Table of Contents
Acknowledgments
Introduction
Chapter One: Glocalization and Music: Theoretical Concepts
Why Scharwenka’s Case
Glocalization and Music
Ethnomusicology of Western Art Music and Glocal Perspective
Glocal Interpretation of Music
A Place of Decisive Agency
Towards a Music Glocalization Model
An Important Caveat
Types of Music Glocalization: Audiomosaic, Bushimi, Glocklization,
Criticism toward Glocal Interpretations of Music
Chapter Two: Ethnomusicological Perspective: Scharwenka’s Identity and Early Music Experiences
Ethnomusicology and Western Art Music
Composer Identity – A Matter of Misinterpretations
Questions
In the World of Romantic Ideas
German-Polish Family Tree
Two Cultures: German
Two Cultures: Poland
Communicative Memory
Chapter Three: Glocality of Music
From the Piano to the Symphony – Overview of the Music
Berlin and the Rest of the World
The Same Country – Different Methods
Between Brahmsianism and New German School
Opera Mataswintha
Scharwenka’s music and Polish Tradition
Chapter Four: Local-Global Interplay
Driving Force from Poland
The Role of Patrons
Self-Globalization of European Narratives
Virtuosity and Momentum – Acceleration Toward Global
Powerful Forces of Impresarios
Bridging Transatlantic Cultures
German opera in America
Chapter Five: Versatile Artist: Think Globally, Act Locally
Entrepreneurship: Local Outreach
Entrepreneurship: Gobal Outreach
Pedagogy – From Individuality to Universality
Various Activities: Journalism, Recording, Working in the Union
Conclusion