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absolute-music

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Journal Articles
19th-Century Music. 2012; 3613–23 doi: https://doi.org/10.1525/ncm.2012.36.1.003
Published: 01 July 2012
...Mark Evan Bonds Eduard Hanslick's Vom Musikalisch-Schönen (1854) is the single most important document in the history of the construct known as absolute music, the idea that music functions as an entirely self-contained and self-referential art. Hanslick deleted—and did not replace—the final...
Journal Articles
19th-Century Music. 1998; 2213–19 doi: https://doi.org/10.2307/746789
Published: 01 July 1998
... Absolute Music, trans. Roger Lustig (Chicago, 1989), p. 119 Dahlhaus 119 The Idea of Absolute Music, trans. Roger Lustig 1989 Dahlhaus traces this phenomenon well into the twentieth century in chap. 8, "On the Three Cultures of Music," pp. 117-27 117 On the Three Cultures of Music 26...
Journal Articles
19th-Century Music. 2018; 42153–70 doi: https://doi.org/10.1525/ncm.2018.42.1.53
Published: 01 July 2018
... aesthetics by way of larger nineteenth-century paradigms such as “absolutemusic or the history of “metaphysics.” This article explores Nietzsche's philosophical writings on music from the 1870s as they reveal the emergence of his critical outlook on Romantic aesthetics and the musical culture of his time...
Journal Articles
19th-Century Music. 2011; 343341–355 doi: https://doi.org/10.1525/ncm.2011.34.3.341
Published: 01 March 2011
...; otherwise external stimuli would reduce the self to an effect as opposed to the cause it believed itself to be. Rather, its song must guarantee the ego s self-sufficiency. In this sense, the Romantic song is absolute music, not simply because it is a music prior to language but because it promises an...
Journal Articles
19th-Century Music. 2012; 362136–145 doi: https://doi.org/10.1525/ncm.2012.36.2.136
Published: 01 November 2012
...; Vinteuil was such a consummate artist that he did not need something material to grab onto. Marcel s sub- limated childhood anxiety that material ob- jects are somehow less profound bubbles up into his aesthetic evaluation of Vinteuil s abso- lute music: the more absolute, the more per- fect music is...
Journal Articles
19th-Century Music. 1984; 73233–250 doi: https://doi.org/10.2307/746379
Published: 03 April 1984
..., p. 2 Finson 2 Liszt of Carnaval 1983 29 Dörffell and Die Grenzboten Dörffell Die Grenzboten Once More "Between Absolute and Program Music": Schumann's Second Symphony* ANTHONY NEWCOMB For recent critics, Schumann's Second Sym- phony has been a refractory text. While the...
Journal Articles
19th-Century Music. 2017; 41295–120 doi: https://doi.org/10.1525/ncm.2017.41.2.95
Published: 01 November 2017
... uncanny moments when music calls attention to itself as the sensuous manifestation of the Absolute. They remark on these passages’ effacing of boundaries and sense of becoming, residues of eighteenth-century uses of the topic in operatic supernatural scenes and as part of a chaos-to-order narrative in...
Journal Articles
19th-Century Music. 2016; 402159–181 doi: https://doi.org/10.1525/ncm.2016.40.2.159
Published: 01 November 2016
... composer-hero lineage of genius as Beethoven and Liszt. Nevertheless, the understanding of Dvořák as absolute Czech musician par excellence ultimately triumphed, weathering the assaults of his program music to survive into the present. This article provides a new understanding of the complexity of Dvořák's...
Journal Articles
19th-Century Music. 2020; 433143–169 doi: https://doi.org/10.1525/ncm.2020.43.3.143
Published: 01 March 2020
... mask became a ubiquitous item of decor for the music room, a devotional object linked with the face of Christ in the popular imagination. This mislabeled “death” mask was cast during Beethoven's lifetime, a stoic visage that put a face to the legend: that is, to the legendary 1868 account by Anselm...
Journal Articles
19th-Century Music. 2020; 433170–193 doi: https://doi.org/10.1525/ncm.2020.43.3.170
Published: 01 March 2020
... became the motto for the Neue Zeitschrift für Musik shortly after Schumann took over the journal as sole editor in 1835. Hoeckner, Programming the Absolute: Nineteenth-Century German Music and the Hermeneutics of the Moment (Princeton: Princeton University Press, 2002), 56. 23Citing letters, Jensen...
