This essay explores cosmopolitanism throughout the nineteenth century, not simply as a concept linked with the nation-state, yet quite as an suffer shaped by mutual perceptions of the civilization and also shared views of modernity. It discusses the potential of the concept of a cosmopolitan cultural netjob-related during the nineteenth century, within and beyond Europe, to steer music historiography and critique ameans from a focus on concerns of national identity and also nationalistic music aesthetics. It says that cosmopolitans from the margins of Europe expanded on European musics’ many kind of aesthetic possibilities, while they problematized limits in between local and global, between originals and copies, between margins and centers, and inevitably between the European and also the non-European.

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Keywords: cosmopolitanism, Europe, nineteenth century, nationalism, identification, aesthetics, modernity, music historiography, Enlightenment, Alberto Nepomuceno

The proprietor of stock is most likely a citizen of the people and also is not necessarily attached to any type of specific nation.

—Adam Smith, The Wealth of Nations (1776)

When vapor power will be perfected, as soon as, in addition to telegraphy and also railmeans, it will have actually made ranges disappear, it will certainly not only be assets which travel, yet likewise concepts which will have wings; when various countries, in day-to-day connections, tend towards the unity of individuals, just how will you be able to revive the old mode of separation?

—Francois-Rene de Chateaubriand also, Mémoires d’autre-tombe (1841)

Some insurance claim that the civilization is slowly ending up being joined, that it will grow into a brotherly community as ranges shrink and concepts are transmitted with the air. Alas, you must not believe that guys have the right to be unified in this way.

—Fyodor Dostoevskies, The Brothers Karamazov (1880)

Exploring Cosmopolitanism in the Nineteenth Century

As a concept of world national politics and also huguy rights, cosmopolitanism has a history going ago to the Greek Stoics, that envisioned the cosmopolitan as a “citizen of the world,” totally free to cross boundaries and also with aspirations toward mutual morals and legal legal rights. This cosmopolita perfect became crucial in the shaping of European Enlightenment assumed in the time of the eighteenth century, serving to support Immanuel Kant’s speak to for free republics that together can sustain global tranquility, as well as Johann Gottfried Herder’s acknowledgment of the world’s social plurality.1 Knowledge cosmopolitanism, with its utopian notions of universal freedom and commitment to humale hospitality, withstood via the nineteenth century, yet eventually was put to the test as the emergence of the nation-state and also the expanding forces of international capitalism led to brand-new sociopolitical models and thoughtful ideals. Still, Knowledge cosmopolitanism, and its relationships and tensions via the nation-state and the national politics of nationalism, ended up being an essential component of nineteenth-century Europe’s intellectual and also political knowledge of itself and its role in a world progressively linked by worldwide trade; clinical and technical advances; much faster interactions and also travel; and the circulation of indevelopment, concepts, and cultural products. As Gerard Delanty notes, one should take into consideration the forces of both cosmopolitanism and nationalism as vital parts of “the paradox of modernity,” a paradox that made it through the long nineteenth century and that persists to today disguised in the rhetoric of local/worldwide dualities.2

In recent years the concept of cosmopolitanism has been revived as a promising tool in the exploration and theorizing of the sociofinancial, political, and also social aspects of our modern civilization. Understood as an outcome of miscellaneous globalizing processes and also extensively characterized as “a willingness to engage with the Other” and also “an ability to navigate various cultural contexts,”3 cosmopolitanism did not make a comeago without receiving its share of criticism. Scholars were quick to point out that such wide definitions display cosmopolitans’ paradoxical inclicountry towards distinction and also highlight just how evocations of cosmopolitanism deserve to conceal fairly than reject or get over sociocultural hierarchies.4 But while defining cosmopolitanism continues to be a challenged concern, the rerotate of the concept to the social scientific researches has influenced novel studies that transcend understandings of society as static and also in your area bound, face tropes of identification in their unfacility associations with humale actions, and conlayout ideals of universality in a fresh light. In a brand-new humanistic guise, cosmopolitanism has been touted as “the concept that all human beings, regardmuch less of their political affiliation, execute (or at leastern can) belengthy to a single area, and also that this area should be grew.”5 This community has actually been explored in various means, be they political establishments, moral standards, or shared sectors, and also creates of cultural and also artistic expressions; the latter inform my use of the term cosmopolitanism in this post.

