1-11 of 11 Search Results for

aeolian-harp

Follow your search
Access your saved searches in your account

Would you like to receive an alert when new items match your search?
Close Modal
Sort by
Journal Articles
19th-Century Music. 2014; 382115–144 doi: https://doi.org/10.1525/ncm.2014.38.2.115
Published: 01 November 2014
... instruments, including the glass harmonica, the Aeolian harp, and the Jew's harp, were conflated with ideas about a vibratory nervous system and an ethereal world spirit. Both ideas were essential to the formation of the culturally determined ideal of ethereality in the eighteenth century. Closely linked to...
Journal Articles
19th-Century Music. 2015; 392142–166 doi: https://doi.org/10.1525/ncm.2015.39.2.142
Published: 01 November 2015
... communicate across distance. Works by Berlioz and Georges Kastner reveal how the telegraph fed into conceptions of musical transcendence via Spiritualists and the Aeolian harp. The attendant emphasis on mind over body was extended through the employment by conductors of telegraph technology to control...
Journal Articles
19th-Century Music. 2002; 262155–177 doi: https://doi.org/10.1525/ncm.2002.26.2.155
Published: 01 November 2002
..., literary conventions, and the preoccupations of the Romantic movement. An awareness of this context yields new perspectives on his music, especially those passages that imitate the sound of wind, be it among reeds, trees, or across the strings of an Aeolian harp. ©© Regents of the University of...
Journal Articles
19th-Century Music. 2018; 4213–29 doi: https://doi.org/10.1525/ncm.2018.42.1.3
Published: 01 July 2018
... Chopin s Musical Worlds, 189 202, and Kallberg, Me- chanical Chopin, Common Knowledge 17, no. 2 (2011): 269 82. 619TH CENTURY MUSIC touching on phenomena ranging from the Aeolian harp to the telephonic keypad, this article pursues the notion that the realization of Chopin s music has always been...
Journal Articles
19th-Century Music. 2014; 373211–241 doi: https://doi.org/10.1525/ncm.2014.37.3.211
Published: 01 March 2014
..., including an eighteen-member harp orchestra that Saint-Saëns described as an enchantment for both the eye and the ears. 44 With the grow- ing success of the festival, Castelbon was later granted permission by the War Ministry to em- ploy military orchestras stationed in the re- gion.45 In all, close to...
Journal Articles
19th-Century Music. 2013; 3713–36 doi: https://doi.org/10.1525/ncm.2013.37.1.3
Published: 01 July 2013
... infamous, vulgar, out-of tune [falsch] trash, with a hurdy-gurdy going at the same time! It drives one to distraction, and has unfortunately given me a toothe he. Scottish bagpipes, Swiss cow-horns, Welsh harps, all playing the huntsman s chorus with hideously improvised variations then their beauti- ful...
Journal Articles
19th-Century Music. 2013; 3713–36 doi: https://doi.org/10.1525/ncm.2013.37.3.3
Published: 01 July 2013
... infamous, vulgar, out-of tune [falsch] trash, with a hurdy-gurdy going at the same time! It drives one to distraction, and has unfortunately given me a toothe he. Scottish bagpipes, Swiss cow-horns, Welsh harps, all playing the huntsman s chorus with hideously improvised variations then their beauti- ful...
Journal Articles
19th-Century Music. 2008; 313179–192 doi: https://doi.org/10.1525/ncm.2008.31.3.179
Published: 01 March 2008
... that act as signifiers of Orientalism: Whole tones, Aeolian, Dorian, but especially the Phrygian mode; augmented seconds and fourths (es- pecially with Lydian or Phrygian inflexions); Ara- besques and ornamented lines; elaborate Ah! melismas for voice; sliding or sinuous chromaticism; trills, and...
Journal Articles
19th-Century Music. 2000; 242149–160 doi: https://doi.org/10.2307/746839
Published: 01 October 2000
... hardly to touch the piano; one might have thought an instrument superfluous. There was no suggestion of the mechanical; the flute-like mur- mur of his playing had the ethereal effect of Aeolian harps He was not a pianist of the modern school, but, in his own way, had created a style of his own, a style...
Journal Articles
19th-Century Music. 2001; 25149–74 doi: https://doi.org/10.1525/ncm.2001.25.1.49
Published: 01 July 2001
..., harmonically closed, homophonic, and scored largely for strings, section B1 is modal (G Aeolian), aperiodic, harmonically open, polyphonic, and scored entirely for woodwinds. To some ex- tent, however, the two share the same motivic material: the English horn solo of B1 (possibly an allusion to the alte Weise...
Journal Articles
19th-Century Music. 1998; 213247–273 doi: https://doi.org/10.2307/746824
Published: 01 April 1998
... Intent on capturing the spirit of folk song, Schumann imparts a mild Aeolian flavor to portions of "Die Hochlaindische Wittwe" (Myrthen, op. 25, no. 10), creates a melancholy atmosphere by hovering between minor and relative major keys in "Weit, Weit" (op. 25, no. 20), and introduces snappy, mock...