Journal Articles
19th-Century Music. 2020; 433194–208 doi: https://doi.org/10.1525/ncm.2020.43.3.194
Published: 01 March 2020
... (Minneapolis: University of Minnesota Press, 1988). 19th Century Music, vol. 43, no. 3, pp. 194 208. ISSN: 0148-2076, electronic ISSN: 1533-8606 © 2020 by The Regents of the University of California. All rights reserved. Please direct all requests for permission to photocopy or reproduce article content...
Journal Articles
19th-Century Music. 2019; 43263–66 doi: https://doi.org/10.1525/ncm.2019.43.2.63
Published: 01 November 2019
.... J. Schelling, SämmtlicheWerke, ed. K. F. A. Schelling, 14 vols. (Stuttgart: Cotta, 1856 61), IV, 76. 13Carl Dahlhaus, The Idea of Absolute Music, trans. Roger Lustig (Chicago: University of Chicago Press, 1989), 23 24. DAVID TRIPPETT Introduction 65 IN OUR NEXT ISSUE (SPRING 2020) ABIGAIL FINE...
Journal Articles
19th-Century Music. 2019; 432121–139 doi: https://doi.org/10.1525/ncm.2019.43.2.121
Published: 01 November 2019
... player before taking up the study of philosophy. I claim that the practice of learning and playing this instrument sheds light on his concept of music, and at the same time signals its relevance for nineteenth-century musical aesthetics. To carve out the role of Stumpf's musicianship, I propose a...
Journal Articles
19th-Century Music. 2019; 43299–120 doi: https://doi.org/10.1525/ncm.2019.43.2.99
Published: 01 November 2019
... not absolute. As he puts it: In short, what I had supposed substances were thinned away into shadow, while everywhere shadows were deepened into substan- ces, continuing to cite Milton: If substance may be call d what shadow seem d, / For each seem d either 19TH CENTURY MUSIC 104 concept of...
Journal Articles
19th-Century Music. 2019; 43117–37 doi: https://doi.org/10.1525/ncm.2019.43.1.17
Published: 01 July 2019
... was unable to set aside the effeminate, and so was forgotten : Masculinity, Its Fears, and the Uses of Falsetto in the Early Nineteenth Century RoBeRT CRoWe 19th Century Music, vol. 43, no. 1, pp. 17 37. ISSN: 0148-2076, e-ISSN: 1533-8606 © 2019 by The Regents of the University of California. All...
Journal Articles
19th-Century Music. 2019; 423184–224 doi: https://doi.org/10.1525/ncm.2019.42.3.184
Published: 01 April 2019
...Kirill Zikanov This article challenges the privileged position that Glinka’s Kamarinskaia (1848) has assumed in accounts of Russian instrumental music. The first half of the article investigates nineteenth-century reception of Glinka’s orchestral works and demonstrates that his Jota Aragonese (1845...
Journal Articles
19th-Century Music. 2018; 422123–154 doi: https://doi.org/10.1525/ncm.2018.42.2.123
Published: 04 December 2018
... long been recognized, if not always celebrated.1 A series of major critical studies has, however, deepened our understanding in recent years of how senti- mentalism works across a range of nineteenth- century literary and visual arts. In music, by comparison, the surface remains but scratched. In all...
Journal Articles
19th-Century Music. 2018; 42296–122 doi: https://doi.org/10.1525/ncm.2018.42.2.96
Published: 04 December 2018
...-known document allows us once again to investigate the challenges of musical creation in a period when all dramatic composers were obliged to position themselves in relation to Wagner, particularly in France where lively debates were taking place between supporters and detractors of the master of...
Journal Articles
19th-Century Music. 2018; 42130–52 doi: https://doi.org/10.1525/ncm.2018.42.1.30
Published: 01 July 2018
... the narrator can be just as unstable in literary texts as in musical ones. The problems of narration that have been imputed to music are problems of narration itself. Regarding the era of Chopin's Ballade, these problems also point to unstable models of subjectivity, which the logic of narrative...
Journal Articles
19th-Century Music. 2005; 283254–275 doi: https://doi.org/10.1525/ncm.2005.28.3.254
Published: 01 March 2005
... who had fallen on hard times (although unlike Parsifal, the count knew his station in life), who ends the story restored to his rightful wealth. Significantly, the me- dium with which he, as a violinist, wins the girl is music, and specifically absolute mu- sic. Thus the success of a knightly...