The Diplomat’s Music Test: Branding New and Old Diplomacy at the Beginning of the Nineteenth and Twenty-First Centuries

Mahiet, Damien

doi:10.1007/978-3-319-63163-9_6

Damien Mahiet⁵

Part of the book series: The Sciences Po Series in International Relations and Political Economy ((SPIRP))

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1 Citations

Abstract

In the debates on the best way to conduct diplomacy, music marks a divide between practitioners of the new and the old. From the middle of the twentieth century to the present, music has been a flagship of new programs in cultural and public diplomacy. Conversely, at the beginning of the nineteenth century, musical diplomacy appeared to betray a misguided attachment to Ancien Régime practices and the enjoyments of good society. These opposite assessments both foreground the social composition of international relations and the ways music can inform it. Indeed, music and dance test a diplomat’s very conception of who makes up the diplomatic scene and how. Not surprisingly, the branding of diplomacies as old or new has tended to obfuscate the broader spectrum of practices in either of the time periods considered in this chapter. A component of protocol, music plays a part in the conventional script of official interactions while allowing the host to underscore cultural differences, power hierarchies, and cooperative aspirations. Music thus offers occasions for faux pas, misinterpretation, snubs, and other out-of-character communications, but it also provides opportunities to build affiliation and redefine the roles adopted in negotiations.

