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Sven Oliver Müller has written a compact, fascinating and vivid account of all that is exciting and surprising in the history of musical culture. He tells the story of how social relations in the major metropolises of Berlin, London and Vienna were shaped, and in some cases created, by the musical events of the day. Operatic performances and concerts often assumed the form of "communication societies," and attending musical events provided important resources for managing or freshening up social, political and economic ties. This book represents a completely new look at the historical…mehr

Produktbeschreibung
Sven Oliver Müller has written a compact, fascinating and vivid account of all that is exciting and surprising in the history of musical culture. He tells the story of how social relations in the major metropolises of Berlin, London and Vienna were shaped, and in some cases created, by the musical events of the day. Operatic performances and concerts often assumed the form of "communication societies," and attending musical events provided important resources for managing or freshening up social, political and economic ties. This book represents a completely new look at the historical foundation of these events, bringing together the two subjects of history and music in a colorful and surprising work that will be of interest to readers from both disciplines.
Autorenporträt
Dr. Sven Oliver Müller ist Leiter der Forschungsgruppe »Gefühlte Gemeinschaften« am Max-Planck-Institut für Bildungsforschung Berlin.
Rezensionen

Perlentaucher-Notiz zur F.A.Z.-Rezension

Jan Brachmann hat seine Einwände gegen Sven Oliver Müllers Buch über das Musikleben in Berlin, London und Wien im 19. Jahrhundert. Nichts gegen Müllers Hypothesen über sich wandelndes Publikumsverhalten oder Musik als treibende Karft von Vergesellschaftungsprozessen, meint Brachmann, doch neu, wie der Autor behauptet, ist das alles nicht. Auch wenn Müller dergleichen detailreicher, unterhaltsamer und aus anderen Blickwinkeln erzählt als bekannte Sammeldarstellungen von Georg Knepler und Carl Dahlhaus, meint Brachmann, empirisch-konkrete Daten liefert er nur selten. Dass einschlägige Arbeiten zur Musiksoziologie in Müllers Literaturverzeichnis nicht einmal auftauchen, scheint dem Rezensenten außerdem fragwürdig.

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