to tlre question of how patterns of cultural meaning are ir-rtertwined with the encompass ing world of social and political significance.2 Historians in turn har,e drawn attention to the fact that such cultural signiíicatior's are manipuiated and refracted in the act of enunciation inherent in each art's means of cornmtrnication, as weil as by the charrgirrg material modes of inscription of a given work. Both fields, moreover) ilre irrcreasingly aware that individuals and groups make use of or appropriate symbols within the larger íield of social power and representation-that symbols can become destabilized or contested and a symbolic battle or negotiation may thus ensue. Indeed, there has been a new awareness of "representatiot-ts" and their constrtlctions ever since the launching of tlre interdisciplinary journal by that narne at the L, niversitv of California at Berkeiey in r98:. Musicologists, of course, have long been sensitive to the rvays in which power may employ the theater and particularly opera to represent either the authority and social orcler that sustains it or that it aspires er-er-rtually to ensconce. Holvever, they have lr'lore recently recognized that opera is neither transparent in its agenda nor ever entirely instrumental, for it is a composite tbrm of representation, one that is both urrique and in continual dialogue with the social and discursive world that surrounds it. Moreover, musicology has learnecl to be aware oíwhat Louis Marin has described (lvith reference to paintirrg) as "the gap Lletween the visibie-what is shown, figured, represented, staged-and the legiblc-nvhat carr be said, enunciated, declared."3 As we now recognize, each mode of com_ munication ernbodies a differerrt register of representation, and although tirey intersect with and respond to each other as in opera, which may create a uniqueiv complex enunciation, tlrey rrever entirely rnerge. The irer,v theoretical synthesis, of course, htrs built in important ways upoll the duir] contributions of the "new musicology" and the "nelv cuitural history" of the past three decades. The former drew necessary attention to the questions of meanitrg, reception, arrd interpretation or "criticism]' as well as to politics, ideology, and gencler, and in doing so discovered or rediscovered the sigrrificance of theorists, including ]acqrtes Derrida, Theodor Adorno, \,\blgarng Iser, arrd Clifford Geertz.a Simultaneousl1,, the'ilcw cuLtural historyj'as well as the"cultura1 studies" mor-enrent in several adjacent íields, felt the inpact of tlre "linguistic turn" in the hunarlities. or the focus on the semiotic functions of language and the cultural construction and transmission of meaning.5 .ltoLl{ueu] lpr{^\ uol]sanb or un8aq,,(1apr.,u peq suplJo]sq ep€]ap aql Jo pue ;r 1|,saJnpnJ}s prqqod pup fILLIouo]a sp qfns.,aJIlJo se)pJJns pJpq áq} qll.\\ q]nc] :, ,,teu 11 leq} re8uep eq] pa^Jasqo puu sls,tpue IpJnlIn] ,(1arnd Jo lenxál q]ns _]c : aq1 lno palurod;lasuIq zlJaa) '(tl6t),,uoudtllsap {flq},, uo zfussa itrtrruas sTq ssy .uotlelardJelul pue .Lroaqi Jo 1saJalul aq1 uI ((uoI}E3gIJe^ ulo{ l€eJ}áJ.. 1,!i._ _ -uo] aq1 pup uol}]nJ}suo] I€JnlIn] uo stseqdua]e^o eq} anblllJ] o1 ue8aq s;.,_ Jeq}o so66l Jql Jo esJno] eq} uI :suJa]uof slq uI 3uolÉlou seM JeIueqJ ,paea _ o,,8utueatu Jo lueurlse^uia; aldrlpu; pu? ((1uau[sa^ulsI:. - -osqns st 'oo1 'os pl.to.,rr. uJaporu aql uI ]nq 'sarnlln: ip 01 lpJ]ua] ,{iqeuorl,:sr sloqu,(s uI 1uetulsa^ul flluerues žp3}seluo] pup 'polJa^qns 'paila,r,rp i;:-,_ _fPJe[{] eJolu sloqru,(s arB ro ,arnlln: uJapou padola,\ap úuI <,qo^{,, P uIr{]I ,"_ : _ _Jelul s8uluearu palmrldal Jo asJe.\Iun :qoqru.{s uouIulof € 3Jeq1 s1 ;1r,_ro r..,:: 'snouas.{1od'áItqoru Jeq}€J,(aql a;e ro'(zgaag alonb o1) ((al{l€eJq e^\ Jl? ]-- pa.reqs,,.{aql aJ€_sJJn}In) uJalsaM pa]ue^pE Jo ]xe}uof aq} ur .