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Notes

1.
Costas M. Constantinou, On the Way to Diplomacy (Minneapolis: University of Minnesota Press, 1996), pp. 76–83.
2.
“science des rapports, des intérêts de Puissance à Puissance,” Dictionnaire de l’Académie française, 5th edition (1798), The ARTFL Project: Dictionnaires d’autrefois, https://artfl-project.uchicago.edu/content/dictionnaires-dautrefois (accessed December 15, 2016). Translations from the French are mine unless otherwise indicated.
3.
Halvard Leira, “A Conceptual History of Diplomacy,” in Costas M. Constantinou, Pauline Kerr, and Paul Sharp (eds.), The Sage Handbook of Diplomacy (London: Sage, 2016), pp. 32–33.
4.
Constantinou, On the Way to Diplomacy, pp. 76–89.
5.
Linda Frey and Masha Frey, “‘The Reign of the Charlatans is Over’: The French Revolutionary Attack on Diplomatic Practice,” Journal of Modern History 65(4) (1993): 706–744 and Marc Belissa, Repenser l’ordre européen (1795–1802): De la société des rois aux droits des nations (Paris: Kimé, 2006), pp. 183–199.
6.
Brian E. Vick, The Congress of Vienna: Power and Politics after Napoleon (Cambridge, MA: Harvard University Press, 2014), p. 51.
7.
On Flassan, see Belissa, Repenser l’ordre européen, pp. 164 and 187.
8.
“Cette classe qui, en effet, dansait beaucoup, n’était pas le Congrès,” [Gaëtan de Raxis de Flassan], Histoire du Congrès de Vienne par l’auteur de l’Histoire de la diplomatie, volume 1 (Paris: Chez Treuttel et Wurtz, libraires, 1829), p. 156, n1. For a recent and extensive study of the function of festivities, see the first three chapters of Vick, Congress of Vienna.
9.
For a compendium of these critiques, see for example Thierry Lentz, Le Congrès de Vienne: Une refondation de l’Europe, 1814–1815 (Paris: Perrin, 2013), pp. 107–126.
10.
“Ces divertissements n’étaient pas aussi étrangers au but du Congrès qu’on aurait pu le penser. Les divers ministres se rencontraient dans ces fêtes, se donnaient des explications, et il en résultait des rapprochements inattendus. Ainsi les passe-tems (sic) agréables adoucissaient la roideur des prétentions: sans eux, les esprits, toujours tendus, se fussent aigris davantage; car l’irritation mêlée d’ennui accélère les partis extrêmes” [Flassan], Histoire du Congrès de Vienne, vol. 1, pp. 156–157.
11.
Jennifer Mitzen, Power in Concert: The Nineteenth-Century Origins of Global Governance (Chicago: The University of Chicago Press, 2013), p. 96.
12.
“Depuis le Congrès de Vienne et d’Aix-la-Chapelle, les princes de l’Europe avaient la tête tournée de congrès: c’était là qu’on s’amusait et qu’on se partageait quelques peuples.” François-René de Chateaubriand, Mémoires d’outre-tombe volume 2 (Paris: Gallimard, 1951), p. 88.
13.
“La société des États.” The phrase appears in Richard de Metternich and Alfons de Klinkowstroem (eds.), Mémoires, documents et écrits divers laissés par le Prince de Metternich, volume 1 (Paris: Plon, 1880), p. 30.
14.
Bertrand Badie, La diplomatie de connivence: Les dérives oligarchiques du système international (Paris: La Découverte, 2011), pp. 23–51.
15.
Sasson Sofer, “The Diplomatic Corps as a Symbol of Diplomatic Culture,” in Paul Sharp and Geoffrey Wiseman (eds.), The Diplomatic Corps as an Institution of International Society (New York: Palgrave Macmillan, 2007), p. 34.
16.
See, for example, Marianne I. Franklin (ed.), Resounding International Relations: On Music, Culture, and Politics (New York: Palgrave Macmillan, 2005).
17.
On peace activism and music, see Andrew F. Cooper, Celebrity Diplomacy (Boulder, Paradigm, 2008), pp. 36–51; Benjamin Brinner, Playing Across a Divide: Israeli-Palestinian Musical Encounters (Oxford: Oxford University Press, 2009); and Arild Bergh and John Sloboda, “Sound and Art in Conflict Transformation: A Review,” Music and Arts in Action 2(2) (2010): 1–17, available at, http://musicandartsinaction.net/index.php/maia/article/view/conflicttransformation (last accessed on April 12, 2017); John Morgan O’Connell and Salwa El-Shawan Castelo-Branco (eds.), Music and Conflict (Urbana: University of Illinois Press, 2010); Ian Peddie (ed.), Popular Music and Human Rights (Farnham: Ashgate, 2011); John Street, Music and Politics (Cambridge: Polity, 2012), pp. 62–78; and Frédéric Ramel, “The Divan Orchestra: Mutual Middle-Range Transformation,” in Brigitte Vassort-Rousset (ed.), Building Sustainable Couples in International Relations: A Strategy Towards Peaceful Cooperation (New York: Palgrave Macmillan, 2014), pp. 209–237. There are extensive literatures on Live 8 and the West-Eastern Divan Orchestra, too numerous to list here.
