Renewed Orientations for the History of Transnational Music Mobility in the Age of Enlightenment
Orientaciones renovadas en la historia transnacional de la movilidad musical en la época de la Ilustración
DOI:
https://doi.org/10.26754/ojs_artigrama/artigrama.2021368102Palabras clave:
Agencia, Celebridad, Estudios de género, Historia global, Innovación, RedesResumen
Resumen
Desde la aparición en 1996 del nº 12 de Artigrama, se ha producido una considerable expansión de estudios históricos sobre la movilidad de los músicos durante el siglo XVIII. Estos estudios han establecido estrechas vinculaciones entre la historia de la música y la microhistoria de los fenómenos migratorios y las diásporas, la historia de las redes sociales y la historia de la mediación cultural. Todas estas actualizaciones analíticas y documentales han sido alimentadas por un creciente diálogo entre la historia social de la interpretación y otras áreas de investigación, especialmente las relacionadas con la historia conectada y global, la historia de las mujeres y de género, así como la historia de la ciencia y la tecnología. En este marco historiográfico, los conceptos operativos de ‘migrantes privilegiados’, ‘agencia’ e ‘innovación’ enriquecen nuestro entendimiento de las distintas escalas temporales y de los horizontes geográficos propios de las diferentes carreras de los intérpretes, de las normas de género y de las transgresiones que activan los planes de movilidad a larga distancia y a largo plazo. De forma semejante, estos mismos conceptos enriquecen las transferencias culturales y técnicas que impulsan el mercado musical y la circulación de instrumentos musicales que integran progresivamente los espacios coloniales y extraeuropeos.
Abstract
Since the appearance in 1996 of Artigrama’s issue nº 12, there has been a considerable ex-pansion of historical studies of musicians’ mobility during the 18
th century. They have established close links between music history and the micro-history of migratory and diasporic phenomena, the history of networks and the history of cultural mediation. These analytical and documen-tary updates have been fuelled by a growing dialogue between the social history of performance and other areas of research, especially concerning connected and global history, women’s and gender history and the history of science and technology. In this historiographic framework, the operating concepts of ‘privileged migrants’, ‘agency’ and ‘innovation’ enrich our understanding of the timescales and geographical horizons appropriate to the different performers’ careers, the gender norms and transgressions at work in long-distance and long-term mobility plans, and also the cultural and technical transfers driving the music market and the circulation of musical instruments, that increasingly integrate colonial and non-European spaces.
Keywords
Agency, Celebrity, Gender studies, Global History, Innovation, Networks.
Descargas
Citas
Aboudrar, B. N., Mairesse, F. y Martin, L., Géopolitiques de la culture: L’artiste, le diplomate et l’entrepreneur, Paris, Armand Colin, 2021.
Adelson, R.and Letzter, J., Women Writing Opera: Creativity and Controversy in the Age of the French Revolution, Berke-ley, University of California Press, 2001.
Adelson, R., Roudier, A., Nex, J., Barthel, L. and Foussard, M. (eds.), The History of the Erard Piano and Harp in Letters and Documents, 1785-1959, Cambridge, Cambridge University Press, 2019.
Ahrendt, R., Ferraguto, M. and Mahiet, D. (eds.), Music and Diplomacy from the Early Modern Era to the Present, New York, Palgrave MacMillan, 2014.
Amar, M., and Green, N. L. (eds.), Migrations d’élite. État des lieux et approches comparatives, Tours, Presses universitaires François-Rabelais, (in press).
Appadurai, A. (ed.), The Social Life of Things. Commodities in Cultural Perspective, Cambridge, Cambridge University Press, 1986.
Arber, S. and Ginn, J., Connecting gender and ageing. A sociological approach, Bucking-ham, Philadelphia, Open University Press, 1998.
Baudry, J., Blanc, J., Hilaire-Pérez, L., Ratcliff, M. and Wenger, S., Produire du nouveau? Arts — techniques — sciences en Europe (1400-1900), Paris, CNRS éditions, 2022.
Beaurepaire, P.-Y., L’espace des francs-maçons. Une sociabilité européenne au XVIIIesiècle, Rennes, Presses Universitaires de Rennes, 2003.
Bec, C., Les comédiennes-chanteuses à Madrid au XVIII e siècle (1700-1767), Paris, Champion, 2016.