{1.reprt]rp.j -._- _ 3JP elqqs,\4.oq,s>Ise JaRJPqJ,puoJas 6(;uoi}Pflunululof ]IlstlJB Jo IE]n]lL] ,_ _sI8aJ,, qrea ,apour q:)€a uI luaJequl uol1Pif unua Jo }]P ]Ilaq}s3P Jo IP]IJO]: .' _ : _ pal]€;;eJ pue palelndruuru ílt.tussafeu aJE s8ulupetu eseql Joc (. a]uelgtuÉis- - : Iplfos,,3ulssedtuo:uaeq}r{1l1wpJuJMlJaluIeJ€}€ql 8utuearu;osurailBd;a:_.,, o^IefJod pue,,,,(1qenlxa},, s(e]Jnos p Japlsuof 'sa;nípe JanJeI{J sP'u3q]'Jsn* : B,asuas p:uoqdelaru JeppoJq aql uI }nq IuJelI] aql uI lou p, - ], - _ eq ppotls Ja}lpl aq1 ]pq] (puo3as pue'slxa1 uo lnq 1Jo^\plau ]o suc,,-, -.: iuflJldlila uo lou ,,(1a_r 1snru uEIJolsIq aq} 1pt{} '1s.lg :slurod olr,r1 uo ,le].:] : _ . -olupp sr11 ,{rolsrq ot l8o1odolqlue rqoqur,{s uplzuea3 Jo uoqu:qdde Ip],- -] -- po{rep€ JaIupqJ ra3o6 uetro}slq pJnllnr q]ua]J aq1 -{essa leulu]as p ,*, -: ; ,.{1ruergru3r5 l,,.lSIe3lIaZ,, ]s{eapl 8utssudruo:ua uE JO ltIJIuaIe uP Jou ,:_ _: _Jalul 1SIXJPW J3PIo uI s€ l}r^I 8urpnllur 's]si:,:-,, -- s€ lla't,r sp'l}ofs ueo{ pue'l;ie8e;r1 afnT (E^alsIJx €TIn{ sB qfns sls]Joeq] ]! - --:, e)ueuodull ;eln:qred Jo .,fi€Je1II aq1 pup '1mrqdosopqd aql '1e;r8oIc,: - - -,- --: 8ulpnllur ,,,Lroaqt IEJnun] uo,(p,l,eaq ^\aJp sJo}nqlJluo] aq] puu ,s8urtl:_ : _ -drunssB 'sloqruÁs '8utuuaur;o suralled 8utsseduo:ue uo p?elsul ]r; _-:- , sue]s,(s Jo s€epl uo lou sP'\{ sn]o] aql eJaH -Lrolsrq lEnl]afiolul Japlo ,;,- , lnq íJolslr{ Iel]os ulo{ ,{po 1ou Jlas}l paqsln8uqslp '696r ut paqsilc.-: _ -, uu/1 ,(q pa}1pa 'epl} 1pq1 Jo erunlo,\ p ur paglpo] su 'l,;olstq ipJn]ln] \,: - . - * o1+ l\ 3tF ul l -ueuE -ssBdu aql 01 l Jo)!m a^pru_I lou sal -fnJlsl uI PuaI -l3PIm Eu171a1 uE3IJal uI suJa Jo __a^l: NOIJf\. INTRODUCTlON Perceived as an overlY exclusive emphasis on cultural svstems and on language, or,,thedisPlacerlent of the social in favor oí culture," as evidáced in the coiiection e clited byVictoria Bonnel and Lynn Hunt, Beyond the Cttltural Turn,p,rJtir},"a in ry99.1) one inrmediate response was to reexanrine the inrplicatiorrs of figures whofocus PrimarilY on the analysis oťsocial forces and particularly of polver- how it ise-re,cised, as r,r"ell as contested or undermined. Tlrese i..l;;á not onlv the French PhilosoPher Michel Foucault and the sociologist pierre l]ourclieu but also majorfigures in Gernlan sociology such as Norbert Eiias and ]úrger] Habernras. Foucault,sexamirration of the sociai and political role of "discourse"lrow became increasingly inf]uential, and the term Prominently entered the vocirbu]ary of clisciplirres not orrlyin the socitrl sciences but also in the humanities. Few today wou]d dispute MiclrelFoucault's intellectually seismic assertion that discou.se i-n"., or ..authorizes,, knol4edge: It renders visible; it "produces'' what we see. e, he ,o incisively demon-stÍated, discourse not onlY furnishes those conceptual categories through wlrich u,econceive realitY withilr a Period but also shapes or articulates arrd legitimizes all ofour subsequent discoveries. Foucault, of course, is frequently grouped with post-nrodernists because of his questionirrg of the possibility of oL-',1eJi,e knowledge, buthis insights into means of social .orrtrol througlr dir.oll.r" still impart a socialdimension or grounding to his analysis.i] If Foucault re'ealed the extent to which sociai power is insinuated in discourse,his colieague at the collěge de France, sociologist pierre Bourdieu, did the samei' ith sr-mbo]s and language, thus reembedding cultu.al urrutyri, i,vithin the social.PerhaPs the most forceful vector of Bourdieu's work for historical stucly has beerr his :,]]i::. :': 'h: lviry in which relations of por,ver are imminent or embodied irr al]]ť'liJlls ol S\-mbolic exchange.1o Particularly resonant in the humanities has beenBourcjieu, concept or"ry*ůoli. d;;;;;.;;;"''-thc attenlpt to constirute or reproť:;: '::::],Ťr.:::n,:, through the definition of .'symbolic iegitirrracy,, and ,.sym_ UUilL (dpltal. HlS concomitant concept of ..symboli. violcncc'. rclers ro theirrvisibilitv of this imPosition, rvhich mairrtains the existing orcler but withoutrecourse to physical vioience.t5 As Bourdieu has shown, symbolic violence lnay occur not only within a colo-nial context arrd in class relations but also in the relations between the sexes, as hedenronstrated so tellingly in La clomination rrnsculine. It also occurs politically, forgroups in power inpose representations or symbols that pro,oke a r,vide range ofresponses .lcross a broad spectrum from donrinatiot.t, or ucqui"rcer,.e, to contesta|ion 'j