MUSIC AND ITS PUBLIC: HABITS OF LISTENING AND THE CRISIS OF MUSICAL MODERNISM IN VIENNA, 1870-1914 (AUSTRIA).

摘要

This study concerns the crisis of musical modernism at the fin de siecle in Vienna. It attempts a social history of that crisis and its origins from 1870 to 1914, including a pre-history from 1830 to 1870. It delineates the evolution of musical organizations, the growing role of newspaper criticism and critics, the spread of the piano in its post-1860 form, the emergence of music as an economic enterprise, and the use and influence of written guides to concert repertoire in the context of an expanding audience. The character of musical literacy and education in Vienna, the decline of an 18th century pattern of amateurism and the growth of a newer popular form of musical amateurism (based on piano instruction and membership in professionally led choral societies) are discussed. The historicizing of taste and the expansion of curiosity and activity in music history are described. These developments are evaluated within the context of demographic and economic changes (particularly with respect to entrepreneurship and industrialization) in Vienna. The ideal of "classicism" and the role of professional musicians are linked to the evolution of taste and the social premiums attached to concert attendance during a period of extensive growth in public concert life.;By the early 1900s, an enlarged urban audience of passive listeners, educated at the piano, consumed by a taste for a retrospective classicism and attentive to music as a medium with familiar extra musical connotations, encountered the musical innovations of Gustav Mahler, Richard Strauss and Arnold Schoenberg. The negative public and critical reaction to their work is reconsidered. The parallel lives and careers of critic Robert Hirschfeld; musicologist Guido Adler; Vienna's leading concert agent, Albert Gutmann; and major patron and piano manufacturer Ludwig Boesendorfer frame the narrative of this study.