18.
“Russia’s Valery Gergiev Conducts Concert in Palmyra Ruins,” BBC News, May 5, 2016, available at, http://www.bbc.com/news/world-middle-east-36211449 (accessed April 12, 2017). For the usage of music by Russia in other countries, see Chap. 11 (by Emilija Pundziūtė-Gallois) in this volume.
19.
George Wiseman, “Polylateralism and New Modes of Global Dialogue,” in Christer Jönsson and Richard Langhorne (eds.), Diplomacy, volume 3 (London: Sage, 2004), pp. 36–57.
20.
Jan Melissen, “Public Diplomacy,” in Andrew F. Cooper, Jorge Heine, and Ramesh Thakur (eds.), The Oxford Handbook of Modern Diplomacy (Oxford: Oxford University Press, 2013), p. 436. The image is drawn from Parag Khanna, How to Run the World: Charting a Course to the Next Renaissance (New York: Random House, 2011), p. 22.
21.
Several musical and diplomatic examples may be found in Erving Goffman, The Presentation of Self in Everyday Life (New York: Anchor Books, 1959). See also Raymond Cohen, Theatre of Power: The Art of Diplomatic Signalling (London: Longman, 1987) and Vincent Pouliot, International Pecking Orders: The Politics and Practice of Multilateral Diplomacy (Cambridge: Cambridge University Press, 2016). On the everyday uses of music to set a scene and compose the self, see Tia DeNora, Music in Everyday Life (Cambridge: Cambridge University Press, 2010).
22.
On musicking, see Gilbert Rouget, Music and Trance: A Theory of the Relations Between Music and Possession, trans. Brunhilde Biebuyck (Chicago: The University of Chicago Press, 1985), pp. 102–111 and Christopher Small, Musicking: The Meanings of Performing and Listening (Middletown: Wesleyan University Press, 1998), pp. 9–13.
23.
This instance resonates with the diplomat as a music agent described in Chap. 3 (by Mark Ferraguto) in this volume.
24.
Souvenirs du Chevalier de Cussy, garde du corps, diplomate et consul général, 1795–1866, volume 1, ed. Marc de Germiny (Paris: Plon, 1909), p. 169.
25.
Souvenirs du Chevalier de Cussy, vol. 1, p. 224.
26.
“Amateur passionné de musique, il nous faisait passer chaque matin, après déjeuner, deux heures fort agréables près de son piano, auquel il s’installait, jouant toutes les partitions, chantant tout,” Souvenirs du Chevalier de Cussy, vol. 1, p. 306.
27.
Vingt-cinq ans à Paris (1826–1850), journal du comte Rodolphe Apponyi, Attaché de l’Ambassade d’Autriche-Hongrie à Paris, volume 1, ed. Ernest Daudet (Paris: Plon, 1913), p. 195.
28.
“M. de Rayneval possède à un degré supérieur le talent de la musique. C’est une chose plus utile qu’on ne pourrait le croire dans la carrière diplomatique … Il ouvre les salons que bien souvent on fermerait à l’étranger qui n’apporterait que la seule qualité de son rang diplomatique. C’est une épreuve que j’ai souvent tentée et qui toujours a réussi.” [Laure Junot], Mémoires de Madame la Duchesse d’Abrantès, ou souvenirs historiques sur Napoléon, la Révolution, le Directoire, le Consulat, l’Empire et la Restauration, volume 2 (Bruxelles: Hauman, Cattoir et Comp., fourth edition, 1837), p. 82. See [Laure Junot], Duchesse d’Abrantès, Souvenirs d’une ambassade et d’un séjour en Espagne et en Portugal, de 1808 à 1811 (Paris: Ollivier, 1837), pp. 152–156.
29.
“Il faudrait qu’il fût jeune … Je voudrais, de plus, qu’il fût danseur, dessinateur, comédien, surtout bon musicien … un homme dont je me servirais auprès des femmes pour savoir le secret des maris.” Mémoires politiques et correspondence diplomatique de J. de Maistre, avec explications et commentaires historiques par Albert Blanc (Paris: Librairie nouvelle, 1858), p. 385.
