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dc.contributor.authorIrving, David Ronald Marshalles_ES
dc.date.accessioned2020-06-12T08:06:45Z-
dc.date.available2020-06-12T08:06:45Z-
dc.date.issued2019-
dc.identifier.citationModernisation of Musical Traditions: Global Perspectives : (2019)es_ES
dc.identifier.urihttp://hdl.handle.net/10261/214171-
dc.description.abstractIn the decades surrounding the turn of the nineteenth century there was a profound transformation in discourse and practice of music in Western Europe, and in aesthetic and philosophical conceptualisations of music's past and contemporary states. These changes in musical action and thought were intertwined with political, economic, religious, and technological transitions of old and new regimes before and after c.1800, corresponding to periods that today's historians typically label 'early modern' and 'modern'. Such terms are, of course, anachronistic; writers from the sixteenth to nineteenth centuries only ever conceived of a dialectic between 'modern' and its various antitheses, interpreted from a variety of chronological scales and ontological frameworks. Today 'early modernity' and 'modernity' as historical concepts have been extended beyond Europe to global scopes and contexts (not without controversy), since these centuries were coterminous with the building of immense colonial empires by European nations; moreover, the rising wealth and knowledge appropriated by Europeans through their rise to hegemony were arguably significant factors in the transition to 'modernity'. Yet, until fairly recently, historical musicologists have usually studied the aesthetic shift from 'early modernity' to 'modernity' in European music by examining European contexts largely in isolation from the rest of the world. The 'global turn' in musicology has signalled a need to consider European music history in the context of worldwide connections and exchanges. This paper explores how a global perspective can transform our view of the shift from 'early modernity' to 'modernity', by taking account of: comparative ethnology (which led to discourse of cultural essentialism and exceptionalism); the systematic colonial exploitation that fuelled technological and cultural change; and what anthropologist Johannes Fabian called 'the denial of coevalness'. It also attempts to relate shifts in music discourse to systems of thought that Michel Foucault called the 'classical episteme' and the 'modern episteme'.es_ES
dc.language.isoenges_ES
dc.publisherInternational Network for a Global History of Musices_ES
dc.rightsclosedAccesses_ES
dc.subjectMusicological discoursees_ES
dc.subjectMusicological practicees_ES
dc.subjectWestern Europees_ES
dc.subjectNineteenth centuryes_ES
dc.subjectEarly Modernityes_ES
dc.subjectModernityes_ES
dc.subjectMusicologyes_ES
dc.subjectEuropean music historyes_ES
dc.subjectWorldwide connections and exchangeses_ES
dc.titleFrom 'Early Modernity' to 'Modernity' in Musicological Discourse: Interpreting Change in European Music from the Perspective of Global Historyes_ES
dc.typecomunicación de congresoes_ES
dc.description.peerreviewedPeer reviewedes_ES
dc.relation.csices_ES
oprm.item.hasRevisionno ko 0 false*
dc.type.coarhttp://purl.org/coar/resource_type/c_5794es_ES
item.openairetypecomunicación de congreso-
item.cerifentitytypePublications-
item.languageiso639-1en-
item.grantfulltextnone-
item.openairecristypehttp://purl.org/coar/resource_type/c_18cf-
item.fulltextNo Fulltext-
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