Music has been steadily rising up the historical agenda, a product of the emergence of sound studies, the history of the senses, and a mood of interdisciplinary curiosity. This introductory article offers a critical review of how the relationship between music and politics has featured in extant historical writing, from classic works of political history to the most recent scholarship. It begins by evaluating different approaches that historians have taken to music, summarizes the important shifts in method that have recently taken place, and advocates for a performance-centered, contextualized framework that is attentive to the distinctive features of music as a medium. The second half examines avenues for future research into the historical connections between music and politics, focusing on four thematic areas—the body, emotions, space, and memory—and closes with some overarching reflections on music's use as a tool of power, as well as a challenge to it. Although for reasons of cohesion, this short article focuses primarily on scholarship on Britain and Ireland in the eighteenth and nineteenth centuries, its discussion of theory and methods is intended to be applicable to the study of music and political culture across a broad range of periods and geographies.

中文翻译：

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音乐、政治和历史：简介

音乐在历史议程中稳步上升，这是声音研究、感官历史和跨学科好奇心的产物。这篇介绍性文章对音乐与政治之间的关系如何在现存的历史著作中进行了批判性审查，从经典的政治史著作到最新的学术著作。它首先评估历史学家对音乐采取的不同方法，总结最近发生的方法上的重要转变，并倡导一种以表演为中心、情境化的框架，关注音乐作为一种媒介的独特特征。下半部分探讨了未来研究音乐与政治之间历史联系的途径，重点关注四个主题领域——身体、情感、空间、和记忆——并以对音乐作为权力工具的一些总体反思作为结束，以及对它的挑战。尽管出于凝聚力的原因，这篇短文主要关注 18 世纪和 19 世纪英国和爱尔兰的学术研究，但其理论和方法的讨论旨在适用于跨广泛时期的音乐和政治文化研究，以及地理。