Bensaude vincent, B., Vie d’objets. Critique, Paris, Centre National des Lettres, 2012.
Bernasconi, G., Objets portatifs au Siècle des lumières, Paris, CTHS, 2015.
Berti, M. and Corswarem, E. (eds.), Music and the Identity Process: The National Churches of Rome and their Networks in the Early Modern Period, Turnhout, Brepols, 2019.
Berti, M., “M. Faure chapelain se contente d’enseigner le plein chant a ses confreres. La presenza dei musici stranieri nelle Chiese Nazionali di Roma”, in Goulet, A.-M. and Zur Nieden, G. (eds.), Musicisti europei..., pp. 399-426.
Bourdelais, P., L’âge de la vieillesse. Histoire du vieillissement de la population, Paris, Editions Odile Jacob, 1993.
Boyd, M. and Carreras, J. J.(eds.), Music in Spain During the Eighteenth Century, Cambridge, Cambridge UP, 1998.
Brook, T., Vermeer’s Hat: The Seventeenth Century and the Dawn of the Global World, Bloomsbury Publishing, 2009.
Bull, M. and Back, L., The Auditory Culture Reader, New York, Berg Publishers, 2003.
Cáceres-Piñuel, M., “Women and Networks of musical Patronage within the Framework of International Exhibitions at the Turn of 20th Century: Disruptions and ‘longue durée’ Processes”, in Mazuela-Anguita, A. (ed.), Women and Music Networks..., forthcoming.
Camier, B., “Minette (Elisabeth, Alexandrine, Louise Ferrand dite) artiste libre de couleur à Port-au-Prince à la fin du XvIIIe siècle. Une étude biographique”, Revue haïtienne, d’histoire de géographie et de géologie, 259-262, 2018, pp. 214-237.
Camier, B., “Jeanne, Anne, Louise, Beauvernet dite Lise (Pointe-à-Pitre 1773-Paris circa 1840) demi-sœur de Minette et chanteuse de couleur à Saint-Domingue à la fin du XvIIIe siècle”, Généalogie et Histoire de la Caraïbe, 2018, article 49.
Carnino, G., Hilaire-Pérez, L. and Kobiljski, A. (eds.), Histoire des techniques. Mondes sociétés, cultures (XVIe-XVIIIe siècle), Paris, PUF, 2016.
Carreras, J. J. (ed.), Historia de la música en España e Hispanoamérica, 5. La música en la España del siglo XIX, Madrid-México, Fondo de Cultura Económica, 2018.
Castro Ribeiro, J. and Sardo, S. “Atlântico Sensível (AtlaS) - Memória e mediação das práticas e dos instrumentos musicais na circulação entre comunidades interligadas”.
http//atlanticosensivel.web.ua.pt/.
Cavaillé, F., “Des émotions venues de loin? Sentir et penser le pathétique du théâtre chinois depuis la France (1730-1830)”, in Chaouche, S. and Marie, L. (eds.), Les émotions en scène (XVIIe-XXIesiècle), European Drama and Performance Studies, 17, 2021, pp. 291-314.
Celebrity, special issue, Lapham’s Quarterly, 4/1, 2011.
Clarke, C., “Erard and Broadwood in the Classical era: two schools of piano making”, in Coin, C., De visscher, E. and Gétreau, F. (eds.), Musique-Images-Instruments, vol. 11, Le pianoforte en France 1780-1820, 2009, pp. 98-125.
Cobussen, M., Meelberg, v. and Truax, B., The Routledge Companion to Sounding Art, Routledge, 2017.
Colin, M.-A., Corswarem, E.,Ellisèche, Y. and Morales, J. (eds.), Marquer la ville, affirmer l’identité. Musique, dévotion et espaces nationaux (Italie et anciens Pays-Bas espagnols), Brussels, Peter Lang, 2022.
Coll. Mss. Regi Gustavi III, vol. XXXXIv, F 518, Staël’s letters to Gustav III and Count Creutz, La Suède et les Lumières. Lettres de France d’un Ambassadeur à son Roi (1771-1783), (edited by M. Molander Beyer), Paris, Michel de Maule, 2006.
Cohen, A., Music in the French Royal Academy of Sciences. A study in the evolution of musical thought, Princeton, Princeton University Press, 1981.
