María CÁCERES PIÑUEL

2019-2020

University of Bern

Keywords: International Exhibitions, Female Patronage, History of Music Economics, Cultural Diplomacy, Women International Networks

Women in Musical Patronage and Soft Imperial Diplomacy at Fin-de-Siècle International Exhibitions

Maria Cáceres Piñuel studied Human Sciences (2004) and the History and Science of Music (2006), and later  completed a Masters in Hispanic Music (2007) at the University of Salamanca. Her PhD was carried out in the framework of a co-tutelle between Bern University and the University of Zaragoza (2014). She was awarded a visiting fellowship supported by the Balzan Programme in Musicology: Towards a Global History of Music at the Department of Musicology of Vienna University (2014/15). Since 2015, she has been working as postdoctoral researcher and project coordinator at the University of Bern.

Her first monograph, El hombre del rincón (Edition Reichenberger: 2018) analyses the conceptual axes and international cultural transfers that led to the emergence of musicology as an autonomous discipline in Spain through reconstructing the intellectual biography of the musicologiss José Subirá. Since June 2019, she has been co-leading a research project on Women and Art Patronage. Her main field is musicology but her scholarly interests range widely, from History of ideas to Cultural Studies, being familiar with interdisciplinary approaches.

Research project

The project investigates the role of women in the context of International Exhibitions on the standardisation and globalisation of art management practices and discourses at the turn of the 20th century. It proposes comparative study of three events that took place between 1892 and 1893: the Viennese International Exhibition of Music and Theatre, the Columbian Historic Exposition of Madrid, and the World’s Columbian Exposition held in Chicago. Although these exhibitions were different in terms of size, impact, and topic, they shared a cluster of common organisers and agents. The Austro-Hungarian Princess Pauline von Metternich, the Spanish Infant Isabel de Borbón, and the American businesswoman Bertha Palmer were actively engaged in the organization of these events and they built a dense elitist network of cosmopolitan women around them.

The goal of this project is to reassess the agency of women in the unstable economic balance between a musical patronage, nostalgic of the Ancient Régime, the State arts commission, and the emerging transnational music industry during the changing economic framework of the electric revolution and the colonial expansion of capitalism.

Selected Publications

In press CÁCERES-PIÑUEL, María: “From the Historical Concerts to the Monuments: The early music revivals at the Viennese International Exhibition of Music and Theatre (1892)”, in the special issue:  Musical culture/s of the Habsburg Monarchy and its successors states between the 18th and the 20th century, Fritz TRÜMPI and Tatjana MARKOVIÇ (eds.), Musicologica Austriaca-Journal for Austrian Music Studies.

Accepted CÁCERES-PIÑUEL, María, Alberto NAPOLI & Melani STRUMBL (Eds.), Branding ‘Western Music’, Peter Lang Verlag (Forthcoming 2019).

2018, CÁCERES-PIÑUEL, María: El hombre del rincón. José Subirá y la historia cultural e intelectual de la musicología en España. Prólogo de Frank-Rutger Hausmann (Man in the corner: José Subirá and the cultural and intellectual history of musicology in Spain. Prologue by Prof. Frank-Rutger Hausmann), XVIII, 414 pp., Kassel, Edition Reichenberger (De Musica 20), ISBN: 978-3-944244-68-6.

2016, CÁCERES-PIÑUEL, María: “El revival de la música del siglo XVIII en España durante el período entreguerras. Cuatro casos de estudio relacionados con la red profesional de José Subirá”, (The 18th Century music revival during the interwar period in Spain: Four case studies related to the professional network of José Subirá), Revista de Musicología, XXXIX, pp. 143-172.

2014, CÁCERES-PIÑUEL, María (Ed.): Evaristo Fernández Blanco: un músico rescatado. (Editor of the special issue devoted to the contemporary composer Evaristo Fernández Blanco), Astórica, 33, 2014.

 

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