음악사 서술의 미시(微時)적 접근: 계몽시기 여성작곡가, 두 명의 안나 아말리아
Micro Perspective in Historical Writing of Music: Two Women Composers in Enlightenment, Anna Amalias
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In the method of studying and writing the historical facts about women composers in Enlightenment, I will adapt the method of micro-approach. Microhistories take the opposite tack to the large-scale, grand narrative approach that deals with major themes running over several centuries. Microhistorians build on the obscure and unknown rather than on the great and the famous. They take very small incidents in everyday life and restate them as stories, analysing them as metaphorical and symbolic clues to larger things. Thus they often disclose something of the relationship between the popular and the elite so as to inform a wider historical picture. If you focus on the cultural reality and social context rather than music forms in the view of women musicians, a role as a disseminator of music in relation with women inherent character became into relief importantly, which can be a main subject of music research. Through this, women can be acknowledged as composers, performers, musicologists. ‘Micro perspective in historical writhing of music’ is one of the methods to become a real music history. The Study on women musicians (for example, Anna Amalias and Gambarini) who was in the outside of history inevitably need a approach of this micro perspective. I hope that other composers and their works as well as Women musicians and their works be used positively in the cultural and social context, of which position be restored, and be lively adapted to present stage or education.
Abstract
In the method of studying and writing the historical facts about women composers in Enlightenment, I will adapt the method of micro-approach. Microhistories take the opposite tack to the large-scale, grand narrative approach that deals with major themes running over several centuries. Microhistorians build on the obscure and unknown rather than on the great and the famous. They take very small incidents in everyday life and restate them as stories, analysing them as metaphorical and symbolic clues to larger things. Thus they often disclose something of the relationship between the popular and the elite so as to inform a wider historical picture. If you focus on the cultural reality and social context rather than music forms in the view of women musicians, a role as a disseminator of music in relation with women inherent character became into relief importantly, which can be a main subject of music research. Through this, women can be acknowledged as composers, performers, musicologists. ‘Micro perspective in historical writhing of music’ is one of the methods to become a real music history. The Study on women musicians (for example, Anna Amalias and Gambarini) who was in the outside of history inevitably need a approach of this micro perspective. I hope that other composers and their works as well as Women musicians and their works be used positively in the cultural and social context, of which position be restored, and be lively adapted to present stage or education.
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