Music and Orientalism in the British Empire, 1780s-1940s
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A01=Bennett Zon
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British imperial culture
British Musical Renaissance
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cinema
Claire Mabilat
colonial music history
Comparative Musicology
Corissa Gould
cross-cultural musical exchange
english
English Mail Coach
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ethnomusicology studies
Europe's Portrayal
Fiona Richards
Fox Strangways
granville
Granville Bantock
Gregory D. Booth
head
hindi
Hindi Cinema
Hindi Film Music
India's Temple Dancers
indian
Indian Love Lyrics
Indian Music
India’s Temple Dancers
Inhuman Excess
Joep Bor
Lakshmi Subramanian
Lalla Rookh
Laura Upperton
Martin Clayton
matthew
Midland Institute
music theatre analysis
musical
Musical Orientalism
national consciousness
Nicholas Cook
non-Western musical traditions
Oral Musical Traditions
Oriental Signifier
orientalism
Orientalism in nineteenth-century music research
Oscar Asche
Philip V. Bohlman
Phyllis Weliver
Queen's Hall
Queen’s Hall
Rana Kabbani
renaissance
Robert Lachmann
Ruth F. Davis
Scene Ii
Sir Henry Bishop
Sophie Fuller
Temple Dancers
Vice Versa
William A. Everett
Young Man
Product details
- ISBN 9780754656043
- Weight: 840g
- Dimensions: 156 x 234mm
- Publication Date: 28 Jul 2007
- Publisher: Taylor & Francis Ltd
- Publication City/Country: GB
- Product Form: Hardback
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Filling a significant gap in current scholarship, the fourteen original essays that make up this volume individually and collectively reflect on the relationship between music and Orientalism in the British Empire over the course of the long nineteenth century. The book is in four themed sections. 'Portrayal of the East' traces the routes from encounter to representation and restores the Orient to its rightful place in histories of Orientalism. 'Interpreting Concert Music' looks at one of the principal forms in which Orientalism could be brought to an eager and largely receptive - yet sometimes resistant - mass market. 'Words and Music' investigates the confluence of musical and Orientalist themes in different genres of writing, including criticism, fiction and travel writing. Finally, 'The Orientalist Stage' discusses crucial sites of Orientalist representation - music theatre and opera - as well as tracing similar phenomena in twentieth-century Hindi cinema. These final chapters examine the rendering of the East as 'unachievable and unrecognizable' for the consuming gaze of the western spectator.
Martin Clayton is Senior Lecturer in Music at the Open University, UK. He has written on topics including rhythm and metre, the history of comparative musicology, and musical encounters between India and the West. His publications include Time in Indian Music (2000), The Cultural Study of Music (co-editor, 2003) and Music, Time and Place (2007). Bennett Zon is Reader in Music, Director of the Centre for Nineteenth-Century Music and Fellow of the Institute of Advanced Study, Durham University. He has published The English Plainchant Revival (1999), Music and Metaphor in Nineteenth-Century British Musicology (2000) and Representing Non-Western Music in Nineteenth-Century Britain (2007). Zon is General Editor of Nineteenth-Century Music Review and the Music in Nineteenth-Century Britain book series.
