Team 1: Italian Opera in Central Europe.
Team Leaders:
Professor Norbert Dubowy ( University of Heidelberg),
Professor Herbert Seifert (Universität Wien).
Various themes for investigation have been suggested: the foundation and decline of operatic institutions; ’1683’ and opera; research into migrating opera themes; opera as feast and social structure; opera and Italianité. These themes may be developed, adapted or left aside as the research aims of this team evolve.
Team 2: Orchestras of the European Opera Houses in the 18th and 19th centuries.
Team Leaders:
Professor Franco Piperno (University of Florence, Italy),
Professor Niels Martin Jensen (University of Copenhagen).
This team is testing methods, scope and the extent of available documentary sources. It has identified possible sources as: opera house documents; archival documents of impresarios; information derived from periodicals or musical sources.
Team 3: The Concert and its Public in Europe.
Team Leaders:
Professor Hans Erich Bödeker (Max-Planck-Institut, Göttingen, Germany);
Dr Patrice Veit (CNRS, Mission Historique Française en Allemagne, Göttingen, Germany);
Professor Michael Werner (Centre d’études et de recherches allemandes, Paris, France).
Various themes have been identified for development around three broad themes: organisers and forms of organisation of musical life; the musical public, social aspects and cultural changes; music and space, musical locations and urbanisation.
Team 4: The Circulation of Music.
Team Leaders:
Doctor Rudolf A. Rasch (University of U trecht, Netherlands),
Doctor Anik Devriès (CNRS, Paris)
Among the research themes this team may develop are repertoire formation; institutions and publishers; composers, publishers and customers; contracts, advertising, subscriptions, agencies, copywright
Team 5: National Representations of Music: conservatories and musical discourse.
Team Leaders:
Doctor Michel Noiray (CNRS, Paris, France)
Doctor Michael Fend (King’s College, London)
The aim of this group is to study European institutions devoted to the teaching of music not in themselves but to place them in their international context. This study will involve research in three areas: a) the ideological background of these institutions; their programmatic foundations and the models which their initiators set themselves; b) the international dimension of each institution, observed in both its personnel (directors, teachers, students) and its musical repertoire; c) the aesthetic background of music teaching, in terms of theory, history, and national representations. Each of these aspects will be emphasized according to the following themes: the intertextuality of music literature in the late eighteenth and nineteenth centuries; music historiography and national images; music of the past and the growth of the musical canon; the figure of Fétis, theorist, historian, concert organiser and first director of the Brussels conservatoir.
