首页> 外文学位 >Music of a more perfect union: Symphonic constructions of American national identity, 1840--1870.
【24h】

Music of a more perfect union: Symphonic constructions of American national identity, 1840--1870.

机译:一个更完美的结合的音乐:1840--1870年的美国民族身份的交响曲结构。

获取原文
获取原文并翻译 | 示例

摘要

The genre of the symphony has long been recognized as a medium for constructing national identities in German, French, and Russian culture, yet little is known about the genre's history in the United States. Between 1840 and 1870, the era of the first generation of American orchestral composers, it served as a potent means of expressing American national identity. During this period of American cultural history, two separate processes shaped conceptions of national identity: decolonization from Great Britain and a nascent sense of imperial expansionism. This dissertation explores how mid-century American symphonic composers musically constructed national identities reflecting these conceptions and argues that this practice continued well into the twentieth century.;Composers who focused on decolonization generally employed one of two separate strategies. The first was emulation, or copying European symphonic models with the intention of continuing the symphonic tradition. George Frederick Bristow (1825--1898), for example, wrote symphonies that might be mistaken for music by Mendelssohn or Schumann. The second strategy was exceptionalism, or selectively omitting traditional stylistic elements in order to pave new musical pathways. The exceptionalist William Henry Fry (1813--1864) developed an idiosyncratic style that eclectically blended progressive symphonic aesthetics, Italian opera, and American popular song. Each composer's symphonies answered the question of how the United States should define itself with respect to the Old World.;The composers who focused on expansionism were more concerned with how the United States should define itself with respect to the rest of the Western Hemisphere. Anthony Philip Heinrich (1781--1861), for example, constructed a national identity built on the precepts of Manifest Destiny. His symphonies assimilate an exotic musical style intended to represent Native Americans and the aura of the American landscape into the fabric of European classicism and American popular music. Louis Moreau Gottschalk (1829--1869) painted musical portraits of nations in Latin America that were heavily laced with continental American musical styles. These symphonies promoted the blossoming imperialist agenda of many Americans at mid-century.
机译:交响曲的风格长期以来一直被认为是在德国,法国和俄罗斯文化中构建民族身份的一种媒介,但对这种曲风在美国的历史知之甚少。在1840至1870年间,即第一代美国管弦乐作曲家的时代,它成为表达美国民族身份的有力手段。在美国文化史的这段时期中,两个独立的过程塑造了国家认同的概念:英国的非殖民化和新生的帝国主义扩张意识。本论文探讨了世纪中叶的美国交响乐作曲家如何在音乐上构建反映这些概念的民族身份,并认为这种做法一直持续到二十世纪。专注于非殖民化的作曲家通常采用两种不同的策略之一。首先是模仿,或复制欧洲交响乐模型,以延续交响乐传统。例如,乔治·弗雷德里克·布里斯托(George Frederick Bristow,1825--1898年)创作的交响曲可能被门德尔松(Mendelssohn)或舒曼(Schumann)误认为音乐。第二种策略是例外主义,或有选择地省略传统的风格元素,以铺平新的音乐道路。例外主义者威廉·亨利·弗莱(William Henry Fry,1813--1864年)发展出一种独特的风格,将进步的交响美学,意大利歌剧和美国流行歌曲完美地融合在一起。每个作曲家的交响曲都回答了美国应如何对旧世界进行自我定义的问题。专注于扩张主义的作曲家更加关注美国应如何对西半球其他地区进行自我定义。例如,安东尼·菲利普·海因里希(Anthony Philip Heinrich,1781--1861年),就以人类命运宣言为基础,建立了民族形象。他的交响曲吸收了一种异国情调的音乐风格,旨在代表美洲原住民和美国风景的光环,融入欧洲古典主义和美国流行音乐的结构。路易斯·莫罗·戈特沙克(Louis Moreau Gottschalk,1829--1869年)绘制了拉丁美洲国家的音乐肖像,这些肖像与美国大陆的音乐风格紧密相关。这些交响曲促进了本世纪中叶许多美国人的帝国主义议程。

著录项

  • 作者

    Shadle, Douglas William.;

  • 作者单位

    The University of North Carolina at Chapel Hill.;

  • 授予单位 The University of North Carolina at Chapel Hill.;
  • 学科 History United States.;Music.
  • 学位 Ph.D.
  • 年度 2010
  • 页码 222 p.
  • 总页数 222
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类
  • 关键词

  • 入库时间 2022-08-17 11:36:52

相似文献

  • 外文文献
  • 中文文献
  • 专利
获取原文

客服邮箱:kefu@zhangqiaokeyan.com

京公网安备:11010802029741号 ICP备案号:京ICP备15016152号-6 六维联合信息科技 (北京) 有限公司©版权所有
  • 客服微信

  • 服务号