Nineteenth-Century Music


Author: Carl Dahlhaus
Publisher: Univ of California Press
ISBN: 9780520076440
Category: Biography & Autobiography
Page: 417
View: 980
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A survey of the most popular period in music history details many of the socio-historical influences on music of this period, the impact of Beethoven's death, and the rise of grand opera.

The Cambridge History of Nineteenth-Century Music


Author: Jim Samson
Publisher: Cambridge University Press
ISBN: 9780521590174
Category: Music
Page: 772
View: 2393
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First published in 2002, this comprehensive overview of music in the nineteenth century draws on extensive scholarship in the field.

Music at the Turn of Century

A 19th-century Music Reader
Author: Joseph Kerman
Publisher: Univ of California Press
ISBN: 9780520068551
Category: Music
Page: 207
View: 6042
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Turn-of-the-century modernists were involved, implicated, and often locked in a struggle with all the formidable legions of nineteenth-century music. The focus of this collection, essays originally published in the journal "19th-Century Music, is upon modernism in relation to its immediate heritage. Major composers whose reflections on the past come under consideration include Debussy, Mahler, Schoenberg, Stravinsky, Bartok, and Ives, while older composers such as Liszt and Wolf figure as precursors of modernist harmony and sensibility. The contributors include many leading musicologists, critics, and music theorists known for their work on nineteenth- and twentieth-century music. Some of the essays deal closely with the new musical languages that evolved in that era; others deal with reception and performance issues. Many of them bring together insights from various subdisciplines to achieve a richer kind of composite scholarship than is available to traditional musical studies.

Realism in Nineteenth-Century Music


Author: Carl Dahlhaus
Publisher: CUP Archive
ISBN: 9780521261159
Category: Music
Page: 131
View: 5673
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The music of the nineteenth century was - and still is - thought of as a 'romantic' art, whereas the main current of the literature and fine arts of the age was 'realist' from about 1830. Yet some works are consistently described as 'realistic': Nusorgsky's Boris and Bizet's Carmen are only the most frequently cited examples. Professor Dahlhaus sets out the criteria of realism, with particular reference to French and German theorists and examines the extent to which they apply to music too. While his findings do not reverse the verdict that the music of the age was in general romantic, he demonstrates that musical realism consists in much more than imitation of natural sounds or tone-painting. The notes are revised here for the English-speaking reader.

Nineteenth-Century Music

Selected Proceedings of the Tenth International Conference
Author: Jim Samson
Publisher: Routledge
ISBN: 1351556290
Category: Music
Page: 400
View: 959
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This selection of essays represents a wide cross-section of the papers given at the Tenth International Conference on Nineteenth-Century Music held at the University of Bristol in 1998. Sections include thematic groupings of work on musical meaning, Wagner, Liszt, musical culture in France, music and nation, and women and music.

Chromatic Transformations in Nineteenth-Century Music


Author: David Kopp
Publisher: Cambridge University Press
ISBN: 9780521028493
Category: Music
Page: 292
View: 9003
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David Kopp's book develops a model of chromatic chord relations in nineteenth-century music by composers such as Schubert, Beethoven, Chopin, Schumann and Brahms. The emphasis is on explaining chromatic third relations and the pivotal role they play in theory and practice. The book traces conceptions of harmonic system and of chromatic third relations from Rameau through nineteenth-century theorists such as Marx, Hauptmann and Riemann, to the seminal twentieth-century theorists Schenker and Schoenberg and on to the present day. Drawing on tenets of nineteenth-century harmonic theory, contemporary transformation theory and the author's own approach, the book presents a clear and elegant means for characterizing commonly acknowledged but loosely defined elements of chromatic harmony, and integrates them as fully fledged entities into a chromatically based conception of harmonic system. The historical and theoretical argument is supplemented by plentiful analytic examples.

