A Muse for the Masses: Ritual and Music in the Age of Democratic Revolution, 1770-1870.

Aus der Bibliothek von Prof. Wolfgang Haase, langj�igem Herausgeber der ANRW und des International Journal of the Classical Tradition (IJCT) / From the library of Prof. Wolfgang Haase, long-time editor of ANRW and the International Journal of the Classical Tradition (IJCT). - Schutzumschlag berieben und mit Randl�ren, Kopfschnitt stockfleckig, Bleistiftanmerkung auf Titelblatt / dust jacket rubbed and with edgewear, top edge foxed, pencil annotation on title page. - The role of the literary and visual arts in the romantic revolution has been carefully examined by intellectual and cultural historians. But the revolution in consciousness that accompanied the political and industrial revolutions of the late eighteenth century also worked itself out in the mass media of those largely preliterate times. For the average citizen, public meetings, songs, festivals, and religious liturgies provided a theater for a new style of life. As Conrad L. Donakowski shows in this groundbreaking work, the idea and practice of music in the romantic era was integral to the awakening of a more complete and democratic view of human nature and society. As a cultural history of romanticism, A Muse for the Masses focuses on the impulse that created religious and quasi-religious music from the time of the French Revolution to the later nineteenth century. Donakowski shows how this impulse played an important part in revolutionary and romantic music even in cultural situations where God and religion were rejected. The musical impulse could be translated into such related activities as revolutionary rhetoric, programs for progressive education, or designs for inspiring the communal energies of socialism. Thus did evangelistic techniques that had served Christianity and Judaism become propaganda for the new secular religion and its successors, ecclesiastical, civic, or commercial. Donakowski builds his conception of the changing forms of musical expression on a solid understanding of the complex religious geography of Europe. The central importance of pietism to the German musical tradition emerges as clearly as does the influence of Catholicism on the music of Austria, France, and Italy. The complex relationships between popular and establishment religions are examined with care and authority. Combining imagination with convincing evidence, A Muse for the Masses opens a new and subtle method of historical investigation into the relations among the arts, psychology, religion, and modern history. / CONTENTS PREFACE INTRODUCTION 1 WORDS 1 The Artist as Propagandist, Music as Decoration 1 CHILDREN OF THE ENLIGHTENMENT Music and Eighteenth-Century Social Psychology 2 SINGING THE CITY OF MAN Music as Expression of Mass Feeling in the French Revolution 3 GOD IN MAN�S NEW IMAGE Religious Rites as Mass Media During the Enlightenment 2 MUSIC The Artist as Hero, Music as Communication 4 MEMORIES OF A PIOUS CHILDHOOD Traditional Religion as Counterculture among the European Intelligentsia 5 A MUSICAL RETURN TO THE STATE OF NATURE The Restoration of Plain Chant 6 THE COSMIC OPERA The Quest for a Total Work of Art in Religion 7 NO MAN IS AN ISLAND The Liturgical Music of Utopian Socialism 8 DILETTANTES, AMATEURS, AND LOVERS Romantic Designs for Popular Aesthetic Education through Music 9 GOTHIC REVIVALS The Rebirth of Religious Lyricism in Britain 10 GOD AND PEOPLE Manifestations of the Risorgimento through Music 3 FORMULAS The Artist as Servant, Music as Insulation 11 SPIRITUAL MATERIALISM Attempts to Legislate Aesthetic Standards 12 COR AD COR LOQUITUR John Henry Newman�s Nostalgia for an Absolute CONCLUSION APPENDIXES NOTES BIBLIOGRAPHY INDEX. ISBN 9780226156217