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authorial-intentions

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Journal Articles
19th-Century Music. 2014; 3813–29 doi: https://doi.org/10.1525/ncm.2014.38.1.003
Published: 01 July 2014
... Tadolini in 1842, I ultimately suggest that this case study recalibrates our understanding of the relationship between authorial intentions and local performing traditions. © 2014 by the Regents of the University of California 2014 Donizetti Tadolini Vienna vocal performance practice authorial...
Journal Articles
19th-Century Music. 2020; 433170–193 doi: https://doi.org/10.1525/ncm.2020.43.3.170
Published: 01 March 2020
... apparently unreliable narra- tor is more often than not reliably unreliable. . . . We know that the narrator is being unreliable because the author is alerting us . . . to that nar- rator s unreliability. A process of authorial flag- ging is going on; the novel teaches us how to read its narrator. 5 Wood s...
Journal Articles
19th-Century Music. 2020; 433194–208 doi: https://doi.org/10.1525/ncm.2020.43.3.194
Published: 01 March 2020
... imagined. To say rhetoric of seduction is to discuss the language of the body a textualized, mate- rial body, a body that speaks itself into existence, a body that penetrates its listening objects with its voice. It is my intention, by focusing on femmes fatales episodes of seduction, to reeval- uate...
Journal Articles
19th-Century Music. 2018; 422123–154 doi: https://doi.org/10.1525/ncm.2018.42.2.123
Published: 04 December 2018
... date on his tombstone has emerged.) He widely became associated with a practice and aesthetics of high seriousness, even earnestness, in which the performer s duty was the authori- tative execution of the music of the great mas- ters (Bach, Beethoven, Mendelssohn, Schumann, Brahms) through which the...
Journal Articles
19th-Century Music. 2017; 403257–282 doi: https://doi.org/10.1525/ncm.2017.40.3.257
Published: 01 March 2017
... art music, these songs explore the possibility of achieving a self-consciously collective authorial subjectivity, often reaching toward a musical intersubjectivity wherein boundaries between self and other—and between composer, performer, and listener—are collapsed. In the recognition of such...
Journal Articles
19th-Century Music. 2017; 403201–222 doi: https://doi.org/10.1525/ncm.2017.40.3.201
Published: 01 March 2017
... (1985): 236 37, or Jon W. Finson, The Intentional Tourist: Ro- mantic Irony in the Eichendorff Liederkreis of Robert Schumann, in Schumann and His World, ed. R. Larry Todd (Princeton: Princeton University Press, 1994), 160. More implicitly, the idea that there is a single protagonist behind the moods...
Journal Articles
19th-Century Music. 2016; 402159–181 doi: https://doi.org/10.1525/ncm.2016.40.2.159
Published: 01 November 2016
... besides Dvor ák knew, the character marking at the beginning of the sketches for Písen bohaty´rská is Allegro con brio, the same as the opening character mark- ing of the first movement of Beethoven s Eroica. Whether this was intentional is unknowable, but it was eventually changed to Allegro con fuoco...
Journal Articles
19th-Century Music. 2015; 39135–55 doi: https://doi.org/10.1525/ncm.2015.39.1.35
Published: 01 July 2015
... interpretation that elucidates Debussy s musical (authorial) intentions; instead, Nijinsky s ballet is best identified as an adap- tation, which activates a level of meaning un- intended by previous authors through the act of recontextualization.14 The ballet employs every note of Debussy s original piece, and...
Journal Articles
19th-Century Music. 2015; 383243–271 doi: https://doi.org/10.1525/ncm.2015.38.3.243
Published: 01 March 2015
...- provisatory style seem to be at odds with Joachim s well-established reputation as an un- compromising Werktreue performer who was respectful of composers presumed intentions almost to the point of self-effacement. An im- provisatory performance aesthetic allows for the illusion of authorial agency on the...
Journal Articles
19th-Century Music. 2011; 35134–71 doi: https://doi.org/10.1525/ncm.2011.35.1.34
Published: 01 July 2011
Journal Articles
19th-Century Music. 2011; 343271–301 doi: https://doi.org/10.1525/ncm.2011.34.3.271
Published: 01 March 2011
... Misterioso composed by Luz and two pieces adapted from Shumann s [sic] Childhood Scenes, which are in fact versions of Knecht Ruprecht and Volksliedchen from Album für die Jugend, op. 68 (correct attribution and fidelity to authorial ownership were low priorities). As Max Winkler, manager of the...
Journal Articles
19th-Century Music. 2011; 343237–270 doi: https://doi.org/10.1525/ncm.2011.34.3.237
Published: 01 March 2011
Journal Articles
19th-Century Music. 2009; 323235–283 doi: https://doi.org/10.1525/ncm.2009.32.3.235
Published: 01 March 2009
Journal Articles
19th-Century Music. 2009; 323211–234 doi: https://doi.org/10.1525/ncm.2009.32.3.211
Published: 01 March 2009
...- ness of their organization veils an authorial narrative voice in the scribe.26 To support her claim, Huot examines the reasons why scribes chose to organize their manuscripts, whether as a sequence of didactic texts or as narratives, in the order they did. She detects a thematic unity to MS Bibl...
Journal Articles
19th-Century Music. 2008; 32152–93 doi: https://doi.org/10.1525/ncm.2008.32.1.052
Published: 01 July 2008
... his intentions and their execution in his letters. But principally speaking, this consciousness can be nothing other than an artistic consciousness, one that sets out from contemplation [Anschauung] and leads to action [Tat].36 Though he later idealized this progression into a completely integral...
Journal Articles
19th-Century Music. 2008; 32194–128 doi: https://doi.org/10.1525/ncm.2008.32.1.094
Published: 01 July 2008
... stylization, a styl- ization taken to the point of parody, despite the artistic intent of the author. 12 Bakhtin s de- scription of literary evolution can thus be adopted to reveal important shifts in lyric self- projection that were taking place exactly when Tchaikovsky was writing his songs and that shaped...
Journal Articles
19th-Century Music. 2008; 3213–25 doi: https://doi.org/10.1525/ncm.2008.32.1.003
Published: 01 July 2008
Journal Articles
19th-Century Music. 2007; 311028–052 doi: https://doi.org/10.1525/ncm.2007.31.1.028
Published: 01 July 2007
... Watteau s intent had been simply to allude to myth, the human figures in the work subvert the eigh- teenth-century convention of painting mytho- logical characters as if they were sculptures alabaster monuments from a glorious past. The figures in Le Pèlerinage are lithe and alive; they have none of that...
Journal Articles
19th-Century Music. 2006; 302097–132 doi: https://doi.org/10.1525/ncm.2006.30.2.097
Published: 01 November 2006
Journal Articles
19th-Century Music. 2006; 301065–080 doi: https://doi.org/10.1525/ncm.2006.30.1.065
Published: 01 July 2006
... interpre- tive conviction is more likely to persuade an audience than interpretive coercion. Hence I acknowledge that demonstrations of structural coherence, invocations of authorial intentions, or connections to historical and social contexts have no greater (and also no lesser) claim on communicating...