Before feeling the full impact oťBourdieu musicology,like history, was lockedin either a narrow and"iiteral or a philosophical conception of the political; it washis work, together with Foucaultt, that ullo*.d us to iclenti$, political power insystems of representatiott, as well as in challenges to tlrem. Moreover, tsourdieu, inparticuiar, has nor,v taught us to perceive lrow the svnrbols that authority has incui-cated lor politicai ends-.jn ntanl,possibje torms or stvles-is a prerequisite to bothinterplreting culture ancl deciphering politics, ,. }ve have hence grown increasingiy au,are that culture is neither ext'aneous to Politics rror devoid of authentic poliiica1 content but may rather be a fundanrental ,.::.- ] eq} ]dnJslp ;o dn uado 1eq1 satSele-ris ,(q pa8uallplJr eq [Ip] t{]lt{.\\ _], - : 'salr(is pue 'sut.to,1 'sa;ua8 puol1Ippr1 q8no.rql Jnffo ut]] uol]E}s3luo] ,..-,. _ '1uql oata:;ed o} sn,trolp,,(sql .rog .slq8rsul lEJ{F-Ioaq] s.nalpJnog _]o :,,-,-:_ 3tI] Luo{ sse:l ,,(rri uI 'LusI]Iss81l .te,ttlsod pup arut}Je,rt ulti}L^\ uotssa;d..: : -. - -ltuopJouoI}e}s3]uo]JoJ.Luopaa{loJlsanbBpaUI1lrapIa^PqIpuPs.I:--] ']eÁ 0.-'UOI]IPP.I] r][IlJOJ P tIIqlIM Jn]JO lOUUt]] UOI]nIOS3.I aSTP.J IrIOJ_] L]t'_:- - _' Jo ,,8uiupetu paxu,)Jo uol}fn-Ilsap eq1 (IEIJalEuI pue anbruq:e] Jo ]1]];-... : snjoJ s.ouJopv ua^I9 ,{Jo/luJP snol'UouotnE .pá]uP^pP aq] q}i^\ selil]._:: : st'8raquaoq]qLIIs€'sILlJ;JleslllelJalpuraql 3oqSno.rq]8urlro,rrpu| * -, : --: ,\\3u s.lsluP eLIl sr (ualll 'u8tpe"icd s{H.,,a.In}fnJ]S,,.Io',{1rle1o1 ',(1t:.,;,-, , lcllt sossa]oJd ut uotle.touur q8nolq] poÁloss]p eq lsnu,(poqrua.iaq: _. __ _ -uofal ltuolleJ oll} pup sujJoJ ]lss€If a,ttssalda; ,,.]t1]alplp a,trle8au.. s, -,_ _ _ u, .,i.lrlrrapr paxlJun ue aa.;asard ol alqť sl ]o ,,,J _- ::: _ lpnpl^ipul eq] q]Iq^\ ur r(p.,rt 3ql uo sn]oJ o} 1nq;a,ltodJo pIJg 1pl]os . - _ -]p,r]s 3I}oruras eztu8oral o1 1orr 1q8nos ulrq ,{q,(ir-rpullJd pe]uanuuI .) _ - _ _ - _ 'oluopv ,{11err.roqdeloru ,ro lip:rqc{osolrqd ]spf sI Ja,!!stlu sIq 'uolllr.__ _ . _ :. patunlacirod auo '3Jnl]n]ls 1€Ifos a,ttsso.ida;'pasol] ? q}I...,t tIoI]puILua]: ::, ] 'narp;nog a>lr1 'q8noqrlp'snLiJ,,,Jaq]o a,trsuaqarcl[Iof ot[] LIi . . .1pnpi ...] - : -plqns,, aqt 3ur.!t-ro13 ;o rrorltper] Ji{l puu 1a3ag ,reqle.i ]nq Luslipl];]_ j 1 _ - : , -Io LtlslJp]nlfn_rls 8utln;al }ou st 'nJlpJnog e}iipn 'ouJopy Jol ,:.:::_- sp'Ien}xaluo]Jo'1euoi}plel'1erirtdrua]ousI 1Isan,I}suo]oLIst]uoI]a* - _ -sIsJJ Jo Jo ]Isnlu uI uol]plsa]uo: 1o uotlda:_rad aq} JoJ {-Io,\\;rL?._ : -_ , ,{l11qlssoclrul p]l]aJoaq} € 'alqlsi^tll sl tusl]Isselfo3u LIIq]L\! uoI]E]s]_ _ . ] : : s3l1|pÁ ]]]ot{lsau q]IM suoi]elrtar.ro 1e:t8o1oapt 8rrilerrossp Jo lauu-l.-* _: : .,:, ultlu1\,1trtds 1milrll oql o1 pu€ Luopea{ o1 1e:rrurut,{l]ueJoLlul (suoi_.: __ - : uor}pLuJo_J IpI]o§ pezl1lpls.,(rl e-:rq]I1olrour st 1t aa,tlladsred plr,.]j,_ . - _ LtIoJJ ;tllslflssl]I]oeu Jo esB:) aq} sr aldurexa elgr8ue1 euo . .s.o;_ . l ; -- uI pLIp sru8rptlud Joq1o Jo eJupultuoperd aql 8uissa;pnq 'uoi1]3,1_;_ ,- -.rad 3uo1 e^pq lpq] sastuterd ezILI8o]eJ o1 aurldt:stp oql palladruo] :. - , -puno.r8ielr}tloc1 pueptlcrssnelpJnogpauilsseq,,rSo1o:rsnu,(q,..-,],]-:.._ -:, ,pl3u,Iiaq] ur ílp:tleruais,,(s psz.(ieue Jo peul}uapl ua3q ]ou 3,\pL,,;,_ : :]- ., nalpJnog se ',(poquia Íeq] ]eql suoIlEIaJ ra,trod oql puť se8uPq]\. ].-._ - , i :, :1se o1 irn8.rq;.req slst3o1o)lsn[[t,Jlt2J.|suouap atunlo^ sIq] uiq-r,J*_,.- ,-.: : ,rl:oqclularrr lo 1ertqdosolrqd aql pup']pn]xa} eql (lE-Ie]Ii aq] pL_- ,.; _ 'soq:eorcldeJeLI]oepn1]uto1 s:tlqodlo.{8o1oeprpLIl]flsnluuae_\r]]J _. ::_ ]: 01 'lroq Jo suol]ou slr puedxe o1 paiduale pleg or{1 seq ,(1]ua_,-a; _ , _-_._: : ou]opV 3o stsl;ruu :r;oqtu,(s'll2I)o§ Jq] Jo Jo.\rJ LIt sJoqu,\\ lr) .*:_ _-- ra,lrodo1uts1q3rsutslqpa1q3r1sJonetp]nogpapa13au3uo1.rr..:'',,'paIP3AaJ uot}tsoddo:lrloqru;(s Jo eJn}]nJ}s Jql Jo paJapisu.]:_ :_ ]snru le]I]tiode pa.raprsuorÁlsnot,rard a^pqa^\ sloqruís.{o sai.\1s.,,,__-::.. ] _ ] slt1] tlioJc ,puodsa.r'sJolJJs luoJ4JIp uI pU€ sla^oi snol.Ie,\ uo ,!_:_-, q8no"rrlt stuoipl aq] pup uol]eululop :rlogruís3o a3nn3ue1 aql y] ]-*- ., _ a^pq spláU lu.I3^as LIt sJEIoq]\^,plrlrlod aLí1 Jo uoI]pTn]I]lE.Io-J. ,.::__ ; -IErl -ord ueaq IPu sFIu ,I9p( eul?