Croucher, S., “Privileged Mobility in an Age of Globality”, Societies, 2, 2012, pp. 1-13.
Cros, L., Franc-maçonnerie, réseaux maçonniques et dynamiques bordelaises au XVIIIe siècle, PhD, Université Bordeaux Montaigne, 29 May 2018.
Daston, L. (ed.), Biographies of Scientific Objects, Chicago, The University of Chicago Press, 2000.
De Azambuja Ribeiro Machel, M., “Politics, spectacle and propaganda: the political use of patronage and press by John v’s representatives in Rome during the first half of 18th century”, in Diez del Corral Corredoira, P. (ed.), Politics and the arts in Lisbon and Rome: The Roman dream of John V of Portugal, Oxford, Oxford University Press, 2019, pp. 43-73.
De Bougainville, L.-A., Voyage autour du monde, par la frégate du roi la Boudeuse, et la flûte l’Etoile, en 1766, 1767, 1768 et 1769, Paris, Saillant et Nyont, 1771.
De Brito, M. C., Opera in Portugal in the Eighteenth Century, Cambridge, Cambridge UP, 1989.
De Frutos, L., “Virtuosos of the Neapolitan opera in Madrid: Alessandro Scarlatti, Matteo Sassano, Petruccio and Filippo Schor”, Early Music, 37/2, 2009, pp. 187-200.
Delpech, L., “Les musiciens français en Allemagne du nord (1660-1730): questions de méthode”, in Musiques nomades..., pp. 57-73.
Delpech, L., Ouvertures à la française: migrations musicales dans l’espace germanique 1660-1730, Turnhout, Brepols, 2020.
Diez Del Corral Corre Doira, P. y Fernandes, C., “Del Tajo al Tíber: la formación de músicos y artistas portugueses en Roma durante el reinado de Juan v (1707-1750)”, Revista de Historia Moderna. Anales de la Universidad de Alicante, 38, 2020, pp. 326-359.
Dubert, I. and Kesztenbaum, L. (eds.), La fin de vie: regards historiques, Annales de démographie historique, 133, 2017.
Ehrmann-Her-fort, S. y Leopold, S. (eds.), Migration und Identität. Wanderbewegungen und Kulturkontakte in der Musikgeschichte (Analecta Musicologica 49), Kassel, Bärenreiter, 2013.
Evstratov, A., Les Spectacles francophones à la cour de Russie (1743-1796): l’invention d’une société,Oxford, Oxford University Press, 2016.
Fernandes, C., “Música, cerimonial e representação política: Sant’Antonio dei Portoghesi no contexto das igrejas nacionais em Roma durante a época barroca (1683-1728)”, in Ferreira, M. P. and Cascudo, T. (eds.), Música e História: Estudos em homenagem a Manuel Carlos de Brito, Lisboa, Colibri/Cesem, 2017, pp. 153-173.
Ferraguto, M., ”Eighteenth-Century Diplomats as Musical Agents”, in Ramel, F. y Prévost-Thomas C. (eds.), International Relations, Music and Diplomacy: Sounds and Voices on the International Stage, New York, Palgrave Macmilan, 2018, pp. 43-64.
Ferraguto, M., “Musical Patronage and Diplomacy: The Case of Prince Paolo Savelli (†1632)”, Journal of Seventeenth-Century Music, 24, 2019. https://sscm-jscm.org/jscm-issues/volume-24-no-1/morucci-musical-patronage
Fleming, S. D. I, “Foreign Composers, the Subscription Market, and the Popularity of Con-tinental Music in Eighteenth-Century Britain”, in Music by Subscription. Composers and their Networks in the British Music-Publishing Trade, 1676-1820, London, Routledge, 2021, pp. 221-241.
Freeman, D. E., Josef Mysliveček, Il Boemo: the Man and His Music, Sterling Heights, Michigan, Harmonie Park Press, 2009.
Gerards, M. and Hoffmann, F. (eds.), Musik — Frauen —Gender. Bücherverzeichnis 1780-2004, Oldernburg, BIS verlag, 2006.
Gerritsen, A. and Riello G. (eds.), The Global Lives of Things. The Material Culture of Connections in the Early Modern World, Routledge, 2015.
