Transatlantic connections : US-American music students at German conservatories, 1843-1918.

Autor/in	Keller, Veronika
Titel	Transatlantic connections : US-American music students at German conservatories, 1843-1918.
Quelle	In: Musica Paedagogia Pilsnensis, (2021) 1, S. 81-88 PDF als Volltext kostenfreie Datei Link als defekt meldenVerfügbarkeit
Beigaben	Literaturangaben; Abbildungen
Sprache	englisch
Dokumenttyp	online; gedruckt; Zeitschriftenaufsatz
ISSN	2788-0087; 2788-0095
Schlagwörter	Bildungsgeschichte; Musikschule; Ensemble; Gesangsunterricht; Instrumentalunterricht; Musikunterricht; Migration; Musikhochschule; 19. Jahrhundert; 20. Jahrhundert; Student; Studentin; Deutschland; USA
Abstract	This article provides a brief summary of the method and major findings of [a] dissertation about the US-American student migration to the German states between 1843 and 1918. [...] As most of the studies about participants in the transatlantic music transfer still concentrate on individuals or, in recent years, networks around certain teachers and music ensembles, the first goal of the dissertation was to show the overall dimensions of the migration. [...] it was possible to find the names of over 3,500 US-American students, both male and female, who studied at German music institutes until 1918. [...] these findings were put into the context of the political, social and, of course, musical histories of both the United States and the German lands, the history of the individual institutes and general questions of gender and music education, and gender and music professions. This was done by focusing more on the macro level than on individual biographies, with the objective of highlighting groups often marginalized in research, such as women or music teachers, who accounted for a large proportion of music students. The [...] question in this macro-study was why US-American students came in such large numbers to study music in Germany, a time-intensive and, even more important, quite expensive undertaking. [...] multiple reasons could be identified: on a personal level, many students either had ancestors in Germany or followed their German-educated teachers; on a societal level there was the requirement of music study in Europe, and especially Germany as the home of so many well-known composers and musicians, to experience the unique "musical atmosphere", something repeated quite often in both individual accounts and the press. Up until the turn of the century this was a basic requirement for taking up a career both on stage as well as in music institutes in the United States. And on the musical level there was the hope of studying under famous teachers [...], to garner initial experiences on stage in student orchestras or vocal ensembles and finally maybe even debut on the German stage. (Orig.).
Erfasst von	Externer Selbsteintrag
Update	2024/1