Í 'esm PI]o }ng.; -lsod Jo IP 3il q: -uou <(saZil IJI{3l] ,,(1uo 1 ,(Éq s(}[nE "roíeu I{3uaJ sI lI ill oqlvl l /q p,l eq},, J( NolJ: I\TRODUCTION The focus orr strategies and "practices" is anoih-I l:ilao:tant net,l,historical direction, one begun by practitioners of the ner., cu]tura] historl, and then erpanded under the impetus of more recent theoretical instehts. Initlai]v the rvork of N{ikhail Bakhtin drelv attention to the lvays in lvhich popular cuitule could subvert, manipulate, or penetrate high culture, specificall,v rvith reťerence to the rvork of Rabelais.rr scholars soon conrbined his influence rvith that oť theorists such as Michel de Certeau, who stressed the importance of culiural "pIactice" or uses as opposed to a more passive consumption of culture. As he obserr.ed, cultural products may be creatively employed, manipulated, or "appropriated" through specific strategies and often on the part of those groups who are politicali,v or socially dominated. It is within this context that more recent historians har.e done important work on readirrg practices, which has had a palpable iní]uence on musicologv as well. Musicologists such as Kate van Orden, for example, have stressed the importance of approaching music in the eariy modern period within the context not only of "print culture" but also of reading practices and of actual usages. Iust as inflr,rential have been lecent anthropoiogical del,elopments in "performance theory," or tire study of the ways in which performance is socially framed and holv this necessarily impacts the work's enunciation, as anthropologist Victor TtLrner has shown.r:r Equally important in the sphere of "practice" has been the work of the German historical sociologist Norbert Elias, who analyzed the iarger social and political dynamics of cultural practice in the early moclern period. Illiirs's book oíry39, Tlte Civilizing Process, has only recently been rediscovered, now from the perspective of his study of court belravior, its gradual development, and the way in which it imposed control over the self, includirrg both manners and the enrotions.24 A,{ore recentlr', historians such as Alain Corbin have focused on the history of the senses, or of perception, as shaped by charrging modes of experience and by means oísocial coirtrol. Corbin was also a pioneer in what is now generally referred to in both musicolog,v and ethnomusicology as the "soundscape," or the larger cultural and political conteKt of hearing, His Village Belk (ryg+') was concerned with the rvav bells were heard arrd experienced in the past and specifically how they were closely associated with both piety and parochialism, or with a sense of place..s In his contribution to this volume ethnomusicoiogist loseph Lam is sirlilarly interested irr the issues of both soundscape and practice with regard not only to power but also to those who were dominated in twelfth- and thirteenth-century China, Public meaning and experience, as well as public memor,v, lrave served as another flourishing path of research not only within recent historical studies but also in the field of musicology. Irritially sociologists suclr as the German júrgen Habermas drew attention to what he termed "the public sphere;' or the domains of public life as they developed in the course of the later eighteenth centur},. Flabermas connected this Phenomenon with the rise of what lve now generallv call "public opinion," lvhich is associated with an impiicit sense oíresponsibilin- and rights on the part of those governed lvithin a politicai system,]ó Linked to this concept has been that of public memory, as well as of a serrse of both communitr and traditions, as embodied in the work of figures such as Picrre Nora, Benedict _\nderson, and Eric Hobsbawm. - a]otr8l o] lln]gJTp sI ]I ,uoI]p]oquilo] peulplsns € uI 3ur3e3ua eJp snq] | -, osar{l olul{;lua 3o lurod pa8alr,trrd e se flsn[I Sur,{;uuapt eJp splJg qlo, _-poilrr- 3o srsaqlut(s .ttau e 8ur.(o1drua pue soJnlln] 1sed inoqe suoI],:- JB1I{uIs 8unlse.