Fanny Gribenski

Visiting Postdoctoral Fellow
Visiting Postdoctoral Fellows are early career scholars who are ordinarily no more than five years past the granting of the doctorate and who are either externally financed or receive a Fellowship rather than a contract from the MPIWG.
Max Planck Research Group (Epistemes of Modern Acoustics)
PhD, Associate Scholar, Université d’Évry Val d’Essonne
Residence:
September 16, 2016 to October 15, 2016
Profile

A graduate of the École Normale Supérieure of Lyon and of the Paris Conservatory, Fanny Gribenski is an associate scholar at the Université d’Évry Val d’Essonne. Her research is dedicated to the history of nineteenth-century music and more specifically the history of liturgy and church music during the French Concordat, the relationship between music and spaces, the development of musical historiography, and, more recently, the diplomatic and technological history of the standardization of the diapason pitch. Committed to interdisciplinary approaches, her work engages in dialogue with various fields: history, literature, political science, sociology, gender, and sound studies. In her dissertation, defended in 2015 at the École des Hautes Etudes en Sciences Sociales (Paris), Fanny Gribenski studied the concert life of nineteenth-century Paris churches, questioning especially the relationship between musical practices and the constitution of sacred versus secular spaces. Her postdoctoral project focuses on the history of the international negotiations and other scientific, aesthetic, commercial, and political operations that surrounded the standardization of “A” throughout the nineteenth and the first half of the twentieth century. From November 2016 to October 2017, she will be a Fulbright fellow and a visiting scholar at the University of California Los Angeles.

Selected publications

Gribenski, F., Dubreuil-Porret, A., & Rollin, V. (Eds.). (in preparation). Musiques et pratiques religieuses en France au xixe siècle.

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Gribenski, F. (in preparation). Tuning the world: a history of global negotiations at the crossroads of aesthetics, politics, science and industry.

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Quinet, H. (2016). Ce que dit la musique (1893) (F. Gribenski, & É. Jardin, Eds.). Arles: Actes Sud.

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Gribenski, F., & Favard, M. (2016). Pour une poétique du rituel musical: Mallarmé auditeur du Paris fin de siècle. In A. Bonnet, & P.-H. Frangne (Eds.), Mallarmé et la musique, la musique et Mallarmé. L'écriture, l'orchestre, la scène, la voix (pp. 111-125). Rennes: Presses universitaires de Rennes.

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Gribenski, F. (2014). Présenter la musique ancienne. Les avatars du concert-conférence à Paris dans les années 1880–1890. In X. Bisaro, & R. Campos (Eds.), La musique ancienne entre historiens et musiciens (pp. 63-103). Geneva: Droz-Haute École de musique de Genève.

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Gribenski, F. (2013). L'église comme lieu de concert? Les célébrations de la Sainte-Cécile à Saint-Eustache par l'Association des artistes musiciens (1847–1900). Revue de musicologie, 99(2), 295-324.

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Contact

Max Planck Institute for the History of Science 
Boltzmannstraße 22 
14195 Berlin 
Germany