The “new” cosmopolitanism has actually enabled important reflections on the limiting views of culture as built historically and also politically in unequivocal and also autonomous connections to regional groups, localized neighborhoods, and/or nation-says, and has wondered about cultural bonds assumed to be present by naturalized relationships resulting from citizenship or area of birth. Jeremy Waldron points out that one’s “culture” cannot be understood in the exact same light as one’s “identity” as it is enunciated with one’s sex or one’s race. Rather, culture need to be considered a negotiable procedure of engagement and also of disengagement to one’s neighborhood social structure and order, a process that is constantly open up to new settings of interactivity and negotiation. Waldron calls into question some of the self-aware posturing regularly connected with nationhood and points to a cosmopolitan ideal in which “shared methods of life perform not must be restricted to a geographical location (although they deserve to be), but are shaped by social practices, feelings of exemption and belonging developed over time, and also many kind of various other feelings that pertain to huguy experiences and also their understandings of the world.”6 Assuming that an uncontaminated single culture is actually an anomaly, Waldron further notes that “one society does not must be plainly and importantly different from another, either in its appearance to an outsider or in the consciousness of its practitioners, in order to be the culture that it is.” Consequentially, for the cultural analyst what need to count “is not cultural distinctiveness … yet similarities and also trends of integration, historically created and mutual among spaces.” Cosmopolitanism deserve to therefore be interpreted as a functional process of engagement that cannot coexist with historicized and politicized notions of homogeneous, naturalized, and also static individual or collective cultural identities.7

Waldron’s check out of cosmopolitanism as negotiated, common spaces of cultural belonging have the right to assist us in rereasoning some of the main tenets of music scholarship, both in the musicological and ethnomusicological domains, inasa lot as they are built, directly or indirectly, on the basis of nation/culture corconnections. Specifically, the principle of cosmopolitanism as common spaces have the right to sell fresh insights into the disciplinary rigor of music authorship and also social ownership and, a lot of important, permits for a critique of social interpretation and aesthetic worths that rests on presumptions of uniqueness and also originality supposedly linked through locality, one’s country, and also one’s national identification. Cosmopolitanism have the right to lead us to concerns of exactly how music’s circulation in time and room has actually allowed for company in the structure of and reflection on common social spaces, rather than on music’s function to construct and also delimit geographical and also cultural boundaries; as such, it invites us to examine modes of musical expression and aesthetic worths that are nonexclusive, functional, and also unlimited. The cosmopolitan lens leads us to instrumental explorations and the questioning of borders—of society attachments, identities, and also aesthetic stances—to indicate that shared spaces of social belonging allow for alternative thinking, imagicountries beyond the regional, and also multiconfronted and multidirectional imaginative creativity.8

Exploring the cosmopolitan dimension of musical methods as a historic task poses numerous obstacles, however. The first lies in the usual emphasis on cosmopolitanism as a contemporary phenomenon, on “newness” as the major website for evaluation, and the consequent understanding of past societies and also cultural relationships as static and also pure. But as scholars begin to delve right into the historical dimensions of cosmopolitanism, tracing the principle earlier via millennia-old patterns in religion, empire, profession, and mobility, it becomes clear that it is exactly cosmopolitanism’s lengthy history that provides it an attrenergetic tool for cultural and musical analysis and interpretation. For cosmopolitanism gives its own historic critique and also allows for explorations of both its limitations and also its potential as a idea.9 One must keep in mind, however, that even if meanings and provides of the term cosmopolitanism have the right to be compared throughout history, their historic processes are various. People in the nineteenth century suffering the prospering power of nation-says, the various problems within and also past Europe, the hunger for early american power, and also the drastic transforms lugged about by economic and social relations beyond the neighborhood can just speculate, positively or negatively, around the future. They did not live via the trauma of civilization wars and the many type of nationalistic agendas that erupted during the twentieth and twenty-initially centuries. Today one may be more accepting of cosmopolitanism as a tool to reflect on the country in positive, if somewhat utopian, ways. But when looked at as a historic suffer and practice, awareness of the potentials of cosmopolitanism as a sociopolitical tool and as a social exercise is less straightforward.