\\ou aJp slst8o1o:rsnru pup suplJolsq 1€q] 8utlea,ra: :, ,, YoNtcV 1v\gN lIHůGNv lr.urnóxl ďo sirNIT 'sarr)volíddy cNI9uTIif ,a:uergtu8ts pa}a]p,Jl}Inu sll pu€ Daíqo p-rrupr aql alo1dxa o] ,*-] _ slxaluof aletrc1o;dde 1soui aLI1 auuap o} 1dua1e a]ueq pu€ sle,laT es]--_ , }q8tsur lsoru aq] plarÁ o1 JapJo ut paru€{ a;e suotlsanb Jleql ^toq _]o sf c,:] : _ a.ru íaq1 ,s:rruuu/p Jlaql pue sa]JoJ l€l]os 8utpuno;,rns 3o 8uipur:s::_ P q]I^\ stsÁleuu PJnlIn] ,fIloILu3§ e satllqtrlo] luqt qceo.rc{dP pa]E]l].___-, -o"qt n 1o su€atu ,{q os op 01 oslu tnq 1sud áql uI uol1p)Iunluu]o] prrt : _ - , 'a:uatradxa 3o ,Qrxalduro: 3q} pue eln]xál aq1 8urrnlde: ;o po8 aq] c] ,;-- _ 1orr Bur,ttrls,\\ou aJp slsr8o1o:rsnru puu su€IJolslq qloq 1pql ]uepl\a s, _, :- -,;,-;,a ,atunlo^ sIq} uI suollElsuPJ1 PJnlIn] s(-IapJeH uo uollnqlJluo] s..': uJo.IJ 33s,(etu o,1t se ,slsr8o1o:rsnllloriqla JoJ lseje]ul;o lurod roipu . -lluls s€q'Joqlollt ,(q a.rnlp: auo Jo s}uatuale;o uoqetrdo,iddB au: _ -- lEJn}InJ ,salJnluJf q}ua3laulu pue qluee]q8rs aql ui slo,\pl] Iruo{]? _:: íltuotssa;o-rd _rraql q8norqt su€IJIsnLu Jo uol}fpJa]u eq] uauo : _, IťJnlIn] aql saulwuxe aqs q]Iq^\ ut 'atunio,t slq} ulraldeq: s,a]pS:,;: -o}slq ur aas ,(eru a,lt srqJ ,,,t.ra.to:stp Fnlnur puc uolleJ]auadra,u, _, l1luc:a.r eJoLu osIp }nq §JI.1Ep[lnoq lEJnlIn]Jo uotlf nJlsuof Jq] ul ," _ ^ , eluo]Jq a,,req slsr8o1o]Isnlu pu€ suPlJo]srq'(gl6t) tus|luuauo Slt] ':, --_ -uof Jo 'polslp 'luasa;dar seJnunf, q)F$^ ur,(urvr aqr 3o ,{pnts ,terau 1m p.Ie1vrpg eouts JaAg,uo]lJeJolm pu€ 1331uoJ Jo slurod,ro'sra}unmue lern{El -pnl:u-I (;Jaq1o,, eqtrJo asuo§ e3o 1uarudop^ep JIaqlJo }eql uaaq §pq sapr rrorrr,rprlp:rloqurl,s Jo uoqlu§ap IpJn}Im aql;o,(pnrs aqr se ruzuodqrr ,qsolodag sauef tsr8o1of,IsnuI pue láqJ ddryq4 u asoqt r(lrep:prcd'sapttmTulllof pauÉeurpue'suorllpB4 palue^In'Úm -Io3 uJa3uoJ 'suerrolstq pue slstBo1o:tsnur qloq,(q uallr;lr'aum1o^ sFF qr Jo lpJalas ',!luucgru3r5 .7,\)edull peo"rq 1,1qrsuo}so u€ peq §Bq (€8ót) §at paut$aw1 asoqM'uosJ3puv prpauag íq padoia,rap osle servr §aBl{munrx§;l -t8uult,, Jo uoque^ul aql ;o rdaruo:,fu eluauralduror eq1, uo?llpoq P la ta3ue6 af,uaJel pu€ ulmpqsqoH JIJg íqpatrpao: s,(ussa 3o uorra1lor api -uottl3p se '.la,ltod prrlilod;o tred 3q1 uo suo]}ua^ul Jo suol]pr,:,-, eq} uFill,tl padola,r.ap ueeg osl€ seq.{;ouraur paJ€qs 3o Á,tolsrq aqllJoo -Im leJn{nf pue'p:l1qod'pt:os3o salls ;oíeru suJaf,uof 'anotuvtu e?4 '€66tpue ř96r uaanlaq palpe "JoN 1€I{1 sÁessa 3o uolpe11ol pllrallmul luaf lnq, 3rrrq §lsÉ -pa sl }I PtIB 3ql eol 3PI zz'SIl -d1u IlPtI pePl P]}J "- 1o I\TRODLICTION the fact that, recentl,v, leading journals in historr,, such as the Journal of Modern HistorY and the American Historical Review, norv regularlr- revierv those books by musicoiogists that attempt to achieve these goals. r\loreover, it has become an inescaPable Phenomenon that more and nore historians are turning to music clespite the difficulties of mastering the analytic dimension and the technical specificities of the rnusical language.29 Tlrey are similariy au,are of the necessity of unclerstanding the "chamP" or field, to use Bourdieu's term, or the specific clonrain of culture, with its orvn degree of autonom},, workings, and conventions that can, like a prism, at specific moments approach or open up to other silch íie}ds.3o Most striking, perhaps, is that scholars in both areas are now exploring music under similar historica] rubrics, those emerging ťrom tire recent sr,rrthesis of theoreticrrl PersPectives on society and culture that we have seen. As this vo]ume vividly clemon_ strates, these include questions of cultural identity and its expression, or its constructions, rePresentations, and exclranges, into which nrusic pror.ides a significant nrocie of access. The sclrolars who work in tirese areas are concerned with tlrose cultural sites of the construction or atternpted control of identit1,, as lvell as its interro8ation through active agencv on a social and an individual level, which embraces subjectivity and its relation to the larger cultural unit. This line of inquir}, includes the str,rdy of how new PercePtions or awareness mary be realized or enunciated through musical language; it also embraces ir-lvestigation of the del,elopment of nerv modes oíunderstanding in