The debates on singing pedagogies after 1918 were characterized by concepts such as musical culture, training and education. During the 1920s-30s, discussions took place about the ability of song to shield modern human beings from society’s negative developmental tendencies. The project investigates whether the notion of crisis was used in the debates on singing at that time.
Ursula Geisler, Division of Musicology
Status: Completed (2010)
Subjects: History of Ideas and Sciences, Kulturvetenskap, Musicology
Department: Department of Arts and Cultural Sciences
The project’s theoretical starting point is Reinhart Koselleck’s conceptual history discussion of “crisis”. In the context of musical studies, “crisis” has until now been used mainly to describe an individual condition of the composer, with a negative or positive influence on the musical creative process.
This project, on the other hand, investigates – contrary to the notion of crisis borrowed from psychology – to what extent and to what aim “crisis” is used in the music and song debates in the 1920s and 1930s.
One question raised is: how far does the use of the notion of “crisis” take us in the context of cultural sciences and musicology and in what way can the notion of crisis contribute to broadening and shifting perspectives of knowledge about different historical and contemporary singing phenomena?
Content manager: Ursula Geisler
Page content last modified 19 May 2010
Singing Pedagogies Crisis Management in the 1920's and 1930's
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