The second obstacle entails experimenting cosmopolitanism especially in the nineteenth century, for the duration has been mostly connected through the decreasing of Enlightenment cosmopolitanism and also with a teleological account of the nation-state and also nationalism. The last, cogently articulated by historian Friedwealthy Meinecke in 1907 in regard to intellectual and political assumed in Germany, continues to play a dominant role in twentieth-century music scholarship, which privileges nineteenth-century Europe, and Germany type of in particular, as a website for investigation of music’s role in articulating unique nationwide musical societies that ultimately come to be historically systematic and aesthetically effective.10 The difficulty of contemplating cosmopolitanism amid such a nation-centric line of thought is heightened by the fact that music as a topic of scholarly interest, both in the musicological and also ethnomusicological domain names, arised in Europe exactly during the moment of the strengthening of the nation-state and also the growing power of Gerguy pundits in considering Europe as a model of the world. As an outcome, music historiography abounds with the period’s very own historic bias and also nation-centric filters, which privilege music’s function in representing the country and also enforcing miscellaneous strains of nationalisms, fairly than music’s association with larger “patterns of integration, historically created and also common among spaces,” as Waldron argues. Therefore, approaching cosmopolitanism as a nineteenth-century suffer and also exercise connected with European music entails not only reconsidering the expertise of the duration solely as the “age of nationalism,” yet additionally questioning established modes of investigation. It calls for a move from a “methodological nationalism” to a “methodological cosmopolitanism,” an epistemological revolve that confronts the nationally focused ontology dominating academic investigations of music throughout the period.11

The 3rd obstacle lies in confronting cosmopolitanism’s uncosmopolitan roots, as a concept tied to universalist ideals and also European-led globalization, colonialism, and also imperialism.12 These tenets of cosmopolitanism, although quite in accord through Enlightenment assumed, have actually been countered by recent anthropological research studies reflecting that cosmopolitan ideals are not, and also never have actually been, a privilege of “Westerners” and also that concepts of universalism, both in its political pressure and also a self-mindful identification, traverse various historical and cultural conmessages.13 Considering the prevalence of cosmopolitan visions of humankind throughout history, Nikos Papastergiadis has detailed that “universalism is both a essential appropriate and constantly contingent upon the specific scenarios and diverse requirements via which it is articulated.”14 A context-based perception and openness to the ideals of universalism is therefore an important element of cosmopolitanism in its humanistic guise. Wchange Mignolo suggests the term “critical cosmopolitanism” to highlight cosmopolitanism as a historically and context-based appropriate that features as an evaluative system, as a reflexive self-critique, and as a “imaginative alternative” within processes of cross-social interactions.15 It is the reflective and creative aspect of cosmopolitanism as a exercise and an suffer, and its openness to context-based universality that, I argue, note its existence throughout the nineteenth-century and that must be accounted for in music historiography. This is particularly essential bereason music, via its subjectivity and also openness to signification, was important in the process of navigating the period’s brand-new, multifaceted, and also complicated perceptions of belonging to a human being that conveniently came to be bigger than one’s locality and also one’s national relationships.

I do not want to suggest that cosmopolitanism is a practice or an experience that comes from nowhere, or that it is a universalizing pressure that marks its existence almost everywhere. Rather, my usage of the term right here is dependent on the expertise that cosmopolitan ideals surchallenge in specific sociohistoric conditions that privilege certain areas and also times. Because of this, scholars have rightly discussed the should pay attention to the plurality of the concept, as cosmopolitanisms. Throughout the nineteenth century, European cities were centers of the music publication service and the sites of coveted opera theaters, concert halls, music halls, and café concerts. They central music manufacturing and, the majority of vital, had the financial and also political power to circulate music in markets across borders and seas. Thus, addressing cosmopolitanism as an suffer originating in Europe during an era of heightened nationalism, imperialism, and also commercial expansion unavoidably leads to worries of power relationships, which are obvious in the circulation of music into and out of specific urban hubs in Europe. At the same time, the musical methods linked via Europe, when outside their location of origin, can no longer be minimal to or conditioned by their sociopolitical and geographical beginnings or to social narratives of nationwide belonging; rather, they came to be independently coherent to huge numbers of civilization in various locations. Within that conmessage, cosmopolitanism should be taken not only as a process in which musical manufacturing becomes a dominant identification matrix that traveled beyond the regional, however likewise as a crucial reflection on music’s intrinsic relation to the regional and also the country, as a critique of the incredibly idea of European musics’ centrality.