or arourrd music, as lvel] as of the rvay in wňich such meaning is produced or communicated el,en in the midst of social or political atteínpts to control it. Here rr-e may see attempts on the part of both historians and musicologists to engaqe rvith tlre new ways of perceiving the articulation of music, ideolog,v, and politics opened up by figures such as Foucault, Bourdieu, Elias, and Habermas. For their study of rneaning and symbols is both reiational and contextual as they strive to unlock the idionrs not oniy of social or political power but also of the strategies of contestation or refusal. They are similarly interested in identity as defined within the public sphere and the ways in wl-rich such ptrblic or national i1req 3url:T : -, _ ] .'sJ,lnlIn] punos,, iuJJilJlp tIíq}lM tq8noLlt Jo c]uJq pLlt, J ,. j, - , _ cio1a'l.apoid1aquPfsl.1oMOÁiJEAoUUI,'(1n.rr]tqla.l.to:rad-iaql.::'..:.rri raldeql u,rto,{ru uI aleJ}snIII 1 su'o:uat,iadxa .ltau 31?1n]I]_. _ _-,] -U01 .rt1511.,,,,3trr3.raua,lo SlJoM.lt]slJJ[? MoqJo Jlt:,lre.rllrtti. ,t. 'alt1:le.id 'oluatladxo J€Jluln] Jo sluleal Jq] ípn]s o1 3ur1l:. !_. _ ] . ] : AaLI pup soBueq:lxo lplnlln] Jo elo] alll Jo íIlup]ILLto]uo] i]L: >: -.: - sso.l]p.to ulq}I,tt 8uraq o1ut aLuo] uotldo]o,t put] uoi]pal] Li],_ _: , .: _ _ s{Jomlau lt\oq Jo ,(pnls palelnurlls osl1? scq slLlJ ,asuas lpln]l: ] _ euluJalap o1 dlaq pale]IuntuLuo] oJp slxJ} q]lq^\ q8nolql Jo ]utzlu8o: olo[u o.le a,tt'ttotl:npo;c{e; pue uoue]uasa;Ja_ _ .,*- ] _ q8no-rqr papuoqe"rddr: aq.,(eru }xJ] autps aq] uall,\\'a8p la]n j,_. : . ,s3lP,usLtoulJp Ípclu os ;alduq: s.ula]s}og uo3-I SP'sa.tnlln: -::.:. . : _Jo ]xo]uo] aq1 uiq]Llr pue s,{u,lt snot.tel ur iJoM p aluetloc]xa f *: :: ],, , _ sclnol8 ]uJJeJJIp a:luts 8utrn:atu JIeq] Jo uotlpaJ] eq} uI ]uetli.. : ,,_-.,, ; sixo1 íc1 patunssu sLuJoJ eq] .ltoq LI}IM LlJe]uo) p oos Jl\\ 3,I3u,.] _:- .:---- Jt-l1Jo |1-1}tIJlod rrloqr,u,(s etll puc suotldtj:sut Il]tlJlllL]-l :ul.r)-t : - - IouoI1]nJ}suorar{1]raJJe/eu1uq1suorsLIJtu1peq]ilP'Jop.s-.::.:..puP SuPtJo]slq qloq'uotl)as s[q] ol s]o]nquluo] aLII ,,,asuas. .--- -- '.(1prrro]srq'^\ollJo ped pr8alur up s3ltlofaq pa]]IulsupJ],io p.!:-, : i " _ ,I3UtIl]Ul 3q1 }eq} ]rEJ ai{] JO SSaLIaJPM€ UP 3]BJ]SUOrUeP e]eLl L].}-:_ :: - ] - ,lJo^\ )l]slup .r!| r.rads tl J§n pul, .\\ou] l,,l .. - _ :rlclnd 3q1 q]Iq^\ uI Jauupul aql qll^\ pup suorsl_rap 1€uols\._ _ - _ .{eut a]uotradxa 1erros Jo lpJntln] ^\oq q}I.lt pauJa]uo] JLu ui 8url-ro,1t slp[Oti]S ,Llolsstulsuat1 pua 'ntlt1o1 'ýualL]say p-J| aura11o3 lo sals puv 'stlul sloquíg !an4ln3 ]utJd pLll |lu.Llly, ".. ,uorlda:lar Jo trollpnlp^a pup (uol]dll]suI Jo sepouJ 'ss:t]_rp.;J : ,tpnls u íq,(1p:rtaqrsep pup,,(1mruq:al'palpulurnIII Jequn] sI ] ]isnru LI)Iq'lt uI s?uaJt IpJnlIn] asoql raqla8o] 8utdnor8 'suol: -ou-tci 'a]uauadxa 1t;nlpr o] pelo^3p sI uol}fello] slq} _jo 1I ].r?; '-ral]Jpq3 'ulqJo3 'npalJe3 ep sE q]ns sarn8g íqpa:uongur sr, ,: pa8ro; q]oq o,Ip i(aql se Llol]€nle,\a pu€ (uolssltusuel}'r(lotuaL; IuJnl1n] ul pe]sa]alul 1,1reln:l1.red aJp eLunIoA srq] uI paluaso:da; ],- -a -i:i.] :' \TRODUCTION Historians, in turn, iťthey seek to emplor-mus1. ;,s j. }:gi]ii.ant node of access to cultural experience, practice, and understandrnE i:r ::lc pasi. nlust familiarize themselves lvith those musicological sources that illuillnaiť .ssentiai elements oť tlre musical language and the musical culture. Finallr. L-.ota iisciplines, if they wisl-r to understand the historical and musicological sieniňcance of theatrical works (Particularly of opera), must recognize the cornpie_xitr- of its enunciation anci its close relation to its specific modes of inscription, erperience, and reception, as Edward Muir's contribution to this volume tellinglv illustrates, For the message of an opera historically cannot be equated simply w,ith the supposed interrt oť the comPoser, the librettist, or the irrstitution producirrg it but rather must be approached in terms of a tense negotiation or a semiotically complex interaction at ternporally, socially, and culturally specific moments. Tlre new cultural history of music seeks to investigate precisely such arenas in which a close musical analysis must