This project aims to construct a wide-ranging interdisciplinary history of music in London in the first half of the nineteenth century. It will be original in method and scope, will generate a series of book-length publications, a...
ver más
¿Tienes un proyecto y buscas un partner? Gracias a nuestro motor inteligente podemos recomendarte los mejores socios y ponerte en contacto con ellos. Te lo explicamos en este video
Proyectos interesantes
HAR2009-10029
ICONOGRAFIA MUSICAL: CATALOGACION Y ANALISIS DE OBRAS ARTIST...
50K€
Cerrado
SCRIBEMUS
Scribes of Musical Cultures. Decoding Early Technologies of...
1M€
Cerrado
MUSDIG
Music Digitization Mediation Towards Interdisciplinary Mu...
2M€
Cerrado
HAR2017-86039-C2-2-P
EL PATRIMONIO MUSICAL DE LA ESPAÑA MODERNA (SIGLOS XVII-XVII...
42K€
Cerrado
HAR2011-30269-C03-03
MUSICA Y PRENSA EN ESPAÑA: VACIADO, ESTUDIO Y DIFUSION ONLIN...
29K€
Cerrado
HAR2011-30269-C03-01
MUSICA Y PRENSA EN ESPAÑA: VACIADO, ESTUDIO Y DIFUSION ONLIN...
32K€
Cerrado
Información proyecto Muslond
Líder del proyecto
KINGS COLLEGE LONDON
No se ha especificado una descripción o un objeto social para esta compañía.
TRL
4-5
Presupuesto del proyecto
2M€
Fecha límite de participación
Sin fecha límite de participación.
Descripción del proyecto
This project aims to construct a wide-ranging interdisciplinary history of music in London in the first half of the nineteenth century. It will be original in method and scope, will generate a series of book-length publications, and is intended to serve as a model for a new kind of music historiography. Past histories of Western music-making have mostly focussed on elite culture, and have tended to write about music in relative isolation from the other arts and humanities. Our project will take as its focus musical activity in a period and a city which, for both material and aesthetic reasons, offers excellent opportunities for exploring a broader and more inclusive kind of history. Music-making in London functioned as a widely-based industry, providing much professional employment and featuring in the education of many an amateur; it also contributed to private and public enjoyment, became a source of boredom and occasional irritation, and fostered the creation of a host of cultural, political and imagined communities. A history that takes seriously all these functions could enable twenty-first-century scholars from many fields to understand better music’s affective presence in nineteenth-century society. It could also, by considering in detail an unprecedentedly wide range of genres and activities, find fresh relevance for musicology alongside work in other disciplines.