Publication series of the Sophie Drinker Institute
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Publication series of the Sophie Drinker Institute
Volumes 1-16 of the Sophie Drinker Institute's publication series were published by BIS-Verlag between 2007 and 2019 and are available Open Access. More recent publications and the possibility to buy the volumes can be found on the website of the Sophie Drinker Institute.
Editor: Freia Hoffmann
Publication series of the Sophie Drinker Institute
Music discourse as gender discourse
in German music writing of the 19th century
Cordelia Miller
Publication series of the Sophie Drinker Institute, 16
BIS-Verlag, Oldenburg 2019
ISBN 978-3-8142-2383-4
Abstract
Thinking in dichotomies was widespread in the 19th century: male - female, production - reproduction, intellect - emotion, performer - virtuoso, saint - whore, German - un-German, Christian - Jewish, spirit - nature, etc. Music critics, music writers and biographers who had to describe and evaluate a perception liked to make use of these topoi in order to locate their perception in the field of these markers, to lend contour to judgements and to insert them into reception grids that they could also assume their readers would follow.
On the basis of such evaluative dichotomies, the habilitation thesis examines the connection between musical discourse and gender discourse in the 19th century, which extends to all areas of musical life and musical culture of the time: from the real gender relationship on the concert stage to the transfer of the 'gender character' to components of virtuosity and virtuosity to the appropriation of composers in the context of national self-discovery.
Female musicians and their networks in the 19th century
Annkatrin Babbe and Volker Timmermann (eds.)
Publication series of the Sophie Drinker Institute, 12
BIS-Verlag, Oldenburg 2016
ISBN 978-3-8142-2338-4
Abstract
How can the networks of female instrumentalists in the 19th century be traced and how can the embedding of their actions in social structures be investigated? Network research from a historical perspective is closely related to the sources. Their direct networking seems far less tangible. Do Hellmesberger's pupils, Clara Schumann or the Lisztians form a network per se? Can a musical salon be regarded as a place of networks? It is not always possible to trace clear and reciprocal relationship structures. The fact that such questions are posed here, particularly using the example of female instrumentalists, has to do with the genesis of the anthology, which can certainly be understood as a spin-off from the "Lexikon Europäische Instrumentalistinnen des 18. und 19.
Clara Schumann and her students at the Hoch Conservatory in Frankfurt a. M.
Annkatrin Babbe (ed.)
Publication series of the Sophie Drinker Institute, 11
BIS-Verlag, Oldenburg 2015
ISBN 978-3-8142-2312-4
Abstract
Clara Schumann is now probably the best-researched female musician of the 19th century, not only because of her connection with Robert Schumann, but also because of the interest that gender research has shown in her since the 1970s. It is therefore all the more astonishing that her teaching activities at the Hoch Conservatory have hardly been analysed to date. Annkatrin Babbe has filled this gap and analysed a large amount of material: Letters, interviews, journals, (auto-)biographies of pupils, writings on Clara Schumann's biography and works on the history of the Hoch Conservatory (including the annual reports from 1878 to 1898). In addition, there was a wealth of press and literary material about Clara Schumann's pupils and daughters. Most of them have so far received little attention from research; this book now presents them in 53 detailed lexical articles.