interact with a sophisticated understanding of tire senriotic or linguistic dimension r,vhile maintairring a comprelrensive grasp oť the relevant social, cultural, ancl political dynamics, There are many such ayenues of research, as the scholars irr this volume denronstrate, all of which corrrpel us to ernPloy tlre emerging theoretical or methodological composite discussed in the beginning of this Introductior' . Music examined from the perspective oť areas such as Print culture, aurai experience, or "soundscapes" and their relation to political Power, national nemory, or cultural icons demands that we renrain open to this resonant theoretical synthesis u,hile seeking out the most historically relevant con_ terts. Suclr an approach wiil also allow us to perceive new aspects of the musica] language, its nreanitlg, and evolution, as well as lrow it "spoke" or coilnunicated historically within tlre landscapes oínolv distant or foreign cuitures. Finaiiv, as this volunle demonstrates, the new cultura] history oť nrusic requires that musicoiogists take history seriously and remain apprised of its nrost íruitful nel,v directions and that historians work closely with nrusicologists, corrsulting the rele'n'ant musicological sources. To this end, departments training scholars in both fielcls nrust in turn encourage students to develop the requisite skills, historical, theoretical, and musicological in innovatile new programs that cross the boundaries of tlre once seParate disciPlines. Only by doing so can we continue to recast the questions that both fields are asking, thus bringing them closer and developing the new cultural history of music in an ever more resonant, mutually fruitful s,vnthesis. NoTEs r. See Roger Chartier, On the Edge of the CliffHbtory, Language, orO' 'rrrrurrrrrrr,rjor*u,Lydia G. Cochrane (Baltimore; Johns Hopkins University Press, 1997), and ]oyce Appleby, LYnn Hunt, and Margaret Jacob, eds., Telling the kuth about History (Berkeley: University of California Press, 1994). z. I have focused on this interaction in several books that trace the tight imbrication of politics and ideology with French culture and music, including The Nation's Image: , l ,d'(966r 'sso,r6 o8trrq3 3o Árs allaq to í3o1otlo9 aq| :fihloď puo aJl1Ll1,D'z1,1tl.lr5 pt,req sal1?os snlla1s ua seq)Jalpil ap sany ,ianb1l11ocl e1 Iesrr3d,"n , ( 966r'pne5,.s,tst6) autytlsalLl l10l1L1ll1wap L; :4.1o1.ue5) koaq1 s.nary).lt,log aJ.Latď pttu 'Jahroď 's]lqDH :]llelLii-|: opiN aos afueloT^:rloqnr,{s 3o 1ciaruoc s,nolplnog Jo uoIs!: ,6z^zú '(looz 'ssa.r6 .(1tsra,tiu11 a8pr,rquu3 :{Jo^^\a,\, up-, ou?í'tiosulloíPlJol]I[,pe 'natplttog Ox xp)a^a|lloII LLlJ)1, :, , und1y ut.,'nalpJnog o} ouJopy uro:; ru8rpt,rtd erl] SuIuIL] q |] ,: pup uol]pululo6 rqoqur/5,,';sldtq: "(u ut lu ,6'e 'uln1 1 uoI}3aIIo) er$ 01 ]unH pu€ leuuofl .(q uorllnporlut aql salnaulrlrl snuans sap at8o1ovqua aLLn :sasoq) sa1 p slalll :srre6) s;norslp np arylo:I ']1nt:nog IeqJIl\ eas J\j ,ó,eql aes ,(666r'ssar4 pIuloJiT€J Jo ,,(1rsra,rrun :ia1o1:ag sllupa.u(7 /waN :LlJfiI lrlJn,]ll13 aql puo,{ag ',spa ']unpr u: ,!ll i t",';):. ,169 ,.'ssauqluJ]j ,-j? , llo uI uIJ?tr^I slno,I Jo {Jo.^{ aq] Jo uolssn]slp s,]Ji lueJ4JIp Jo lda:uoc eql uo ,ig*|gg ,,'ss3ur{]u)lr (t)l9 ttlolst11 u"upola1lo 1auJnoí ,:ssévqJuoic pu? $ '(fl6r 's1oog ]Is?g :{JoÁ May1) sawln3 to uopaa, ,e9:9 ;t{lo1sl11 10Jnlln3 sI yDW 'a{Jng pue'zZ-I 1 ,tb-obt '(8ooz'Í4 :Lrlpb4rngJatred oas ui?líJg trBoID In peleul8lJo 1 ,(696r 'sser6 BIuJoJII€3 Jo 1]1sraarun :Áala4reg) lr aas osl\/. lo 6- 6 lg z (lg6t) (b )z 6,ua u+a6 1tJug§7. H egt Pu? 3uiuta141;o ,(tuouolny aq1 :urn1: 's.ry\aoJ ,g ut{oí eos seuIueIIInI{ atll pue Írolqq, , (166T'§saJd,blsrerqun uolef uIJd :,í,N'uolaJE p)xsnry pur aladg :sauol?unsun 'aleqqy u{orp p .,,,(3o1ocrsnli JoJ xaluoc V :OJnlIn3 Jo (Plv\ aqla8prrqwu3 qroa r,rap) uo4dnaě ?uo'tJuDu,Jt ?ua 3xsnlN"spo'l,rel3c141 utsns pu? uaddr1 prery :sqodteuurytr) ,hllanxag puo Japua1 aý,n :(ť96r ralq6) f)r tffiolocnry,t7to 1aunol o']§nl{ eqů,,Tuloqn5 pre3ueso6 osoě :(z861'odt3 e6 l :sogúaql ut ,{3o1ocrqly'?3slTBd ^ epnúp Pú"I pJ?