Search Results for aesthetics
1-20 of 617 Search Results for
19th-Century Music. 2016; 402131–158 doi: https://doi.org/10.1525/ncm.2016.40.2.131
Published: 01 November 2016
...Damien Mahiet Critical response to Tchaikovsky's Casse-Noisette ( The Nutcracker ), the ballet-féerie premiered in December 1892 in St. Petersburg, has historically been mixed. An aesthetic mongrel, the original production joined the highbrow expectations of Romantic ballet with the popular...
19th-Century Music. 2016; 40120–46 doi: https://doi.org/10.1525/ncm.2016.40.1.20
Published: 01 July 2016
... resonantly voiced Raymond Massey, for Civil War Imagery, Song, and Poetics: The Aesthetics of Sentiment, Grief, and Remembrance 1Bruce Catton, This Hallowed Ground: The Story of the Union Side of the Civil War (Garden City, NY: Doubleday, 1956); and A Stillness at Appomattox (Garden City, NY: Doubleday, 1957...
19th-Century Music. 2012; 3613–23 doi: https://doi.org/10.1525/ncm.2012.36.1.003
Published: 01 July 2012
... Musikalisch-Schönen (On the Musically Beautiful), first published in 1854, remains the single most important docu- ment in the history of the aesthetic construct broadly known as absolute music, the idea that music is an essentially self-contained and self-referential art. Hanslick argues that music s...
19th-Century Music. 2009; 332110–150 doi: https://doi.org/10.1525/ncm.2009.33.2.110
Published: 01 November 2009
...Nicholas Mathew This article argues for a number of hitherto unrecognized continuities——stylistic, aesthetic, and ideological——between Beethoven's marginalized ““political music”” from the period of the Congress of Vienna and his canonical symphonic works. It rereads his œœuvre against the...
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 “absolute” music 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...
19th-Century Music. 2014; 373211–241 doi: https://doi.org/10.1525/ncm.2014.37.3.211
Published: 01 March 2014
... and regional identity and was criticized from the outset for not sufficiently adopting a regionalist mandate of highlighting local history, culture, and traditions. Further tensions were generated as a result of the contrasting expectations of elite and popular audiences and the concomitant aesthetic...
19th-Century Music. 1996; 193252–262 doi: https://doi.org/10.2307/746221
Published: 01 April 1996
... and Alfred Clayton (Cambridge, 1987), pp. 81-93 Schoenberg's Aesthetic Theology 81 Schoenberg and the New Music: Essays by Carl Dahlhaus 1987 6 Die Idee der absoluten Musik (Kassel, 1978) Die Idee der absoluten Musik 1978 The Idea of Absolute Music, trans. Roger Lustig (Chicago, 1989) The...
19th-Century Music. 2019; 423157–183 doi: https://doi.org/10.1525/ncm.2019.42.3.157
Published: 01 April 2019
... amateurs who made up the broad marketplace for the genre during Schubert’s lifetime and throughout the nineteenth century. Studying this group of performers with any level of aesthetic particularity is, however, difficult: documentary evidence of particular singers in this group in the nineteenth century...
19th-Century Music. 1990; 133193–206 doi: https://doi.org/10.2307/746447
Published: 01 April 1990
...Mary Sue Morrow Copyright 1990 The Regents of the University of California [Footnotes] 1 Robin Wallace, Beethoven's Critics: Aes- thetic Dilemmas and Resolutions during the Composer's Lifetime (Cambridge, 1986) Wallace Beethoven's Critics: Aesthetic Dilemmas and Resolutions during...
19th-Century Music. 2012; 362122–135 doi: https://doi.org/10.1525/ncm.2012.36.2.122
Published: 01 November 2012
... Douglas Sirk as paradigmatic of the sensibility or aesthetic of Hollywood melo- dramas of the fifties and early sixties: Almost throughout the picture I used deep-focus lenses, which have the effect of giving a harshness to the objects and a kind of enamelled, hard sur- face to the colours. I wanted this...
19th-Century Music. 1989; 132168–178 doi: https://doi.org/10.2307/746654
Published: 01 October 1989
...Leon Botstein Copyright 1989 The Regents of the University of California Music in European Thought, 1851-1912 Bujić Bojan Musical Aesthetics: A Historical Reader. Volume II. The Nineteenth Century Lippman Edward A. Contemplating Music. Source Readings in the Aesthetics...
19th-Century Music. 1988; 1213–22 doi: https://doi.org/10.2307/746606
Published: 01 July 1988
... Wagner, the Overture, and the Aesthetics of Musical Form THOMAS S. GREY In his open letter of 1857 on Liszt's symphonic poems, Wagner commented on the paradox that, as a musical progressive, he had been "thrown into the same pot" with composers of program music. The public grouped him with Berlioz and...
19th-Century Music. 1983; 7163–70 doi: https://doi.org/10.2307/746547
Published: 01 July 1983
... Edvard Munch: The Scream (New York, 1972) Edvard Munch: The Scream 1972 Edvard Munch: Lithographs, Etchings, Woodcuts (1969), p. XI Munch XI Lithographs, Etchings, Woodcuts 1969 Wagner and the Aesthetics of the Scream PHILIP FRIEDHEIM In almost all of Wagner's mature operas, situa- tions...
19th-Century Music. 2011; 343302–315 doi: https://doi.org/10.1525/ncm.2011.34.3.302
Published: 01 March 2011
... expressing or enacting a central tenet of the utopian aesthetics of early Romanticism: the idea of transcendence. © 2011 by the Regents of the University of California 2011 Tarkovsky Stalker Beethoven structural trope Romanticism 302 19TH CENTURY MUSIC 19th-Century Music, vol. 34, no. 3, pp...
19th-Century Music. 2010; 342186–207 doi: https://doi.org/10.1525/ncm.2010.34.2.186
Published: 01 November 2010
... in a new metric context. Because the technical and aesthetic point of the fugue is harmony, the point of the subject per arsin et thesin is to show the ability of the musician to move the theme without upsetting the pulse. The cultivation of such harmony in various forms is another feature of the...
19th-Century Music. 2010; 3413–38 doi: https://doi.org/10.1525/ncm.2010.34.1.003
Published: 01 July 2010
... music s ascent to lofty, idealized heights. The so-called rise of instrumental music has been understood as a dramatic aesthetic shift that occurred around 1800 whereby purely instrumental music suddenly began to be praised for many of the reasons it had formerly been condemned. Since Dahlhaus s...
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...
19th-Century Music. 2017; 41148–74 doi: https://doi.org/10.1525/ncm.2017.41.1.48
Published: 01 July 2017
...Mark Seto Ernest Chausson made two major aesthetic decisions in the mid-1880s: he resolved to “dewagnerize” himself and declared that he would no longer write program music. These developments were coeval with Chausson's revisions of Viviane (composed 1882–83, revised 1887 and 1893), a symphonic...
19th-Century Music. 2008; 32152–93 doi: https://doi.org/10.1525/ncm.2008.32.1.052
Published: 01 July 2008
... concept that separates Liszt hierarchically into pianist and composer. In contrast to con- temporaries like Felix Mendelssohn or Robert Schumann, Liszt in his virtuosity continually challenges the aesthetic boundaries of compo- sition, improvisation, and performance. Such categories imply a distinction...
19th-Century Music. 2008; 313228–244 doi: https://doi.org/10.1525/ncm.2008.31.3.228
Published: 01 March 2008
... stress that marrying empiricist aesthetics to traditional operatic values was a highly unnatural process. I suggest that Italian opera in the 1890s was pushed to a sort of crisis point, and that the very act of singing could no longer be taken as self-evident. Composers developed a set of new techniques...