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4 This paradigm has limited the ability of historians to examine thoroughly the relations between the political and the philosophical ideas of a historical era and the translation of these ideas into artistic movements, including those that have structured the world of opera over the centuries. 5 But they have largely remained unable or unwilling to come to terms with 3 4 Victoria Johnson the importance of opera as a site of social, cultural, and political interaction in modern European history.

Faire de l’histoire (Paris: Gallimard, 1974). See, for example, Charles Tilly, As Sociology Meets History (New York: Academic Press, 1981); Theda Skocpol, States and Social Revolutions: A Comparative Analysis of France, Russia and China (New York: Cambridge University Press, 1979); and Arthur Stinchcombe, Theoretical Methods in Social History (New York: Academic Press, 1978). , Vision and Method in Historical Sociology (Cambridge: Cambridge University Press, 1984). For an overview of more recent trends, see Julia Adams, Elisabeth S.

How are the parts of tradition that result in or depend on written records to be related to those that do not? How do elite and popular participants in tradition influence it (and each other)? Is it always innovation that is in need of explanation or should analysis focus as much on the recuperative, reproductive capacity of tradition? My point is not, alas, that social science has the perfect theory of tradition and musicologists need only to import it. Rather, the point is that opera is a terrific site for the interrogation of what tradition means and how its different dimensions interrelate.

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