Gibson, E., “Earl Cowper in Florence and His Correspondence with the Italian Opera in London”, Music & Letters, 68/3 1987, pp. 235-252.
González-Quiñones, J., “Eighteenth-century Spanish music in Mexico”, in Boyd, M. and Carreras, J. J.(eds.), Music in Spain During the Eighteenth Century, Cambridge, Cambridge UP, 1998, pp. 252-255.
Goulet, A.-M., “Le cercle de la princesse des Ursins à Rome (1675-1701): un foyer de culture française”, Seventeenth Century French Studies, 33, 2011, pp. 60-71.
Goulet, A.-M. and Zur Nieden, G., (eds), Europäische Musiker in Venedig, Rom und Neapel: 1650-1750, Kassel, Bärenreiter, 2015.
Guillaume-Castel, F., The harp-making in 18th and 19th century Europe, PhD in progress, under the supervision of Gabriele Rossi-Rognoni, Royal College of Music; Malvano, A. S.,“Erard & Co. The family history, a historical family”, in Defetel, N. (ed.), Listz e il suono di Érard,Briosco, villa Medici Giulini, 2011, pp. 106-125.
Guillorel, E., “Ce que chanter veut dire dans l’espace atlantique colonial français: position de recherche”, Rabaska. Revue d’ethnologie de l’Amérique française, 17, 2019, pp. 59-68.
Guzy-Pasiak J. and Markuszewska, A. (eds.), Music Migration in the Early Modern Age: Centres and Peripheries - People, Works, Styles, Paths of Dissemination and Influence, varsovie, Liber Pro Arte, 2016.
Hasse, J. A. and Ortes, G., Lettere 1760-1783, (edited by Livia Pancino), Turnhout, Brepols, 1998.
Heartz, D., Music in European capitals: The galant style (1720-1780), New York-London, W. W. Norton & Company, 2003, pp. 295-439.
Hennebelle, D., “Le rendez-vous manqué entre Mozart et l’aristocratie parisienne (1778)”, Annales historiques de la Révolution française, 379, 2015, pp. 35-45.
Hilaire-Perez, L., L’invention technique au siècle des Lumières, Paris, L’évolution de l’Humanité, Albin Michel, 2000.
Hinde Stewart, J., The Enlightenment of age, Oxford, Oxford University Press, voltaire Foundation for Enlightenment Studies, 2010.
Hoffmann, F., Instrument und Körper, Frankfurt am Main und Leipzig, Insel verlag, 1991.
Inglis, F., A Short History of Celebrity, Princeton-Oxford, Princeton University Press, 2010.
Irving, D. R. M., “Music in Global Jesuit Missions, 1540-1773”, in Zupanov, I. G. (ed.). The Oxford Handbook of the Jesuits, Oxford, Oxford University Press, 2019, pp. 598-634.
Irving, D. R. M., “Music and Cosmopolitanism in the Early Modern Lusophone World”, in Bethencourt, F. (ed.), Cosmopolitanism in the Portuguese-speaking World, Brill, 2018, pp. 111-131.
Jeanneret, C., “Le Théâtre Français au Septentrion (1669-1728): Diplomatie, échanges Culturels et Migration entre Paris et Copenhague”, Early Modern French Studies, 2021. https://doi.org/10.1080/20563035.2021.1911499
Joubert, E., “Analytical Encounters: Global Music Criticism and Enlightenment Ethno-musicology,” in Studies on a Global History of Music. A Balzan Musicology Project, Londres, Routledge, 2018, pp. 42-60.
Kägler, B., “Competition at the Catholic Court of Munich. Italian Musicians and Family Networks”, in Zur Nieden, G. and Over, B. (eds.), Musicians’ Mobilities and Music Migrations in Early Modern Europe. Biographical Patterns and Cultural Exchanges, Bielefeld, transcript verlag, 2016, pp. 73-90.
Katalinić, v. (ed.), Music Migrations in the Early Modern Age: People, Markets, Patterns and Styles, Zagreb, Hrvatsko musikolosko drustvo, 2016.
Koegel, J., “Spanish and French Mission Music in Colonial North America”, Journal of the Royal Musical Association, 126/1, 2001, pp. 1-53.
La Feuille nécessaire: Les Sciences, les Lettres, les Arts, 10 December 1759, n° 43, pp. 694-695.
