The Cultural Legacies of the British Empire: Classical Music's Colonial History (1750-1900)

大英帝国的文化遗产：古典音乐的殖民历史（1750-1900）

• 批准号: MR/X03559X/1
• 负责人: Joanne Cormac
• 金额: $ 150.84万
• 依托单位: University of Nottingham
• 依托单位国家: 英国
• 项目类别: Fellowship
• 财政年份: 2024
• 资助国家: 英国
• 起止时间: 2024 至 无数据
• 项目状态: 未结题
• 来源: https://gtr.ukri.org/projects?ref=MR%2FX03559X%2F1
• 关键词: Cultural; Legacies; British; Empire; Classical

The Black Lives Matter movement sparked fervent debate among the British public about how to come to terms with the cultural legacies of empire, but discussions have largely focussed on statues, paintings, and the built environment. The colonial underpinnings of Classical music have not been scrutinised in the same way. This has pressing implications for our present-day understanding of the cultural legacies of empire and for the lack of diversity among Classical music's audiences. Classical music's historical narratives rarely recognise the contributions of enslaved and colonised people, which has an exclusionary effect on participation. In a recent survey of children learning a musical instrument by the ABRSM only 2% of learners identified as Black or Black British (ABRSM, 2021). Accordingly, Classical music's proven positive effects for health, social development, and learning are not being accessed widely. This project will bring together an interdisciplinary team to unravel how the history of Western Classical instrumental music is related to that of the British Empire and the consequences of this relationship for how it is presented in our museums and classrooms. It will inform wider studies of empire and its cultural legacies, develop new technology to encourage diverse audiences to engage with Classical music and its histories, and shape curatorial and pedagogical practice, with benefits for humanities scholars, computer scientists, curators, teachers, and the wider public. The team will approach the topic via three interrelated work packages (WPs):WP 1: Economic LegaciesWP 1 will ask long-overdue questions about how the profits of the slave trade and colonialism supported musical activity. It will scrutinise the sources of financial support behind early orchestras, conservatoires, and music collections. Many, including the Liverpool Philharmonic orchestra and the Philharmonic Society of London, which acquired their wealth through the cotton trade and slave ownership, still exist today. The colonial networks and connections discovered will demonstrate Classical music's connections to broader global history.WP 2: Sounding Imperialism: Musical Exchange and ResistanceWP 2 will analyse Classical music's role in imperial projects in "performing" the ideologies of empire and connecting its disparate and distant locations. It will also highlight the influence of colonised subjects' music, ideas, instruments, genres, and practices on the development of Classical music. Classical instrumental music was imagined as the apex of Western creativity and performed frequently by philharmonic societies organised by colonial settlers. This WP will make the repertoire, performance practices, and discourses surrounding Classical music-making in colonial cities in India and the Caribbean widely available through open access publications and a digital archive.WP 3: Musical TradeWP 3 will trace the patterns of imperial coercion and trade underpinning the global spread of Western classical music by mapping the movements of musicians, musical ideas, and artefacts through imperial networks. Working closely with our partner organisations, it will trace the imperial collecting practices and ideologies behind the music collections acquired by the British Museum in the 19th century (now in the British Library); sheet music, instruments, and musical themed sculptures and paintings at English Heritage country houses Audley End and Brodsworth Hall; and the provenance and circulation of materials involved in the construction of instruments at the Royal College of Music Museum. Working with black community groups, teachers, and curators, the team will communicate the inclusive stories that emerge to school students and the public through teaching resources, new digital and immersive technologies, exhibitions contextualising the colonial connections of collection items, and a programme of public engagement and outreach events.

黑人生活问题运动引发了英国公众关于如何与帝国文化遗产相提并论的热烈辩论，但讨论主要集中在雕像，绘画和建筑环境上。古典音乐的殖民基础尚未以相同的方式进行审查。这对我们当今对帝国文化遗产以及古典音乐观众之间缺乏多样性的理解具有迫切的影响。古典音乐的历史叙事很少认识到被奴役和殖民的人的贡献，这对参与具有排他性影响。在最近对ABRS的儿童学习乐器的调查中，只有2％的学习者被鉴定为黑人或黑人英国人（Abrsm，2021）。因此，古典音乐对健康，社会发展和学习的可靠积极影响并未得到广泛的访问。该项目将汇集一个跨学科的团队，以揭示西方古典乐器音乐的历史与大英帝国的历史以及这种关系的后果如何在我们的博物馆和教室中呈现。它将为对帝国及其文化遗产的更广泛的研究提供信息，开发新技术，以鼓励不同的观众参与古典音乐及其历史，并塑造策展和教学实践，并为人文学者，计算机科学家，策展人，教师和教师带来好处更广泛的公众。该团队将通过三个相互关联的工作包（WP）来处理该主题：WP 1：经济遗产wp 1将询问有关奴隶贸易和殖民主义的利润如何支持音乐活动的长期过期的问题。它将审查早期乐团，音乐学院和音乐收藏背后的财政支持来源。许多人，包括利物浦爱乐乐团和伦敦爱乐学会，这些乐团通过棉花贸易和奴隶所有权获得了财富，今天仍然存在。发现的殖民网络和连接将展示古典音乐与更广泛的全球历史的联系。WP2：帝国主义：音乐交流和电阻WP 2将分析古典音乐在帝国项目中的作用，在“表现”帝国的意识形态，并连接其截然不同的位置。它还将强调殖民主题的音乐，思想，乐器，流派和实践对古典音乐的发展的影响。古典乐器音乐被认为是西方创造力的顶点，并由殖民定居者组织的爱乐学会经常表演。该WP将使印度殖民城市的古典音乐创作以及通过开放访问出版物和数字档案广泛获得的古典音乐创作的曲目，表演实践和话语。通过帝国网络绘制音乐家，音乐思想和人工制品的动作来支撑西方古典音乐的全球传播。它与我们的合作伙伴组织紧密合作，将在19世纪大英博物馆（大英博物馆）收购的音乐收藏（现为大英图书馆）中，追踪帝国收集实践和意识形态。在英国遗产乡村房屋奥德利End和Brodsworth Hall上的乐曲音乐，乐器和音乐主题雕塑和绘画；以及在皇家音乐博物馆建造乐器涉及的材料的出处和流通。该团队与黑人社区团体，教师和策展人合作，将通过教学资源，新的数字和沉浸式技术来传达与学校学生和公众一起出现的包容性故事，展示收集项目的殖民联系和公众计划的情况。参与和外展活动。