Whose Spain?: Negotiating ‘Spanish Music’ in Paris, 1908–1929

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Notes

¹ Samuel Llano, Whose Spain?: Negotiating “Spanish Music” in Paris, 1908–1929 (New York: Oxford University Press, 2013), xvi.

² Llano's bibliography lists the relevant literature by these scholars, but Clark's particular contribution should be noted: beyond his own research, Clark's work as Series Editor of Oxford University Press's ‘Currents in Latin American & Iberian Music’, in which series Whose Spain? appears, is fostering the growth and dissemination of a significant body of scholarship in this area. I should disclose that Michael Christoforidis and I have a book in preparation for this series, Carmen and the Staging of Spain.

³ For example, Katharine Ellis's recent article on Gounod's Mireille, or the final section in the 2008 essay collection French Music, Culture, and National Identity 1870–1939: see Ellis, ‘Mireille's Homecoming? Gounod, Mistral, and the Midi’, Journal of the American Musicological Society 65/2 (Summer 2012), 463–509; ‘Part Three: Regionalism’, French Music, Culture, and National Identity, 1870–1939, ed. Barbara L. Kelly (Rochester, New York: University of Rochester Press, 2008), 197–250.

⁴ Ken Murray, ‘Spanish Music and its Representations in London (1878–1930): From the Exotic to the Modern’, PhD diss. University of Melbourne, 2013; Geraldine Power, ‘Projections of Spain in Popular Spectacle and Chanson, Paris: 1889–1926’, PhD diss., University of Melbourne, 2013.

⁵ Llano, Whose Spain?, 30.

⁶ Llano, Whose Spain?, 237.

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Notes on contributors

Elizabeth Kertesz

Elizabeth Kertesz is an honorary fellow of the Melbourne Conservatorium of Music, University of Melbourne, whose current research focuses on opera studies and Spanish-themed music and entertainment in the late nineteenth and early twentieth centuries. She is currently completing a monograph for Oxford University Press, co-authored with Michael Christoforidis, on the subject of Carmen and the Staging of Spain (1875–1940). She has also published on the English composer Ethel Smyth, on whom her PhD (University of Melbourne, 2001) was based.