Le Marec, J. and Ribac, F., “Music knowledge and science studies. Sounds, Sense, Silence”, Revue d’anthropologie des connaissances, 13, 2019, pp. 671-688.
Leichman, J. and Bénac-Giroux, K. (eds.), Colonialism and Slavery in Performance: Theatre and the Eighteenth-Century French Caribbean, Oxford-Liverpool, Liverpool University Press, 2021.
Leis, A., “Cutting, Arranging, and Pasting: Sarah Sophia Banks as Collector”, Early Modern Women: An Interdisciplinary Journal, 9/1, 2014, pp. 127-140.
Lemire, B. and Riello, G. (eds.), Dressing Global Bodies. The Political Power of Dress in World History, London, Routledge, 2019.
Lemmon, A. E., “Catheral Music in Spanish America”, in Boyd, M. and Carreras, J. J.(eds.), Music in Spain During the Eighteenth Century, Cambridge, Cambridge UP, 1998, pp. 243-251.
Lemmon, A. E. (ed.), French baroque Music of New Orleans, Charlottesville, University of virginia Press, 2014.
Leopold, S., “Musikwissenschaft und Migrationsforschung. Einige grundsätzliche Überlegungen”, in Ehrmann-Herfort, S. y Leopold, S. (eds.), Migration und Identität. Wanderbewegungen und Kulturkontakte in der Musikgeschichte (Analecta Musicologica 49), Kassel, Bärenreiter, 2013, pp. 30-39.
Lilti, A., Figures publiques. Célébrité et modernité (1750-1850), Paris, Fayard, 2014.
Mcnay, L., Gender and Agency: Reconfiguring the Subject in Feminist and Social Theory, Cambridge, Polity Press, 2000.
Meyer, C. (ed.), Le Musicien et ses voyages. Pratiques, réseaux et représentations, Berlin, Berliner Wissenschafts-verlag, 2003.
Montenach, A. (ed.), Agency.Un concept opératoire dans les études de genre?, special issue, Rives méditerranéennes, 41, 2012.
Montes Beatriz, C., “La musica nei documenti del Consejo y Secretaría del Despacho de Estado dell’Archivo General de Simancas: i rapporti con l’Italia”, Fonti Musicali Italiane, 19, 2014, pp. 7-21.
Morales, J., “Entre Ferrare, Modène et Rome. Musique, sociabilité et politique dans le patronage du cardinal Alessandro d’Este”, Dix-septième siècle, 294, 2022, p. 7-26.
Morales, J. and Santarelli, C. (eds.), Maurizio di Savoia, mecenate, diplomatico e politico (1593-1657), Roma, Carocci editore, 2022.
Morales, J. (ed.), Les cardinaux et l’innovation musicale à l’époque moderne, Paris, Classiques Garnier, forthcoming.
Morucci, V., “Il mecenatismo musicale del cardinal Annibale Albani nella prima metà del Settecento”, in Morales, J. (ed.), Les cardinaux et l’innovation musicale à l’époque moderne, Paris, Classiques Garnier, forthcoming.
Nex, J., “Women in the Musical Instrument Trade in London, 1750-1810”, in Illiano, R. and Sala, L. (eds.), Instrumental Music and the Industrial Revolution, International Conference Proceedings, Cremona, 1-3 July 2006, Bologna, Ut Orpheus Edizioni, 2009, pp. 329-359.
Nex, J., “18th and 19th century musical instrument makers in the archives: A personal view”, Fontes Artis Musicae, 11, 2015, pp. 238-253.
Olszewski, E., “The enlightened patronage of Cardinal Pie-tro Ottoboni (1667-1740)”, Artibus et Historiae, 23-45, 2002, pp. 139-165.
Oleskiewicz, M., “The court of Brandenburg-Prussia”, in Owens, S., Reul, B. M. and Stockigt, J. B. (eds.), Music at German Courts (1715-1760): Changing Artistic Priorities, Woodbridge, Boydell Press, 2011, pp. 79-130.
Oriol, E., “L’exportation des musiciens romains: les échanges avec le Portugal et les états d’Europe centrale”, Vivre de la musique à Rome..., pp. 349-358.