30.
Eugène Scribe and Germain Delavigne, Le Diplomate: comédie-vaudeville en deux actes, représentée, pour la première fois, à Paris, sur le Théâtre de Madame, par les comédiens ordinaires de son altesse royale, le 23 octobre 1827 (Genève: Lador, 1828). William James Roosen brought the play to scholarly attention in his introduction to The Age of Louis XIV: The Rise of Modern Diplomacy (Cambridge, MA: Schenkman, 1976).
31.
“Et souvent une contredanse / Nous en apprend plus qu’un congrès.” Scribe and Delavigne, Le Diplomate (Act II, scene 1), p. 40.
32.
“Un bal vaut seul un traité d’alliance. / Je formerais, si j’étais souverain, / Tous mes sujets en une contredanse, / Pour les forcer à se donner la main.” Scribe and Delavigne, Le Diplomate (Act II, scene 7), p. 56.
33.
François-René de Chateaubriand, Correspondance générale, volume 5, edited by Pierre Riberette (Paris: Gallimard, 1986), pp. 309 and 312–313.
34.
“On ne pouvait rencontrer les ministres qu’à la cour, au bal ou au Parlement.” Chateaubriand, Mémoires d’outre-tombe, vol. 2, p. 76.
35.
Chateaubriand describes a typical day and the growing lassitude of the diplomats in the Mémoires d’outre-tombe, vol. 2, pp. 79 and 81. For other accounts, see John Bew, Castlereagh: A Life (Oxford, Oxford University Press, 2012), p. 460, and Heffron, Louisa Catherine, pp. 287–288.
36.
On the notion of diplomatic site, see Iver B. Neumann, Diplomatic Sites: A Critical Enquiry (New York: Columbia University Press, 2013), p. 4–7.
37.
Vick, Congress of Vienna, pp. 113, 117–121, and 129–134.
38.
Chateaubriand, Correspondance générale, vol. 5, p. 332.
39.
“Je ne vous ai point parlé, Monsieur le Baron, selon l’usage, des réceptions, des bals, des spectacles, etc.; je ne vous ai point fait de petits portraits et d’inutiles satires: j’ai tâché de faire sortir la diplomatie du commérage. Le règne du commun reviendra lorsque le temps extraordinaire sera passé: aujourd’hui il ne faut peindre que ce qui doit vivre, et n’attaquer que ce qui menace,” Chateaubriand, Correspondance générale, vol. 4, p. 75. For another instance of Chateaubriand’s critique of diplomatic “gossiping,” see p. 145.
40.
Quoted in Associated Press, “Cuba ‘Peace Concert’ Draws Multitudes,” The New York Times, September 20, 2009, p. A8.
41.
Quoted in Anthony Kuhn, “New York Philharmonic Heads to North Korea,” NPR, February 24, 2008, http://www.npr.org/templates/story/story.php?storyId=19320170, (accessed April 12, 2017). See also Daniel J. Watkins, “North Korea Welcomes New York Philharmonic,” February 26, 2008, available at, http://www.nytimes.com/2008/02/26/arts/music/26symphony.html (accessed April 12, 2017).
42.
Tracy Smith, “U.S. Diplomacy: Striking the Right Notes,” July 4, 2010, available at, http://www.cbsnews.com/news/us-diplomacy-hitting-the-right-notes/ (accessed April 12, 2017).
43.
John Kerry, Remarks to the Afghan National Institute of Music Ensembles, February 4, 2013, available at, http://www.state.gov/secretary/remarks/2013/02/203730.htm (accessed April 12, 2017).
44.
Emmanuel Galiero, “L’émouvante surprise de John Kerry aux Parisiens,” Le Figaro, January 16, 2015, available at, http://www.lefigaro.fr/politique/2015/01/16/01002-20150116ARTFIG00284-l-emouvante-surprise-de-john-kerry-aux-parisiens.php (accessed April 12, 2017).
45.
Anaïs Fléchet, “Le monde musical de Gilberto Gil,” in Anaïs Fléchet and Marie-Françoise Lévy (eds.), Littératures et musiques dans la mondialisation, XX ^e –XXI ^e siècles, (Paris: Publications de la Sorbonne, 2015), pp. 242–243, and UN News Center, “Singing for Peace: UN Ambassadors Launch CD to Bridge Cultural, Generational Divides,” September 11, 2013, available at, http://www.un.org/apps/news/story.asp?NewsID=45821#.WEqzwZJ7bhM (accessed April 12, 2017).
46.
Brigitte O’Preska, US Army Europe Public Affairs Office, “U.S. Army Europe’s 76th Army Band Performs with Fellow Military Musicians from Nine Nations,” November 9, 2007, available at, https://www.army.mil/article/6047/U_S__Army_Europe__039_s_76th_Army_Band_Performs_with_Fellow_Military_Musicians_from_Nine_Nations_at/ (accessed April 12, 2017) and Sgt. David Beckstrom, “United Through Music,” January 12, 2016, available at, https://www.army.mil/article/160806/united_through_music (accessed April 12, 2017).
