Chapter

Biedermeier Domesticity and the Schubert Circle

Ruth A. Solie

in Music in Other Words

Published by University of California Press

Published in print February 2004 | ISBN: 9780520238459
Published online May 2012 | e-ISBN: 9780520930063 | DOI: http://dx.doi.org/10.1525/california/9780520238459.003.0005
Biedermeier Domesticity and the Schubert Circle

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Musicologists have contributed a considerable amount of extremely important information about the emergence and development of the various forms of public concert life during the first decades of the nineteenth century to the larger historical effort. The music of Franz Schubert, one of the glories of the canonic repertory, led another life within this bourgeois domestic culture, whose outlines can be retrieved by a fuller social history. The standard musicological account of Schubert focuses on his place within the pantheon of canonic composers. Music history shares with the histories of the other arts a heritage of concentration on the “great names” of its tradition. The development of the “culture of domesticity” is a development particularly significant for the lives of women. The Beethoven/Schubert dualism, along with the gendered language of masculine and feminine that so often accompanied or illustrated it in the nineteenth century, can be read as a symptom of the cultural struggle between romanticism and Biedermeier.

Keywords: social history; bourgeois domestic culture; Beethoven/Schubert dualism; music history; Schubert circle

Chapter.  15583 words. 

Subjects: Musicology and Music History

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