Bedrich Smetana: Myth, Music, and Propaganda - Eastman Studies in Music 139 | Classical Music History Book for Musicians & Scholars | Perfect for Academic Research & Music Lovers
Bedrich Smetana: Myth, Music, and Propaganda - Eastman Studies in Music 139 | Classical Music History Book for Musicians & Scholars | Perfect for Academic Research & Music LoversBedrich Smetana: Myth, Music, and Propaganda - Eastman Studies in Music 139 | Classical Music History Book for Musicians & Scholars | Perfect for Academic Research & Music Lovers

Bedrich Smetana: Myth, Music, and Propaganda - Eastman Studies in Music 139 | Classical Music History Book for Musicians & Scholars | Perfect for Academic Research & Music Lovers

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Product Description

This book reveals Czech composer Bedrich Smetana as a dynamic figure whose mythology has been rewritten time and again to suit shifting political perspectives.Interpretations of Czech composer Bedrich Smetana and his music have shifted as frequently as the political contexts in which they were written. This book examines not just Smetana, but also the scholar-politicians who have imagined and reimagined him and his works since the nineteenth century. During the 1870s, Smetana helped found a powerful nationalist organization called the Umelecká beseda ("Artistic Society," or UB), whose members produced the earliest scholarship on the composer as part of their calls for political action. Within the increasingly radicalized discourses of the twentieth century, individuals including future Minister of Culture and Education Zdenek Nejedlý attacked the UB for not being nationalistic enough, producing their own revisionist histories of Smetana and his works. Kelly St. Pierre investigates Smetana as both nationalist composer and national symbol, revealing the composer'slegacy as a dynamic figure whose mythology has been rewritten time and time again to suit changing political perspectives. Kelly St. Pierre is assistant professor of musicology at Wichita State University.

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An interesting analysis of the evolution of "Czech music" in the 19th century, the tension between pro-Germanic and Slavophil influences into the beginning of the 20th century, and the creation of the Smetana myth. In some ways, this process is reminiscent of the creation of the Glinka myth and the search for musical "Russianness", discussed in Frolova-Walker's book "From Glinka to Stalin", which took place a few decades prior to the parallel process of creating musical "Czechness" depicted in the present book. Both books are recommended for those interested in music history.