I believe that the nineteenth century deserve to be of specific interemainder as a historic website for investigations on cosmopolitan social and musical experiences and also techniques, bereason the duration is identified by unprecedented commercial, technological, social, and also cultural “frantic interrelationships,” to usage Ledger and Luckhusrt’s expression,16 interrelations that escalated exponentially throughout the century, both in pace and also in scope. According to Kristin Hoganson, the development of a global sector between 1880 and 1914 and the resulting circulation of consumer and cultural products, coupled through the intensity and quick pace of social, political, and also cultural exalters, showed “an unmatched level of sophistication in transnationwide explorations” that rivaled late twentieth-century experiences of globalization, via comparable trends of social extransforms and also implications in social production, experiences, and also relationships. Because of this, knowledge the growth of nineteenth-century cosmopolitan experiences—experiences beyond regional and also nationwide borders—deserve to offer a historical grounding via which one deserve to juxtapose our existing.17

Most crucial, the focus on cosmopolitanism permits us to resolve the nineteenth century not as a static, nation-centric century, yet as a duration as soon as national borders, being shaped and constantly debated, tested conventional develops of belonging. In truth, scholars have displayed that throughout the nineteenth century it was a challenge, rather than a offered, for nation builders to build nationwide sentiments.18 One have the right to say that what characterizes the period was specifically the have to understand also, challenge, and eventually control brand-new political, social, and also cultural connections resulting from the dissolution of long-standing, oligarchic devices of production and also power and also of religious conceptions of the human being. And because cosmopolitan experiences have actually been particularly common in periods of growth and after the fall of empires, or “as soon as claims break up or new unions are developed,”19 the nineteenth century can administer us through vivid examples of the difficulties in comprehending the extremely idea of culture and identity and the struggles to master the vulnercapability of boundaries.

A cosmopolitan suffer shaped the century’s the majority of complex and also routilizing feelings around the predicaments and also ephemerality of progress, and the contraction and refashioning of time and space made feasible by brand-new innovations and also media. It also entailed a gamut of feasible aesthetic perceptions of the civilization, such as the borders between concepts of unity and diversity, between the rational and also the illusory, in between the actual and social versus the best and also reflective, between art and nonart, between the original and also the copy. These dualities were not skilled as static principles, but as challenges within a constantly changing and also associated people. In 1890 François Mainmale composed in Le fin de siècle: “No more rank, title, or race … All is combined, puzzled, blurred, reshuffled, in a kaleidoscopic vision.”20 Cosmopolitanism highlights the vulnercapacity of these boundaries and helps us to uncover the many layers of shared huguy experiences that defined the period’s kaleidoscopic vision.

One need to go even more, then, and also explore cosmopolitanism throughout the nineteenth century not simply as a principle intertwined with the nation-state, or an identity that paralleled or opposed the national politics of nationalism, yet as an endure and also a exercise that transcfinished utopian Knowledge ideals. As the century developed, Delanty points out, cosmopolitanism provided “expression to a various measurement of belonging than that of nationalism,” one that offered “a crucial and reflexive consciousness”21 of the political, social, and social entanglements of modernity. Cosmopolitanism relocated from philosophical concepts and also sociopolitical theories inherited from the Knowledge thought to a reflection on the exercise of everyday life, as “actually existing cosmopolitanism,” as some scholars have put it.22 It came to be a day-to-day reality that significantly incorporated the resides of those living via the process of Europe’s shaping of itself—of those participating in the procedure from within, and of those connected to it from beyond European borders. Cosmopolitanism emerged as a consciousness of “being in the world” and also an experience of “feeling in the world” that foreshadowed challenges and brand-new possibilities, a lot even more than it presented utopian views of a associated people. In its miscellaneous manifestations, cosmopolitanism became a most pervasive consciousness of the century, whether in the terms of business and also forms of cultural currencies, as a tool to reflect on the possibilities of innovation to transcend and reshape time and area, or as an expression of optimism for a bappropriate human being devoid of huguy disrelationships. Cosmopolitanism can be materialized in the develop of a romantic self-detachment from a potentially bigger people past oneself, or as an important tool disguised as aestheticism; it can be articulated as a gloomy presage of an unparticular future without ties to locality or as a way to critique decadent bohemian escapism. Both pincreased and despised, as a consciousness of being in the civilization and a reflection on the people, cosmopolitanism became essential to individuals’ understandings of and also firm in their very own historical positions, permitting for imaginations past the neighborhood and the country to come to be a helpful reality, within and also well past European borders.