47.
UN News Center, “On International Day, UN Spotlights History and Power of Jazz in Building Peace,” April 30, 2016, available at, http://www.un.org/apps/news/story.asp?NewsID=53827&Kw1=power&Kw2=music&Kw3=#.WC3sVtx7bhM (accessed April 12, 2017).
48.
Nicholas J. Cull, “Public Diplomacy: Taxonomies and Histories,” Annals of the American Academy of Political and Social Science 616(1) (2008): 31–54.
49.
Quote featured under “Resources” on the official website of OneBeat at http://1beat.org/resources/ (accessed April 12, 2017).
50.
See http://1beat.org/resources/. See also Larry Rohter, “A United Nations of Music,” The New York Times, October 3, 2012, available at, http://www.nytimes.com/2012/10/04/arts/music/us-onebeat-program-melds-32-musicians-from-21-countries.html?_r=3& (accessed April 12, 2017).
51.
Louise Meintjes, “Paul Simon’s Graceland, South Africa, and the Mediation of Musical Meaning,” Ethnomusicology 34(1) (1990): 37–73.
52.
“Je ne vous parlerai pas, Monsieur le Baron, de ces distinctions flatteuses, si mon titre de ministre du roi de France ne leur donnait un intérêt politique: ces honneurs n’étaient pas pour moi, cela va sans dire; ils s’adressaient au caractère dont je suis revêtu,” Chateaubriand, Correspondance générale, vol. 4, pp. 40–41.
53.
Chateaubriand, Correspondance générale, vol. 4, pp. 77, 98, and 102.
54.
“La France occupe le premier rang. Je suis fier de la représenter. Pour mon Roi, pour mon pays, je tiens à m’endetter. …Par la suite, à Londres, le vicomte de Chateaubriand s’est beaucoup endetté par l’éclat de sa representation,” Souvenirs du Chevalier de Cussy, vol. 1, p. 289.
55.
Chateaubriand, Correspondance générale, vol. 5, pp. 74–75 and 124.
56.
“Une partie de mon rôle consiste à aller dans le monde,” Chateaubriand, Correspondance générale, vol. 5, p. 66.
57.
David Paull Nickles, “US Diplomatic Etiquette during the Nineteenth Century,” The Diplomats’ World: A Cultural History of Diplomacy, 1815–1914, ed. Markus Mösslang and Torsten Riotte (London: The German Historical Institute and Oxford University Press, 2008), pp. 287–316.
58.
The first quote from a letter to William Short, January 23, 1804, in The American Historical Review 33(4) (1928): 833. The second quote from a letter to James Madison, September 20, 1785, quoted in Cynthia P. Schneider, “Culture Communicates: US Diplomacy That Works,” in Jan Melissen (ed.), The New Public Diplomacy: Soft Power in International Relations (New York: Palgrave Macmillan, 2005), p. 147.
59.
Helen Cripe, Thomas Jefferson and Music (Charlottesville: University Press of Virginia, 1974), pp. 30–40.
60.
Margery M. Heffron, Louisa Catherine: The Other Mrs. Adams, ed. David L. Michelmore (New Haven: Yale University Press, 2014), pp. 53 and 58. See also H. Earle Johnson, “The Adams Family and Good Listening,” Journal of the American Musicological Society 11(2/3) (1958): 165–176.
61.
Heffron, Louisa Catherine, pp. 274 and 342.
62.
Heffron, Louisa Catherine, 119, pp. 122–123 and 203.
63.
Heffron, Louisa Catherine, p. 235.
64.
Heffron, Louisa Catherine, p. 305, 313–315, and 348–355.
65.
Heffron, Louisa Catherine, p. 314.
66.
Andrew Oliver, Portraits of John Quincy Adams and His Wife (Cambridge, MA: Belknap Press, 1970), pp. 8–12.
67.
Oliver, Portraits of John Quincy Adams and His Wife, pp. 12, 58, and 77–78.
68.
Craig Robertson, The Passport in America: The History of a Document (Oxford: Oxford University Press, 2010), p. 33.
69.
Heffron, Louisa Catherine, p. 314.
70.
Memoirs of John Quincy Adams comprising portions of his diary from 1795 to 1848, volume 1, ed. Charles Francis Adams, (Philadelphia: J. B. Lippincott, 1874), p. 89 (March 15, 1795).
71.
Memoirs of John Quincy Adams, vol. 1, p. 100 (March 18, 1795).
72.
Memoirs of John Quincy Adams, vol. 1, p. 103.
73.
Mary Mel French, United States Protocol: The Guide to Official Diplomatic Etiquette (Lanham, Rowman and Littlefield, 2010), p. 191.
