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• W52957504 abstract "Drawing upon mid-19th century discipline of comparative musicology, wherein European music was thought to symbolize a cultural and philosophical ideal, this essay explores way that Rudyard Kipling used such ideas in poems like Mandalay and how he ascribed to principle---i.e., breaking into song----in interests of imperialist emotion. In Culture and Imperialism, Edward Said argues that the imperial experience while often regarded as exclusively political also entered into cultural and aesthetic life of metropolitan West as well (136). Contending that link between culture and imperialism reinforced a complex system of power relations which contributed to practice, theory, and attitudes of a dominating metropolitan center ruling a distant territory (9), he outlines how cultural products from Mansfield Park to architecture of Saigon played a concrete role in maintenance of European colonial rule. Furthermore, through an analysis of recent performances of Aida, Said demonstrates that even today implicitly racist notion that Egyptian history may be manipulated at will to extravagant imaginings of European minds is accepted--and excused--as long as that message is clothed in a particularly impressive high E-flat. In a similar vein, connection between arts and politics can also be seen in musicals of Rodgers and Hammerstein--especially those with an imperialist theme like South Pacific and The King and I. Illuminating way that such music might be linked to propaganda, Broadway composer Stephen Sondheim recently observed that the Hammerstein principle was that when emotion got so high that speech couldn't accomplish what it was supposed to, then one burst into song. Possibly, however, it is Victorian period that best exemplifies such musical politics, and indeed one finds a perfect expression of ideological implications of bursting into in Charles Kingsley's Westward Ho! (1855), when he observes that glories of were fit rather to be sung than said (10). Nor was value of music ignored by most popular imperialist poet of Victorian era, Rudyard Kipling--acclaimed in period newspapers as Laureate of Empire (MacDonald 145). Kipling's general interest in and connection to various forms and aspects of music has of course frequently been noted in standard introductions to his work, to ballad collections, and to music-hall histories (see, for example, Abrams 1714; Woods ix; Disher 233), but what still requires closer attention is exactly why, and with what effect, he employed musical idioms in his poems. As a journalist and as a writer Kipling's chosen artistic medium was words, so why then his strong concentration on musical form? More specifically, question which I wish to pose in this essay is: how did Kipling's imitation of music within his poetry support transmission and popular acceptance of ideology of imperialism? And by way of addressing this issue, my focus will be on his perhaps most well-known poem Mandalay; published in June 1890, this poem later became part of his Barrack-Room Ballads, a collection of poems based on imperial experiences of common British soldier and written in cockney vernacular of these men. In discussing Mandalay I will concentrate, first, upon emotional impact of two musical idioms which Kipling adopted in this poem: those found in traditional English ballads and in music hall. Next, I will deal more generally with historical developments in music theory which took place during Victorian era, and ways in which mid-19th-century discipline of comparative musicology influenced Victorian thought. I will conclude by focusing specifically on how musical cues in Kipling's poetry functioned as an appropriate vehicle for imperial thought and as a pernicious representation of imperial power by examining their final, literal, transformation into song in now famous 1907 musical setting of Mandalay, by American composer Oley Speaks. …" @default.
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• W52957504 date "1998-06-01" @default.
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• W52957504 title "Musicology as Propaganda in Victorian Theory and Practice" @default.
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