Oriol, E., “Quantifier et caractériser la présence des musiciens d’origine étrangère à Rome”, Vivre de la musique à Rome au XVIIIe siècle, Roma, école française de Rome, 2021, pp. 229-249.
Parkinson, S., A journal of a voyage to the South Seas, in His Majesty’s ship, the Endeavour / Faithfully transcribed from the papers of the late Sydney Parkinson. Draughtsman to Joseph Banks, Esq. on his late expedition, with Dr. Solander, round the world, London, Printed for Stanfield Parkinson, the editor, and sold by Richardson and Urquhart, etc., 1773, (1st edition).
Pendle, K., Women and Music: A History, Bloomington, Indiana University Press, 1991.
Pinch, T. and Bijsterveld, K., The Oxford Handbook of Sound Studies, Oxford, Oxford University Press, 2012.
Raffaele, M., Musique et identité dans les territoires nord-améri-cains: les hautboïstes militaires dans les colonies françaises et britanniques en Amérique du Nord (1670-1815), PhD, Université de Poitiers.
Riello, G., Cotton: The Fabric that Made the Modern World, Cambridge, Cambridge University Press, 2013.
Rizzoni, N., “From archive boxes to cardboard screens: the diffusion of French theatre in Russia at the end of the eighteenth century”, in Beaurepaire, P.-Y., Bourdin Ph. and Wolff, C. (eds.), Moving scenes, the circulation of music and theatre in Europe, 1750-1815, Oxford, voltaire Foundation/University of Oxford, 2018, pp. 217-239.
Roche, D., Humeurs vagabondes. De la circulation des hommes et de l’utilité des voyages, Paris, Fayard, 2003, pp. 834-844.
Rowland, D. E., A History of pianoforte pedalling, Cambridge, Cambridge University Press, 2004.
Rowland, D. E., “Piano businesses in England and France”, in Coin, C., De visscher, E. and Gétreau, F. (eds.), Musique-Images-Instruments, vol. 11, Le pianoforte en France 1780-1820, 2009, pp. 127-135.
Rowland, D., Clementi, Muzio. The Correspondence of Muzio Clementi, Muzio Clement Opera Omnia. Critical Edition, Bologne, Ut Orpheus Edizioni, 2010.
Ruiz, A. (ed.), Franz Beck, dossier thématique, Lumières, 2, 2003.
Santana, I., Les Femmes instrumentistes dans la France du XVIIIe siècle: professionnalisation et carrières, PhD, Sorbonne Université, 19 October 2020.
Schaffer, S. and Shapin, S., Leviathan and the Air Pump: Hobbes, Boyle and the Experimental Life, Princeton, Princeton University Press, 1985.
Schäfer, D. and Popplow, M. (eds.), Technik und Globalgeschichte, Special issue, TG Technikgeschichte, 80/1, 2013.
Schäfer, D., “Technology and Innovation in Global History and in the History of the Global”, in Berg, M. (ed.), Writing the History of the Global. Challenges for the 21st Century, Oxford, Oxford University Press, 2013, pp. 147-163.
Sloane, H., A Voyage to the Islands Madera, Barbados, Nieves, S. Christophers and Jamaica, Lon-don, 1707.
Steele, J., “Account of a musical instrument, which was brought by Captain Fourneaux from the Isle of Amsterdam in the South Seas to London in the year 1774, and given to the Royal Society. By Joshua Steele, Esquire, in a letter to Sir John Pringle, Bart”, Philosophical Transactions, 65, 1775, pp. 67-71.
Steele, J, “Remarks on a larger system of reed pipes from the Isle of Amsterdam, with some observations on the nose flute of Otaheite”, Philosophical Transactions, 65, 1775,pp. 72-78.
Sterne, J., The Sound Studies Reader, Routledge, 2012.
Storch, C. and Wistreich, R., “Wege portugiesischer Musikkultur nach Südostasien im Kontext der europäischen Expansionspolitik des 16. und 17. Jahrhunderts”, in Ehrmann-Herfort, S. and Leopold, S. (eds.), Migration und Identität. Wanderbewegungen und Kulturkontakte in der Musikgeschichte (Analecta Musicologica 49), Kassel, Bärenreiter, 2013, pp. 69-83.
Strohm, R., The Eight-eenth-century Diaspora of Italian Music and Musicians, Turnhout, Brepols, 2001.
