Publicação
The idea of progress and the reception of Wagner in Portugal (1883-1919)
| dc.contributor.author | Santos, Luís M. | |
| dc.contributor.institution | Departamento de Ciências Musicais (DCM) | |
| dc.contributor.institution | Centro de Estudos em Música (CESEM - NOVA FCSH) | |
| dc.coverage.spatial | Lisboa | |
| dc.date.accessioned | 2026-04-07T14:27:01Z | |
| dc.date.available | 2026-04-07T14:27:01Z | |
| dc.date.issued | 2012-01 | |
| dc.description | SFRH/BD/78980/2011 | |
| dc.description.abstract | It is widely known that the reception of Richard Wagner’s works and ideas had a remarkable impact in ideological terms on various dimensions of the Western culture. The heterogeneity of Wagner’s followers, a typical aspect of all Wagnerian movements, was due to the fact that they appropriated him in a way that suited their own purposes. In order to understand the rising of the different Wagnerisms, it is essential to take into account the ideological framework that shaped their thought. Thus, the political and ideological controversies that influenced the reception of Wagner’s music and thinking are still an issue worth researching.The Portuguese case provides an interesting example. In fact, Wagner was enthusiastically welcomed by a group of musicians and intellectuals who witnessed the rising of Republicanism in Portugal in the turn of the century, having been orientated by an ideological framework in which the idea of progress was central. Their belief in the social mission of music was reflected, among other aspects, in a discourse that exalted the importance of symphonic concerts as a means of achieving a better society. The treatment of Wagner stands out in their thinking, in a period in which his music attained a growing acceptance in symphonic performances. Actually, it is implicit that they saw the social role of Wagner’s music not so much in its version as drama, but rather as “absolute music”. By focusing on the writings of Júlio Neuparth (1863-1919), one of the most outstanding figures of that group, this paper will explore the ideological dimensions of the cult, in order to understand the ideological framework that shaped the reception and appropriation of Wagner’s music. | en |
| dc.description.version | publishersversion | |
| dc.description.version | published | |
| dc.format.extent | 10 | |
| dc.format.extent | 3046854 | |
| dc.identifier.isbn | 978-989-97732-0-2 | |
| dc.identifier.other | PURE: 100881297 | |
| dc.identifier.other | PURE UUID: 63a0b11a-f3dd-450b-9a3c-88262377e0c2 | |
| dc.identifier.other | ORCID: /0000-0002-8037-7419/work/211012713 | |
| dc.identifier.uri | http://hdl.handle.net/10362/202089 | |
| dc.language.iso | eng | |
| dc.peerreviewed | yes | |
| dc.publisher | CESEM | |
| dc.subject | Idea of progress | |
| dc.subject | Discourse | |
| dc.subject | rReception | |
| dc.subject | Wagner | |
| dc.subject | História da música em Portugal | |
| dc.subject | Music | |
| dc.subject | History | |
| dc.subject | Social Sciences (miscellaneous) | |
| dc.title | The idea of progress and the reception of Wagner in Portugal (1883-1919) | en |
| dc.type | book part | |
| degois.publication.firstPage | 141 | |
| degois.publication.lastPage | 150 | |
| degois.publication.title | Consequences of Wagner. Proceedings of the International Conference (Lisbon, Portugal, 26-28 November 2009) | |
| degois.publication.title | International Conference — Consequences of Wagner | |
| dspace.entity.type | Publication | |
| rcaap.rights | openAccess |
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