74.
French, United States Protocol, p. 215.
75.
Neumann, Diplomatic Sites, p. 63.
76.
Neumann, Diplomatic Sites, pp. 55 and 62–68.
77.
AMS Planning and Research Corp. in collaboration with Philliber Research Associates, Evaluation of the Jazz Ambassadors Program, Final Report prepared for the US Department of State Bureau of Educational and Cultural Affairs (March 2006), p. 52, available at, https://eca.state.gov/files/bureau/jazz-amb-program-vol.-i-final-report-march-2006.pdf
78.
Evaluation of the Jazz Ambassadors Program, p. 51. “Respondents represented more than 60% of all Posts that had participated in the JA Program” across the globe (p. 30). “33% were Cultural Affairs Officers or Assistants, 31% Public Affairs Officers or Assistants, and 19% Cultural Affairs Specialists.” Other respondents included Deputy Chiefs of Mission, Information Officers, and Public Affairs Specialists.
79.
Evaluation of the Jazz Ambassadors Program, p. 50.
80.
Chris Green, “Matthew Barzun: America’s Diplomatic Dude,” Independent, July 12, 2014, available at, http://www.independent.co.uk/news/people/matthew-barzun-americas-diplomatic-dude-9602438.html (accessed April 12, 2017).
81.
The Tatler List, available at, http://www.tatler.com/the-tatler-list/b/brooke-barzun (accessed April and December 2016).
82.
Chris Green, “Matthew Barzun: America’s Diplomatic Dude.” See also Sarah Sands, “Mrs Ambassador, You Really Are Spoiling Us: Why the US Ambassador’s Wife Brooke Barzun Is the Ultimate Hostess with the Mostess,” The Evening Standard, March 12, 2015, available at, http://www.standard.co.uk/lifestyle/london-life/mrs-ambassador-you-really-are-spoiling-us-why-the-us-ambassadors-wife-brooke-barzun-is-the-ultimate-10103263.html (accessed April 12, 2017).
83.
James Pickford, “Matthew Barzun, US Ambassador to the UK, on Informal Diplomacy,” Financial Times, February 20, 2015, available at, http://www.ft.com/intl/cms/s/2/e919a648-b2c5-11e4-a058-00144feab7de.html (accessed April 12, 2017).
84.
US Embassy London, “Winfield House Sessions: The National Perform ‘England’ [London, 11 July 2014],” published December 18, 2014, https://youtu.be/yJtTKb7Bc3s (accessed April 12, 2017).
85.
Kendra Salois. “The US Department of State’s ‘Hip Hop Diplomacy’ in Morocco,” in Rebekah Ahrendt, Mark Ferraguto, and Damien Mahiet (eds.), Music and Diplomacy from the Early Modern Era to the Present (New York: Palgrave Macmillan, 2014), pp. 231–250.
86.
Alex Barker, “Nato ministers unite … in song,” FT.Com, May 14, 2015, available at http://blogs.ft.com/the-world/2015/05/nato-ministers-unite-in-song/ (accessed April 12, 2017).
87.
Robert Mackey, “NATO Officials Sing ‘We Are the World’ at Summit in Turkey,” May 14, 2015, available at, http://www.nytimes.com/2015/05/15/world/europe/nato-officials-sing-we-are-the-world-at-summit-in-turkey.html?_r=0 (accessed April 12, 2017).
88.
“‘We are the World’…order? Social Media Slams NATO’s Charity Song Performance,” Russia Today, May 14, 2015, available at, https://www.rt.com/news/258649-nato-song-anger-public/ (accessed April 12, 2017).
89.
Michael Wines, “Chinese Leader Gets Ride on Chicago’s Big Shoulders,” The New York Times, January 21, 2011, available at, http://www.nytimes.com/2011/01/22/world/asia/22hu.html (accessed April 12, 2017).
90.
“Did Pianist Lang Lang Intend to Snub The U.S.?” NPR, January 24, 2011, available at, http://www.npr.org/2011/01/24/133187969/Pianist-Lang-Lang-On-His-Controversial-Music-Pick (accessed April 12, 2017).
91.
Fayaz Bukhari, “Controversial Kashmir Concert by Zubin Mehta Ends on Sour Note,” Reuters, September 8, 2013, available at, http://in.reuters.com/article/kashmir-concert-zubin-mehta-idINDEE98706520130908 (accessed April 12, 2017); and Julie McCarthy, “Zubin Mehta’s Concert Strike a Discordant Note in Kashmir,” NPR, September 9, 2013, available at, http://www.npr.org/sections/parallels/2013/09/09/220673581/zubin-mehtas-concert-strikes-a-discordant-note-in-kashmir (accessed April 12, 2017).
92.
Dorothy Gies McGuigan, Metternich and the Duchess (Garden City: Doubleday, 1975), p. 274.