Cosmopolitanism likewise ended up being linked through an urban sphere of daily life, highlighting the role of the city in complex and also escaping the tentacles of the country, politically and culturally, as the subversive Other. As Tanya Agatholous discussed, cosmopolitan experiences and techniques prospered in cities exactly bereason cities permitted for an aesthetic perception that tied global perspectives to a localized, city suffer claiming to be unbound by nation-state ties.23 As European nineteenth-century cities prospered into facility humale conglomeprices, they emerged as sites for trying out, critiquing, and also imagining cultural encounters; as spaces for identification explorations and also escalating exoticisms; and also as places for mirroring on displacements, disconnections, and exclusions. On the one hand, the city provided an suffer of a world out of control, filled with rootmuch less cosmopolitans. On the other, it readily available promises of a common international imaginary, a room in which to screen the forces of modernity as spectacles, to showsituation countries and also societies in world exhibitions, and to reflect on Self and Otherness. Victorian realist authors, Agathocleous notes, unapologetically explored London as a protokind of a “world-city,” as a “representative of mansort,” a location via “universal resonances,” wright here one would “apprehend global modernity,” both in its possibilities and failures.24 Early in his career, Wagner defined Paris as “the facility of the people, where the arts of eextremely nation stream together to one focus,”25 only to disparage Paris later on for the city’s capacity to enthrall a decadent bourgeoisie via no nationwide commitments. Wchange Benjamin defined Paris not simply as the capital of France, however as the resources of the nineteenth century, as a city that encapsulated a tempdental Geist that exuded modernity while exposing capitalism’s flaws.26 Paris and London, the world’s biggest cities at midcentury, ended up being worldwide social assets in themselves, for they emanated a cosmopolitan urba perfect that was extensively exported and that colored the imaginations of millions of individuals living in cities far ameans.27

Connections past the local and the nation unleashed a gamut of political, social, and also social bonds among human being from far-off places, fueling every little thing from anarchist causes and also antislavery motions to literary circles established to detach themselves from the aesthetic understand of nationalistic agendas.28 These relationships were articulated by an effective metropolitan bourgeoisie, whose ties were shaped by social (and also racial and also gender) and also ideological, fairly than by national, attachments. But the metropolitan bourgeoisie was not a monolithic sociopolitical team, and their response to cosmopolitanism was not one of wholehearted engagement. They were threatened by the appearance of socialism on a worldwide range and felt fragile before ideals of progress that relegated the previous to a mythical state and also overestimated the future in lieu of the present, causing a feeling of historical unpredictcapability, an angst that was manifested by expressions of detachment: from the regional, from the city, from the country, and from the possibilities of the global.29 At the very same time, sectors, capitalism, and imperialism caused a level of usage that permitted the emergence of cosmopolitans who never before left house, cosmopolitans who were not component of a dominant bourgeoisie, and also those that were disput from their houses and did not fit the image of the “citizen of the world” that is uprooted as a choice. In the end, cosmopolitan experiences and methods incorporated more than privileged Europeans and intellectual travelers attempting to make sense of their very own social identity national politics. They ended up being part of the experiences of individuals and also groups that, willingly or not, became linked to the political, commercial, and social expansions originating in Europe.

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Understood as a negotiated room of shared experiences and techniques, the concept of cosmopolitanism has actually the potential to offer a fresh, context-based, historic interpretation of a nineteenth-century, European-centered music production with its multiple flows beyond its areas of origin. But the emphasis on cosmopolitanism can drive bolder concepts via effects that go beyond a mere idea of historiographical evaluation. It highlights music’s subjectivity as a tool within a procedure of building cosmopolitan experiences and also fueling a cosmopolitan “collective creative thinking.” As I indicate below, this cosmopolitan experience arised from the midst of assorted cultural flows in the time of the nineteenth century in contexts that “emanated from the middle of social consciousness”30 and were connected through shared experiences of modernity, rather than solely from a political stance dictated by ideals of nation structure.