Strohm, R. (ed.), Studies on a Global History of Music. A Balzan Musicology Project, Londres, Routledge, 2018.
Tartini, G., Lettere e documenti, (edited by Giorgia Malagò), Trieste, EUT, 2020.
The Papers of Benjamin Franklin, New Haven, Yale University Press, 2014.
Traversier, M., “L’Amadis de Gaule de Johann Christian Bach, un pari perdu?”, in Duron, J. (ed.), Amadis de Gaule, Wavre, Centre de Musique Baroque de versailles, Mardaga, 2011, pp. 87-107.
Traversier, M., “Grétry en Italie”, in Demoulin, B. y Tilkin, F. (eds.), Grétry, un musicien international dans l’Europe des Lumières, Art and Facts, 32/2013, pp. 129-137.
Traversier, M., Music in the diplomatic pouch, a new approach for the music circulations in the 18th century, Lecture, Department of Music, Harvard University, 28 February 2014.
Traversier, M. (ed.), Musiques nomades: objets, réseaux, itinéraires (Europe, XVIIe-XIXe siècle), Special issue, Diasporas, 26, 2015.
Traversier, M., “Costruire la fama: la diplomazia al servizio della musica durante il Regno di Carlo di Borbone”, in Goulet, A.-M. and Zur Nieden, G. (eds.), Europäische Musiker in Venedig, Rom und Neapel: 1650-1750, Kassel, Bärenreiter, 2015, pp. 171-189.
Traversier, M., L’harmonica de verre et miss Davies. Essai sur la mécanique du succès au siècle des Lumières, Paris, Seuil, 2021.
Traversier, M., “Un tout petit monde. L’archipel des renommées et des circulations musicales dans l’Europe des Lumières”, in Amar, M. and Green, N. L., (eds.), Migrations d’élite. État des lieux et approches compara-tives, Tours, Presses universitaires François-Rabelais, (in press).
Traversier, M., “‘Writing me a Line or two’: Recommendations, Networks and Agency of the Davies Sisters, Musicians in Enlightenment Europe”, in Mazuela-Anguita, A. (ed.), Women and Music Networks in Early Modern Europe: Dialogues between Past and Present, Proceedings of the Conference given at the Palacio del Almirante, Universidad de Granada, 16-17 September 2021, Oxford, Oxford University Press, forthcoming.
Traversier, M. and Ramaut, A. (eds.), La musique a-t-elle un genre?, Paris, éditions de la Sorbonne, 2019.
Viloria Hernandez, C., Traveling with Theatrical Baggage: Queens, Mobility, Opera and Early Modern Courts, PhD in progress, New York University and Harvard University.
Waczkat, A., “Les violons du Duc. Franzcsische Musiker an mecklenburgischen Höfen”, in Wollny, P. (ed.), Jahrbuch 2002 der ständigen Konferenz Mitteldeutsche Barockmusik, Schneverdingen, Ortus Musikverlag Beeskow, 2004, pp. 252-263.
Weber, J.-F., “J. K. Mercken et le forte-piano carré à Paris”, Musique-Images-Instruments, 3, 1997, pp. 90-107.
Weber, J.-F and Weber M.-C., J.K. Mercken, premier facteur parisien de forte-pianos, Samp-zon, Delatour, 2008.
Wolff, C., “La musique des spectacles en Suède, 1770-1810: opéra-comique français et politique de l’appropriation”, Annales historiques de la Révolution française, 379, 2015, pp. 13-33.
Zur Nieden, G. and Over, B. (eds.), Musicians’ Mobilities and Music Migrations in Early Modern Europe. Biographical Patterns and Cultural Exchanges, Bielefeld, transcript verlag, 2016.
Zur Nieden, G., “Roads ‘which are commonly wonderful for the musicians’ — Early Modern Times Musicians’ Mobility and Migration”, in Zur Nieden, G. and Over, B. (eds.), Musicians’ Mobilities and Music Migrations in Early Modern Europe. Biographical Patterns and Cultural Exchanges, Bielefeld, transcript verlag, 2016, pp. 11-31.
Descargas
Publicado
Cómo citar
Número
Sección
Licencia
Esta obra está bajo una licencia internacional Creative Commons Atribución-NoComercial 4.0.