93.
McGuigan, Metternich and the Duchess, p. 297, and Harold Nicolson, The Congress of Vienna: A Study in Allied Unity, 1812–1822 (New York: Grove Press, 1946), pp. 111 and 116.
94.
McGuigan, Metternich and the Duchess, p. 367.
95.
Roger Fisher and Daniel Shapiro, Beyond Reason: Using Emotions as You Negotiate (New York: Penguin Books, 2006), p. 54.
96.
Daniel Shapiro, “Enemies, Allies, and Emotions: The Power of Positive Emotions in Negotiation,” in The Handbook of Dispute Resolution, ed. Michael L. Moffitt and Robert C. Bordone (San Francisco: Jossey-Bass, 2005), pp. 73–75.
97.
Eleni Kounalakis, Madam Ambassador: Three Years of Diplomacy, Dinner Parties, and Democracy in Budapest (New York: The New Press, 2015), pp. 168–169.
98.
Fisher and Shapiro, Beyond Emotions, pp. 18–20 and 190–197.
99.
“tous trois entraînés par le pouvoir de l’harmonie ont été un moment d’accord.” Diary of Anna Eynard-Lullin, 28 December 1814, in Journaux du congrès, Vienne 1814–1815: “J’ai choisi la fête,” ed. Benoît Challand, Alexandre Dafflon, and Jim Walker Alville (Fribourg: Société d’histoire du Canton de Fribourg, 2015), p. 283.
100.
Letter from Nesselrode to his wife, Płock, 25 January 1813, in Lettres et papiers du Chancelier Comte de Nesselrode, volume V (Paris: A. Lahure, 1907), p. 25. Alville, Anna Eynard-Lullin, pp. 194–195 and 236–237 and John Bew, Castlereagh: A Life (Oxford: Oxford University Press, 2012), pp. 23, 74, 261, 276, 373, 500, 510, and 516.
101.
Bernd Rüdiger Kern, Rossini e Metternich, Bollettino del Centro Rossiniano di Studi XXXIX (1999): 5–20; Damien Mahiet, “Haydn and Metternich: A Letter by Joseph Haydn in the Metternich Archives,” Haydn-Studien XI(1): 150–165; and Wolfram Siemann, Metternich: Stratege und Visionär (München: C. H. Beck, 2016), pp. 131–155 and 528–536.
102.
“J’ai demandé avec anxiété si leur chant avait été juste, car il me semblait que l’Europe entière pourrait en tirer un heureux augure.” Alville, Anna Eynard-Lullin, p. 176.
103.
Daniel Shapiro, “Negotiating Emotions,” Conflict Resolution Quarterly 20(1) (2002): 67–82.
104.
On the continuity between everyday and official diplomacies as modes of “interpersonal relationships,” see Noé Cornago, Plural Diplomacies: Normative Predicaments and Functional Imperatives (Leiden: Nijhoff, 2013), pp. 1–2, 11–15, and 55–91.
105.
List drawn from Jorge Heine, “From Club to Network Diplomacy,” in The Oxford Handbook of Modern Diplomacy, pp. 54–69. For a critique of the opposition between “new” and “traditional” diplomacy, see Ellen Huijgh, “Public Diplomacy,” in The Sage Handbook of Diplomacy, p. 444.
106.
Mark Knowles, The Wicked Waltz and Other Scandalous Dances: Outrage at Couple Dancing in the 19th and Early 20th Centuries (Jefferson: McFarland, 2009) and Eric McKee, Decorum of the Minuet, Delirium of the Waltz: A Study of Dance-Music Relations in ¾ time (Bloomington: Indiana University Press, 2012).
107.
Quoted in Adam Zamoyski, Rites of Peace: The Fall of Napoleon and the Congress of Vienna (New York: HarperCollins, 2007), p. 312.

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Cogut Institute for the Humanities, Brown University, Providence, RI, USA
Damien Mahiet

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Damien Mahiet
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Center for International Studies (CERI), Sciences Po, Paris, France
Frédéric Ramel
Université Sorbonne Nouvelle – Paris 3, Paris, France
Cécile Prévost-Thomas

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Mahiet, D. (2018). The Diplomat’s Music Test: Branding New and Old Diplomacy at the Beginning of the Nineteenth and Twenty-First Centuries. In: Ramel, F., Prévost-Thomas, C. (eds) International Relations, Music and Diplomacy . The Sciences Po Series in International Relations and Political Economy. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-319-63163-9_6

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DOI: https://doi.org/10.1007/978-3-319-63163-9_6
Published: 23 January 2018
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