^J?H :,ssz11'a8prrqulu3) ctsnln7 &uuqúualurj't , (9ooz'sso,r4 Á4sra4un pl pul 38nW :pa)alpruI s0 "nsodwu3 aqlp Ja^^ plJol\^ trsJLď aql. ol nally sn{,blg atp 'ssar6 &rs.ra,rrun a8prrqurz3 qrotrliep) rry ;:! I\TRoDUCT]oN i8, Fulcher,"Symbolic Don-rirration and Contestatitln"' _rt:, r9. See Hauke Brunkhorst, "]rrecorrcilable N{odernitr-: .{dorno's Experimerrtalism alrd the Transgressiotr Theorenr ]' in The Acttutlity oi Aclonto: Critical Esscll,s ott Adorno atul the Postmodern, ed. Max Pensk,v (Albany: State Urriversitv of Nerv \tlrk Press, r997), 47-49. Also see Eric L. Klakauer, The Dispositiol of the Subject: Readhry Adortto's Dialectic oJ 'I'et:hntllogy (Evarrston, I1l.: Northwestern University Press, 1998), r39,143. ro. See Peter U. I-{ohendahl, Prismatic Tl.tought: Theodor Adorrro (Lincoln: University of Nebraska Press, r995), zoo. Also see Theodor Adorno, Philosophy of Modern.A,luslc, trans. Anne G. Mitchell and Wesley V. B1oomster (Londorr: Sheed and Ward, 1973), 165-67 . zr. See Fulcher, Corrryoser as lltellectual,v2-95, ancl Glenn Watkins, Proof through the Night: Mttsic and the Creat \ýar (Berkeley: Universit1, of Califbrnia Press, zoo3). zz. See Burke, I,ffiaf Is Cultural Histor,v? 53-54, and N{ikhai1 Baklrtin, Rgbelais and His World,trans. L{élěrre 1swolsky (B1oomington: Indiana University Press, 1984). Sigrrificantl,v, as Burke points or"rt, the book was first translated into both Frencir and Englislr in 1965. z3. Burke, W4lat Is Ctlltural History? 79-tto. Also see Miche] de Certeau, L'inyention du tlt;otidien (Paris: Gallimard, r99o). On re adirrg practices as related to the history oíthe book, see Rclger Chartier,PublishingDrama in Early Modertt EtLrope (Panizz.i Lectur:es) (Lorldon: Britisir Librar)i 1999). Or-r the relevance oi the study of print culture anc1 reading tor musico}ogy see Kate van Orclen, ed., Mtlsic nnd the Cultures of Print (New York: Garland, zooo). Also see Richard l}auman, Story, Perfornlance, ancl Eyent: Contexttall Snldies oJ'OraL Narra.tiye (New Yorl<: Carnbridge University Press, r986), and Victor Turnet, 'l-he Anthropology of Perfornrnnce (New York: PAl, i98ó). r4, See Clrartier, C)t the Edge of the CliJJ', ]24-3], and Norbert Elias, The Civilizitlg Process, trans, Edtnund )ephcott (Cambridge, Mass,: Blacklvell, 1994), z5. Alain Corbin, Village Bells: Sound ttnd N[eaning itt the Nineteenth-century French CotLnťryside, trans. Martin Thom (New York: Colunrbia University Press, 1998), and Burke, \\'lnt Is Culttu,al History? nl". z6. See \Villíarn \Veber, "Opera arrd t]re Cultura] Authority of the Capital Citv"'in ]ohnstln, Fulcher, and Ertman, Opera and Society in ltal,y and France,l67-68, and Craig Calhoun, ed., Hrtberttns and the Public Spfiere (Carrrbri,dge, Mass.: Harvard University Press, r99z). -:,7. See Pierre Nora's multivoir.rme Les lieux de mémoire (Paris: Gallirnard, r98,+-1993). Aiso see Eric Hobsbarvnr and Terence i{anger, The Inyentiotl of Tradition (Nei,vYork: Cambridge University Press, r99z), and Benedict Anderson, Imagined Comtnunitits: Reflecti.otts on the Origitt ancl Spread of Nationalistrr (New York: Verso, z. oo6). z8. Edward \V. Said, Orientalisln (Nelv York Vintage, r97B), and Burke, 14/har /*s CttlttLrttl History? l,zl, z9. See, fol example, Michael P. Steinberg, Listeningto Reasott: Cilture, Subjectivity, and Nitrcteenťh-century Music (Princetor-r, N.].: Princeton Urriversity Press, zoo4); lVilliam Weber, Music and the Middle Class The Socia.l Structttre oJ'Concert LiJe in Loudon, Paris, oncl Vienna (London: Croom He lin, 1975); James lohr' so n, Listenbry in Paris: A Cultural History (Berkelev: University of Caliíilrnia Press, r995); ancl the fina1 chapter oť Carl E. Sclrorske's classic Fin-de-siěcle Yieut,to: Politics and Culture (New York: Knopí rl8o). 3o, See Burke, IVáar ls Culttlral History? 58, and my discussion ol the implications clf Jolran řluizinga's related concept oť historical slrilt irr the "culturiil landscape" in Fulcher, French Cultural Politics anrl MtLsic, tz. 3r. See Chartie r, C)n the Edge rlf the CliJ'í',94. lz. Tl-re concept of the 1nteraction of text and its receptitln was initially devdtlped by Gerilan scholars such as \{olf'gang iser. See, for example, his Der Akt des Lesens (lvlunich: Fink, l976). I4