MUSLOND

"Music in London, 1800-1851"

Coordinatore	KING'S COLLEGE LONDON    more Spiacenti, non ci sono informazioni su questo coordinatore. Contattare Fabio per maggiori infomrazioni, grazie.
Nazionalità Coordinatore	United Kingdom [UK]
Totale costo	1˙977˙800 €
EC contributo	1˙977˙800 €
Programma	FP7-IDEAS-ERC Specific programme: "Ideas" implementing the Seventh Framework Programme of the European Community for research, technological development and demonstration activities (2007 to 2013)
Code Call	ERC-2012-ADG_20120411
Funding Scheme	ERC-AG
Anno di inizio	2013
Periodo (anno-mese-giorno)	2013-05-01   -   2018-04-30

 Partecipanti

#	participant	country	role	EC contrib. [€]
1	KING'S COLLEGE LONDON  Organization address address: Strand city: LONDON postcode: WC2R 2LS contact info Titolo: Mr. Nome: Paul Cognome: Labbett Email: send email Telefono: +44 2078486136 Fax: 442078000000	UK (LONDON)	hostInstitution	1˙977˙800.00
2	KING'S COLLEGE LONDON  Organization address address: Strand city: LONDON postcode: WC2R 2LS contact info Titolo: Prof. Nome: Roger Leslie Cognome: Parker Email: send email Telefono: 442078000000 Fax: 442078000000	UK (LONDON)	hostInstitution	1˙977˙800.00

Mappa

 Word cloud

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 Obiettivo del progetto (Objective)

'This project aims to construct a wide-ranging interdisciplinary history of music in London in the first half of the nineteenth century. It will be original in method and scope, will generate a series of book-length publications, and is intended to serve as a model for a new kind of music historiography. Past histories of Western music-making have mostly focussed on elite culture, and have tended to write about music in relative isolation from the other arts and humanities. Our project will take as its focus musical activity in a period and a city which, for both material and aesthetic reasons, offers excellent opportunities for exploring a broader and more inclusive kind of history. Music-making in London functioned as a widely-based industry, providing much professional employment and featuring in the education of many an amateur; it also contributed to private and public enjoyment, became a source of boredom and occasional irritation, and fostered the creation of a host of cultural, political and imagined communities. A history that takes seriously all these functions could enable twenty-first-century scholars from many fields to understand better music’s affective presence in nineteenth-century society. It could also, by considering in detail an unprecedentedly wide range of genres and activities, find fresh relevance for musicology alongside work in other disciplines.'