Music in the Nineteenth Century: The Oxford History of Western Music


Author: Richard Taruskin
Publisher: Oxford University Press
ISBN: 0199796025
Category: Music
Page: 928
View: 9370
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The universally acclaimed and award-winning Oxford History of Western Music is the eminent musicologist Richard Taruskin's provocative, erudite telling of the story of Western music from its earliest days to the present. Each book in this superlative five-volume set illuminates-through a representative sampling of masterworks-the themes, styles, and currents that give shape and direction to a significant period in the history of Western music. In Music in the Nineteenth Century , Richard Taruskin offers a panoramic tour of this magnificent century in the history music. Major themes addressed in this book include the romantic transformation of opera, Franz Schubert and the German lied, the rise of virtuosos such as Paganini and Liszt, the twin giants of nineteenth-century opera, Richard Wagner and Giuseppe Verdi, the lyric dramas of Bizet and Puccini, and the revival of the symphony by Brahms. Laced with brilliant observations, memorable musical analysis, and a panoramic sense of the interactions between history, culture, politics, art, literature, religion, and music, this book will be essential reading for anyone who wishes to understand this rich and diverse period.

Music Analysis in the Nineteenth Century: Volume 2, Hermeneutic Approaches


Author: Ian Bent
Publisher: Cambridge University Press
ISBN: 9780521673471
Category: Music
Page: 320
View: 9375
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Newly translated writings of nineteenth-century music critics and theorists, including Wagner and Berlioz.

Listening to Reason

Culture, Subjectivity, and Nineteenth-Century Music
Author: Michael P. Steinberg
Publisher: Princeton University Press
ISBN: 1400835739
Category: Music
Page: 264
View: 4405
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This pathbreaking work reveals the pivotal role of music--musical works and musical culture--in debates about society, self, and culture that forged European modernity through the "long nineteenth century." Michael Steinberg argues that, from the late 1700s to the early 1900s, music not only reflected but also embodied modern subjectivity as it increasingly engaged and criticized old regimes of power, belief, and representation. His purview ranges from Mozart to Mahler, and from the sacred to the secular, including opera as well as symphonic and solo instrumental music. Defining subjectivity as the experience rather than the position of the "I," Steinberg argues that music's embodiment of subjectivity involved its apparent capacity to "listen" to itself, its past, its desires. Nineteenth-century music, in particular music from a north German Protestant sphere, inspired introspection in a way that the music and art of previous periods, notably the Catholic baroque with its emphasis on the visual, did not. The book analyzes musical subjectivity initially from Mozart through Mendelssohn, then seeks it, in its central chapter, in those aspects of Wagner that contradict his own ideological imperialism, before finally uncovering its survival in the post-Wagnerian recovery from musical and other ideologies. Engagingly written yet theoretically sophisticated, Listening to Reason represents a startlingly original corrective to cultural history's long-standing inhibition to engage with music while presenting a powerful alternative vision of the modern. Some images inside the book are unavailable due to digital copyright restrictions.

Analyses of Nineteenth- and Twentieth-Century Music, 1940-2000


Author: D. J. Hoek
Publisher: Scarecrow Press
ISBN: 1461700795
Category: Music
Page: 374
View: 1403
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This new volume incorporates all entries from the previous editions by Arthur Wenk, expanding to cover writings drawn from periodicals, theses, dissertations, books, and Festschriften from 1940 to 2000. Over 9,000 references to analyses of works by over 1,000 composers of the nineteenth and twentieth centuries are included.

Analyses of Nineteenth-century Music, 1940-1975


Author: Arthur Wenk
Publisher: Ann Arbor : Music Library Association
ISBN: N.A
Category: Music
Page: 51
View: 3169
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Nineteenth-Century Chamber Music


Author: Stephen Hefling
Publisher: Routledge
ISBN: 1135887624
Category: Music
Page: 404
View: 6045
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First Published in 2004. Routledge is an imprint of Taylor & Francis, an informa company.

Nineteenth-Century Piano Music


Author: R. Larry Todd
Publisher: Routledge
ISBN: 1136731288
Category: Music
Page: 488
View: 6824
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First Published in 2004. Routledge is an imprint of Taylor & Francis, an informa company.

