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ballet

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Journal Articles
19th-Century Music. 2012; 362159–171 doi: https://doi.org/10.1525/ncm.2012.36.2.159
Published: 01 November 2012
...Emily Alane Erken This article approaches narrative ballet as a theatrical art created through the intersection of dance, music, and literature. Following the nineteenth century's tendency to separate ‘the Arts,’ scholars, journalists, and often the dancers themselves portray ballet as an art of...
Journal Articles
19th-Century Music. 2010; 333195–231 doi: https://doi.org/10.1525/ncm.2010.33.3.195
Published: 01 March 2010
... Paris Opééra was based as much on ballet-pantomime as on opera, and until 1830 both genres would share the stage in a single evening. Although the aesthetic impulses behind grand opééra made programming new opera and ballet henceforth impossible, the state required the Opééra to maintain the balance...
Journal Articles
19th-Century Music. 2015; 39135–55 doi: https://doi.org/10.1525/ncm.2015.39.1.35
Published: 01 July 2015
... work has focused primarily on what makes the ballet and music distinct instead of how the ballet might transform our reading of the music; but the Faune ballet is best identified as an adaptation of Debussy's music in which the music is made to tell Nijinsky's version of Debussy's story. As an...
Journal Articles
19th-Century Music. 2016; 393272–289 doi: https://doi.org/10.1525/ncm.2016.39.3.272
Published: 01 March 2016
... project, specifically the concept of the total work of art. Although Wagner had included a few ballet numbers in his mature operas, he treated the form (and the number as such) as a threat to a specifically operatic plenitude of sensuous meaning—dance, he feared, threatened to dance music and drama right...
Journal Articles
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...
Journal Articles
19th-Century Music. 2009; 3313–24 doi: https://doi.org/10.1525/ncm.2009.33.1.003
Published: 01 July 2009
...Inge Van Rij Relatively early in the composition of Les Troyens Berlioz declared his intention to include a " pas d'alméées with the music and dancing exactly like the Bayadèères' ballet which I saw here sixteen or seventeen years ago." Despite Berlioz's claim that he had "gone into it" and "there...
Journal Articles
19th-Century Music. 2017; 41175–92 doi: https://doi.org/10.1525/ncm.2017.41.1.75
Published: 01 July 2017
...Rachana Vajjhala Pierre Boulez, in his characteristic oracular fashion, once declared the ballet Jeux to be “a sort of Afternoon of a Faune in sports clothes.” In this article, I contend that his pithy observation—characterizing the difference between Faune and Jeux in sartorial terms—has diverted...
Journal Articles
19th-Century Music. 2013; 363248–263 doi: https://doi.org/10.1525/ncm.2013.36.3.248
Published: 01 March 2013
Journal Articles
19th-Century Music. 2010; 342168–185 doi: https://doi.org/10.1525/ncm.2010.34.2.168
Published: 01 November 2010
... of nineteenth-century narrativity that focus on history and psychology as well as on music (and dance) are: Jacques Barzun, Darwin, Marx, Wagner: Critique of a Heritage (Garden City, N.Y.: Doubleday, 1958); and Susan Foster, Choreography and Narrative: Ballet s Staging of Story and Desire...
Journal Articles
19th-Century Music. 2004; 28150–76 doi: https://doi.org/10.1525/ncm.2004.28.1.50
Published: 01 July 2004
... Fokine's 1907 scenario. These materials are scattered across the globe, preserved in libraries and museums in Russia, Sweden, France, England, and the United States. They compose less a ballet, even the archival detritus of a ballet, than a haunting absence. This article assembles all of these materials in...
Journal Articles
19th-Century Music. 2003; 27125–47 doi: https://doi.org/10.1525/ncm.2003.27.1.25
Published: 01 July 2003
... as a ballet-pantomime has not gone down well in the literature. As the twentieth century unfurled, the moment steadily receded into obscurity, losing all cultural and contextual meaning to the point where it is now remembered (if at all) as a lesson in the rogue potential of performance——a pockmark...
Journal Articles
19th-Century Music. 2020; 433194–208 doi: https://doi.org/10.1525/ncm.2020.43.3.194
Published: 01 March 2020
... synes- thetic outline of her gyrating body. Voice, body, and dance are imbricated and exploited in order to explode the boundaries of meta- physical oppositions. McClary suggests that Bizet does not have Carmen dance merely to gratify the ballet-loving Parisian public: her swinging hips which are alien...
Journal Articles
19th-Century Music. 2019; 43138–60 doi: https://doi.org/10.1525/ncm.2019.43.1.38
Published: 01 July 2019
... Ballet Criticism in France from the Revolution to 1848 ed., Roger Parker and Mary Ann Smart (New York: Oxford University Press, 2001), 4. 6The volume Reading Critics Reading, in particular, is concerned with identifying the analytical problems associ- ated with modern intellectual favoritism. See Mark...
Journal Articles
19th-Century Music. 2018; 42296–122 doi: https://doi.org/10.1525/ncm.2018.42.2.96
Published: 04 December 2018
... appraisal comes up in his correspondence, where he confides to Charles Lecocq, again regarding Le Cid: I will go see this work because of the orchestration of the ballet, which must be ravishing but this has nothing to do with the subject of Art. 34 Likewise, at the beginning of 1889, he showed his...
Journal Articles
19th-Century Music. 2017; 412121–150 doi: https://doi.org/10.1525/ncm.2017.41.2.121
Published: 01 November 2017
Journal Articles
19th-Century Music. 2017; 4113–30 doi: https://doi.org/10.1525/ncm.2017.41.1.3
Published: 01 July 2017
Journal Articles
19th-Century Music. 2017; 403239–256 doi: https://doi.org/10.1525/ncm.2017.40.3.239
Published: 01 March 2017
... consider three sets of Fêtes galantes, each writ- ten approximately a decade apart 1882, 1891 92, and 1904. Although there were no more song settings of Verlaine after 1904, there were unrealized plans in later years (1913 15) for an opéra-ballet titled Fêtes galantes,19 and sugges- tions that the...
Journal Articles
19th-Century Music. 2017; 403283–300 doi: https://doi.org/10.1525/ncm.2017.40.3.283
Published: 01 March 2017
... ends in his discussion of Strauss s Rameau adapta- tions in The Ballet Collaborations of Richard Strauss (Rochester: Rochester University Press, 2009), 118. Adorno s Kraus-reliant essay Die Wunde Heine ( Heine the Wound, 1956) could also be read fruitfully in tandem with his criticism of Strauss...
Journal Articles
19th-Century Music. 2016; 40156–78 doi: https://doi.org/10.1525/ncm.2016.40.1.56
Published: 01 July 2016
... history of repre- senting time and place and the people in them, sometimes invidiously. Over the centuries, the- ater, opera, and ballet built up a catalog of othering stereotypes that still work on us today through repetition in film, television, and video games. Film and television seem particularly...
Journal Articles
19th-Century Music. 2016; 393223–247 doi: https://doi.org/10.1525/ncm.2016.39.3.223
Published: 01 March 2016
..., more often, newly composed folkloristic music.38 The re- sult was an entertaining and impressive spec- tacle, which resembled chorus line perfor- mances of Broadway musicals and the extrava- ganzas of the Moiseyev Ballet, offering a re- fined but entirely artificial image of the Polish folk. A drawing...