Martin Clayton - Music and Orientalism in the British Empire, 1780s to 1940s: Portrayal of the East

Music and Orientalism in the
British Empire, 1780s1940s

Portrayal of the East

Edited by

MARTIN CLAYTON and BENNETT ZON

First published 2007 by Ashgate Publishing

Published 2016 by Routledge

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Copyright Martin Clayton and Bennett Zon 2007

Martin Clayton and Bennett Zon have asserted their moral right under the Copyright, Designs and Patents Act, 1988, to be identified as the editors of this work.

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British Library Cataloguing in Publication Data

Music and Orientalism in the British Empire, 1780s1940s: portrayal of the East. (Music in nineteenth-century Britain)

1. Music Great Britain 19th century History and criticism 2. Orientalism in music 3. Music Great Britain 20th century History and criticism

I. Clayton, Martin II. Zon, Bennett

780.94109034

Library of Congress Cataloging-in-Publication Data

Music and orientalism in the British Empire, 1780s1940s: portrayal of the East / edited by Martin Clayton and Bennett Zon.

p. cm (Music in nineteenth-century Britain)

ISBN-13: 978-0-7546-5604-3 (alk. paper) 1. Orientalism in music-Great Britain-History.

2. Music-Great Britain-History and criticism. I. Clayton, Martin.

Zon, Bennett.

ML286 .M86 2007

780.9171241-dc22

2006032542

ISBN 13: 978-0-7546-5604-3 (hbk)

The editors would like to acknowledge the valuable support of the Institute of Advanced Study, Durham University, and the Open University in the funding of this book.

Martin Clayton and Bennett Zon

Nicholas Cook

Joep Bor

Martin Clayton

Philip V. Bohlman and Ruth F. Davis

Fiona Richards

Corissa Gould

Laura Upperton

Lakshmi Subramanian

Bennett Zon

Sophie Fuller

Phyllis Weliver

William A. Everett

Claire Mabilat

Gregory D. Booth

Figures

Tables

Philip V. Bohlman is Mary Werkman Professor of the Humanities and of Music at the University of Chicago. Recent publications include World Music: A Very Short Introduction, The Music of European Nationalism, Jdische Volksmusik Eine mitteleuropische Geistesgeschichte, and Jewish Music and Modernity (forthcoming). He is also Artistic Director of the cabaret troupe, The New Budapest Orpheum Society, which has produced the double-CD, Dancing on the Edge of a Volcano, and he is the current President of the Society for Ethnomusicology.

Gregory D. Booth is a Senior Lecturer in Ethnomusicology at the University of Auckland. He is the author of Brass Baja: Stories from the World of Indian Wedding Bands. His current research and publications examine a range of topics in the area of Hindi film music. Booth has also published on topics including classical Indian music transmission, and brass bands and the clarinet in South Asia.

Joep Bor is Professor of Extra-European Performing Arts Studies at Leiden University. In 1990 he founded the World Music Department at Rotterdam Conservatory, which he chaired until 2001. He has written and co-edited four books and two catalogues including The Voice of the Sarangi, The Raga Guide, and Hindustani Music: Thirteenth to Twentieth Centuries. Bor spent seven years in India, studying sarangi and carrying out botanical as well as musicological research. He is the Vice-President of the Indian Musicological Society.

Martin Clayton is Senior Lecturer in Music at the Open University, UK. He has written on topics including rhythm and metre, the history of comparative musicology, and musical encounters between India and the West. His publications include Time in Indian Music, The Cultural Study of Music and Music, Time and Place.

Nicholas Cook is Professorial Research Fellow in Music at Royal Holloway, University of London, where he directs the AHRC Research Centre for the History and Analysis of Recorded Music (CHARM). His latest book is The Schenker Project: Culture, Race, and Music Theory in Fin-de-sicle Vienna. He was elected Fellow of the British Academy in 2001.

Ruth F. Davis is Senior Lecturer in ethnomusicology at the University of Cambridge and a fellow of Corpus Christi College where she directs studies in music. She has published and broadcast extensively on music of North Africa and the Middle East, particularly on her original fieldwork on the island of Djerba and mainland Tunisia. Her published book is Maluf: Reflections on the Arab Andalusian Music of Tunisia. Her current research, funded by the British Academy and the AHRC, and supported by a Kreitman visting fellowship at Ben Gurion University and a visiting fellowship at the Chaim Herzog Centre of Middle Eastern Studies, Israel, explores Robert Lachmanns pioneering research into the various eastern musical traditions of Mandatory Palestine.

William A. Everett is associate professor and coordinator of musicology at the Conservatory of Music and Dance, University of MissouriKansas City (USA). He is contributing co-editor to the Cambridge Companion to the Musical and author of several books, including British Piano Trios, Quartets, and Quintets, 18501950: A Checklist, The Musical: A Research and Information Guide and Sigmund Romberg.

Sophie Fuller works as a freelance musicologist and teaches at Trinity College of Music (London). Her research interests include many different aspects of music, gender and sexuality but focus in particular on musical life in late nineteenth- and twnetieth-century Britain. She is author of The Pandora Guide to Women Composers: Britain and the United States, 1629-present, and co-editor of two collections of essays: with Lloyd Whitesell, Queer Episodes in Music and Modern Identity and with Nicky Losseff, The Idea of Music in Victorian Fiction (Ashgate, 2004).

Corissa Gould completed her PhD at Royal Holloway, University of London in 2007, under the supervision of Nicholas Cook. Her thesis explores the impact of contemporaneous tropes of masculinity and imperialism on Elgars life and compositional choices, and her current research expands this project out into a study of other British male composers from the nineteenth and twentieth centuries. She has published articles in several multi-authored books, written for the Elgar Society Journal, and is also editing The Banner of St George and The Black Knight for the Elgar Society Edition.

Claire Mabilat is an independent academic based near Paris, who is particularly interested in representations of music and musicians in the other arts, and issues of sexuality, gender and otherness. She has a chapter Empire and Orient: a reading of the non-European libretti set by Henry Bishop and Edward Solomon in