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Introduction: Music and Cultures of Racial Representation in the Nineteenth Century

Published online by Cambridge University Press:  13 April 2011

James Deaville
James Deaville
Affiliation:
Carleton University
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Extract

[When] the word race, as applied to man, is spoken of, the English mind wanders immediately to distant countries; to Negroes and Hottentots, Red Indians and savages. (1850)

It is our hope that the musicologies might rise ... to the occasion and find their way in the emerging national and international conversation on race, for it is in music that the racial resonates most vividly, with greatest affect and power. (2000)

Type
Introduction
Information
Nineteenth-Century Music Review , Volume 3 , Issue 1 , June 2006 , pp. ix - xiii
Copyright
Copyright © Cambridge University Press 2006

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References

1 Knox, Robert, The Races of Men (Philadelphia, 1850), 3.CrossRefGoogle Scholar

2 Radano, Ronald and Bohlman, Philip, eds, ‘Introduction’, Music and the Racial Imagination (Chicago, 2000), 6.Google Scholar

3 Banton, Michael, Racial Theories (Cambridge, 1998)CrossRefGoogle Scholar , and Miles, Robert, Racism (London, 2003)Google Scholar . See also Barot, Rohit and Bird, John, ‘Racialization: The Genealogy and Critique of a Concept’, Ethnic and Racial Studies 24/4 (Jul. 2001): 601–18CrossRefGoogle ScholarPubMed.

4 Radano, and Bohlman, , ‘Introduction’, Music and the Racial Imagination, 6.Google Scholar

5 See, for example, Goodall, Jane R., Performance and Evolution in the Age of Darwin (London, 2002)CrossRefGoogle Scholar.

6 Bohlman, Philip, ‘The Remembrance of Things Past: Music, Race, and the End of History in Modern Europe’, in Radano, and Bohlman, , eds, Music and the Racial Imagination, 647.Google Scholar

7 For example, in the essay collection Music and German National Identity (ed. Applegate, Celia and Potter, Pamela, Chicago, 2002)Google Scholar , issues of race only emerge in the context of Third-Reich musical politics. See also Bergen, Doris L., ‘Hosanna or “Hilf, O Herr Uns”: National Identity, the German Christian Movement, and the “Dejudaization” of Sacred Music in the Third Reich’, in Music and German National Identity, ed. Applegate, and Potter, , 140–54Google Scholar . However, by situating the anti-Semitism of the nineteenth century, as well as issues of colonization and the rise of comparative musicology, within musical practices, we can identify a nexus of music, national identity and race that contributed to the formation of the German nation.

8 See for example Locke, Ralph, ‘Constructing the Oriental “Other”: Saint-Saëns's Samson et Dalila’, Cambridge Opera Journal 3/3 (1991): 261–302CrossRefGoogle Scholar ; ‘Cutthroats and Casbah Dancers, Muezzins and Timeless Sands: Musical Images of the Middle East’, in The Exotic in Western Music, ed. Bellman, Jonathan (Boston, 1998), 104–36Google Scholar ; and ‘Exoticism and Orientalism in Music: Problems for the Worldly Critic’, in Edward Said and the Work of the Critic: Speaking Truth to Power, ed. Bové, Paul A. (Durham, 2000), 257–81CrossRefGoogle Scholar and Said, Edward, ‘The Empire at Work: Verdi's Aida’, in Culture and Imperialism (New York, 1993), 111–32Google Scholar.

9 See Bohlman, Philip, Jüdische Musik: Eine mitteleuropäische Geistesgeschichte (Vienna, 2005)CrossRefGoogle Scholar.

10 Pisani, Michael V., ‘John Philip Sousa's “Red Indians”: A Case Study of Race in Music’, this volume, 78.Google Scholar

11 Ibid., 88.

12 Ibid., 88.

13 The Völkerschauen of central Europe in the late nineteenth century were exhibitions of living ‘exotic’ peoples, whereby whole African villages were transported to museum or amusement-park settings for the observation of visitors. One of the best known was the Ashanti- or Somali-Dorf in Venedig in Wien during the mid-1890s.

14 See, for example, Arnold, David, ‘Race, Place and Bodily Difference in Early Nineteenth-Century India’, Historical Research 77/196 (May 2004): 267Google Scholar.

15 Scott, Derek, ‘In Search of Genetically Modified Music: Race and Musical Style in the Nineteenth Century’, this volume, 3–23.Google Scholar

16 Zon, Bennett, ‘Disorienting Race: Humanizing the Musical Savage and the Rise of British Ethnomusicology’, this volume, 25–43.Google Scholar

17 Hall, Stuart, ‘Cultural Identity and Diaspora’, quoted in bell hooks, Black Looks: Race and Representation (Boston, 1992), 3.Google Scholar