Rosa Newmarch and Russian music in late nineteenth and early twentieth-century England /
General Material Designation
[Book]
First Statement of Responsibility
Philip Ross Bullock.
.PUBLICATION, DISTRIBUTION, ETC
Place of Publication, Distribution, etc.
New York, NY :
Name of Publisher, Distributor, etc.
Routledge, Taylor & Francis Group,
Date of Publication, Distribution, etc.
2016.
PHYSICAL DESCRIPTION
Specific Material Designation and Extent of Item
1 online resource.
SERIES
Series Title
Royal Musical Association monographs ;
Volume Designation
no. 18
GENERAL NOTES
Text of Note
First published 2009 by Ashgate Publishing.
INTERNAL BIBLIOGRAPHIES/INDEXES NOTE
Text of Note
Includes bibliographical references and index.
CONTENTS NOTE
Text of Note
The invention of Rosa Newmarch -- The invention of Russia -- Nationalism and music -- Audiences and intellectuals -- Women and society -- After Russia.
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SUMMARY OR ABSTRACT
Text of Note
Philip Ross Bullock looks at the life and works of Rosa Newmarch (1857-1940), the leading authority on Russian music and culture in late nineteenth- and early twentieth-century England." "On the basis of both published and archival materials, the details of Newmarch's busy life are traced in an opening chapter, followed by an overview of English interest in Russian culture around the turn of the century, a period which saw a long-standing Russophobia (largely political and military) challenged by a more passionate and well-informed interest in the arts Three chapters then deal with the features that characterize Newmarch's engagement with Russian culture and society, and - more significantly perhaps - which she also championed in her native England; nationalism; the role of the intelligentsia; and feminism. In each case, Newmarch's interest in Russia was no mere instance of ethnographic curiosity; rather, her observations about and passion for Russia were translated into a commentary on the state of contemporary English cultural and social life." "Her interest in nationalism was based on the conviction that each country deserved an art of its own. Her call for artists and intellectuals to play a vital role in the cultural and social life of the country illustrated how her Russian experiences could map onto the liberal values of Victorian England. And her feminism was linked to the idea that women could exercise roles of authority and influence in society through participation in the arts. A final chapter considers how her late interest in the music of Czechoslovakia picked up and developed these themes in the context of interwar Europe.
OTHER EDITION IN ANOTHER MEDIUM
Title
Rosa Newmarch and Russian music in late nineteenth and early twentieth-century England.