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Nadia Boulanger and the salon of the Princesse de Polignac

Nadia Boulanger and the salon of the Princesse de Polignac
Nadia Boulanger and the salon of the Princesse de Polignac
In music history, the application of the public/private dichotomy and the accompanying metaphor of separate spheres of masculine and feminine activity has meant that performance in domestic settings has generally been regarded as less important than and unrelated to public performance in concert halls. Yet private performances in salons were often an important part of the transmission and reception of many kinds of music (not only that labeled "salon music"), and salons frequently helped to nurture the careers of performers and composers. This study is based primarily on Nadia Boulanger's personal papers, only recently made available to scholars. It uses the relationship between Boulanger and the Princesse Edmond de Polignac to illustrate the significant role salons played in musical culture of the 1930s and discusses some of the ways in which the ostensibly private world of the salon was related to and bound up with the public world of the concert hall. In using the public/private dichotomy as a metaphor for such relationships we run the risk of distorting perceptions of them and underestimating their part in musical culture
0003-0139
415-468
Brooks, Jeanice
4b254837-1e36-4869-9695-17000b6c5ff9
Brooks, Jeanice
4b254837-1e36-4869-9695-17000b6c5ff9

Brooks, Jeanice (1993) Nadia Boulanger and the salon of the Princesse de Polignac. Journal of the American Musicological Society, 46 (3), 415-468. (doi:10.1525/jams.1993.46.3.03a00040).

Record type: Article

Abstract

In music history, the application of the public/private dichotomy and the accompanying metaphor of separate spheres of masculine and feminine activity has meant that performance in domestic settings has generally been regarded as less important than and unrelated to public performance in concert halls. Yet private performances in salons were often an important part of the transmission and reception of many kinds of music (not only that labeled "salon music"), and salons frequently helped to nurture the careers of performers and composers. This study is based primarily on Nadia Boulanger's personal papers, only recently made available to scholars. It uses the relationship between Boulanger and the Princesse Edmond de Polignac to illustrate the significant role salons played in musical culture of the 1930s and discusses some of the ways in which the ostensibly private world of the salon was related to and bound up with the public world of the concert hall. In using the public/private dichotomy as a metaphor for such relationships we run the risk of distorting perceptions of them and underestimating their part in musical culture

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Published date: October 1993

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Local EPrints ID: 69212
URI: http://eprints.soton.ac.uk/id/eprint/69212
ISSN: 0003-0139
PURE UUID: a6001eba-11ad-4bb4-8dca-1c9e138c563f

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Date deposited: 23 Oct 2009
Last modified: 13 Mar 2024 19:28

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