Nineteenth-century Choral Music


Author: Donna Marie Di Grazia
Publisher: Routledge
ISBN: 0415988527
Category: Music
Page: 521
View: 3772
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Nineteenth-Century Choral Music is an in-depth examination of the rich repertoire of choral music and the cultural phenomenon of choral music making throughout the period. The book is divided into three main sections. The first details the attraction to choral singing and the ways it was linked to different parts of society, and to the role of choral voices in the two principal large-scale genres of the period: the symphony and opera. A second section highlights ten choral-orchestral masterworks that are a central part of the repertoire. The final section presents overview and focus chapters covering composers, repertoire (both small and larger works), and performance life in an historical context from over a dozen regions of the world: Britain and Ireland, the Czech Republic, France, Germany, Hungary, Italy, Latin America, the Philippines, Poland, Russia, Scandinavia and Finland, Spain, and the United States. This diverse collection of essays brings together the work of 25 authors, many of whom have devoted much of their scholarly lives to the composers and music discussed, giving the reader a lively and unique perspective on this significant part of nineteenth-century musical life.

Representing Non-Western Music in Nineteenth-century Britain


Author: Bennett Zon
Publisher: University Rochester Press
ISBN: 9781580462594
Category: History
Page: 344
View: 7209
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Explores the influence of anthropological theories, travel literature, psychology, and other intellectual trends on the perception of non-Western music and elucidates the roots of today's field of ethnomusicology.

Analysis of 18th- and 19th-Century Musical Works in the Classical Tradition


Author: David Beach,Ryan McClelland
Publisher: Routledge
ISBN: 1136329757
Category: Music
Page: 384
View: 7239
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Analysis of 18th- and 19th-Century Musical Works in the Classical Tradition is a textbook for upper-level undergraduate and graduate courses in music analysis. It outlines a process of analyzing works in the Classical tradition by uncovering the construction of a piece of music—the formal, harmonic, rhythmic, and voice-leading organizations—as well as its unique features. It develops an in-depth approach that is applied to works by composers including Haydn, Mozart, Beethoven, Schubert, Schumann, and Brahms. The book begins with foundational chapters in music theory, starting with basic diatonic harmony and progressing rapidly to more advanced topics, such as phrase design, phrase expansion, and chromatic harmony. The second part contains analyses of complete musical works and movements. The text features over 150 musical examples, including numerous complete annotated scores. Suggested assignments at the end of each chapter guide students in their own musical analysis.

Mimomania

Music and Gesture in Nineteenth-Century Opera
Author: Mary Ann Smart
Publisher: Univ of California Press
ISBN: 9780520939875
Category: Music
Page: 245
View: 8398
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When Nietzsche dubbed Richard Wagner "the most enthusiastic mimomaniac" ever to exist, he was objecting to a hollowness he felt in the music, a crowding out of any true dramatic impulse by extravagant poses and constant nervous movements. Mary Ann Smart suspects that Nietzsche may have seen and heard more than he realized. In Mimomania she takes his accusation as an invitation to listen to Wagner's music—and that of several of his near-contemporaries—for the way it serves to intensify the visible and the enacted. As Smart demonstrates, this productive fusion of music and movement often arises when music forsakes the autonomy so prized by the Romantics to function mimetically, underlining the sighs of a Bellini heroine, for instance, or the authoritarian footsteps of a Verdi baritone. Mimomania tracks such effects through readings of operas by Auber, Bellini, Meyerbeer, Verdi, and Wagner. Listening for gestural music, we find resemblance in unexpected places: between the overwrought scenes of supplication in French melodrama of the 1820s and a cluster of late Verdi arias that end with the soprano falling to her knees, or between the mute heroine of Auber’s La Muette de Portici and the solemn, almost theological pantomimic tableaux Wagner builds around characters such as Sieglinde or Kundry. Mimomania shows how attention to gesture suggests a new approach to the representation of gender in this repertoire, replacing aural analogies for voyeurism and objectification with a more specifically musical sense of how music can surround, propel, and animate the body on stage.