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Journal Articles
19th-Century Music. 2016; 40147–55 doi: https://doi.org/10.1525/ncm.2016.40.1.47
Published: 01 July 2016
... University of California Press's Reprints and Permissions web page, http://www.ucpress.edu/journals.php?p=reprints . 2016 body comity Civil War band poetry 47 DANEEN WARDROP Comity and the Civil War Band 19th-Century Music, vol.40, no. 1, pp. 47 55 ISSN: 0148-2076, electronic ISSN 1533-8606...
Journal Articles
19th-Century Music. 2020; 433143–169 doi: https://doi.org/10.1525/ncm.2020.43.3.143
Published: 01 March 2020
...Abigail Fine This article shows how discourse on Beethoven's late works has been underpinned by material fascination with the composer's body, most apparent in the cult veneration of his dying face, which was commodified in the form of his mask. From 1890 to 1920 in Germany and Austria, Beethoven's...
Journal Articles
19th-Century Music. 2005; 292121–141 doi: https://doi.org/10.1525/ncm.2005.29.2.121
Published: 01 November 2005
...Lee Rothfarb This article explores and explains August Halm's and Heinrich Schenker's differing opinions of Brahms and Bruckner based on Halm's notions of corporeality and spirituality, body and soul, in music, and on differences in symphonic style between the two composers. Corporeality manifests...
Journal Articles
19th-Century Music. 2003; 272116–131 doi: https://doi.org/10.1525/ncm.2003.27.2.116
Published: 01 November 2003
...Maribeth Clark This article explores changing attitudes toward actors' bodies at the Paris Opera through the performance history of D. F. E. Auber's opera La Muette de Portici from 1828 to 1879. Because a mime performed the role of Fenella and the chorus played an active role in the mise en scene...
Journal Articles
19th-Century Music. 2009; 33281–109 doi: https://doi.org/10.1525/ncm.2009.33.2.081
Published: 01 November 2009
... is the female body that refuses to die: Maria herself, who rises from the dead to murder her innocent rival. This fleshy specter is musically rendered as a body that is too receptive to emotion, particularly to (imaginary) cries of longing or grief. Significantly, Donizetti's foray into the gothic...
Journal Articles
19th-Century Music. 2018; 4213–29 doi: https://doi.org/10.1525/ncm.2018.42.1.3
Published: 01 July 2018
... rooted in a set of nineteenth-century dichotomies concerning the discrete and the continuous, artifice and nature, instruments and bodies, virtuosity and poetry, machines and voices, and constraints and liberties, all of which Chopin's music was heard both to invoke and to elude. By way of recordings and...
Journal Articles
19th-Century Music. 2018; 413225–251 doi: https://doi.org/10.1525/ncm.2018.41.3.225
Published: 01 March 2018
... Leoncavallo's unpublished autobiographical manuscript, “Appunti.” Contextual sources such as notifications in the press, eyewitness accounts, and a large body of mostly unpublished correspondence now suggest that Leoncavallo cloaked the opera's genesis to protect its legacy. Leoncavallo was twice charged with...
Journal Articles
19th-Century Music. 2020; 433194–208 doi: https://doi.org/10.1525/ncm.2020.43.3.194
Published: 01 March 2020
... throws her trembling body forward; she lets go of herself, she flies; all of her passes into her voice, and it s with her body that she vitally supports the logic of her speech. Her flesh speaks true. She lays herself bare. In fact, she physically materializes what she s thinking; she signifies it with...
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. 2015; 39135–55 doi: https://doi.org/10.1525/ncm.2015.39.1.35
Published: 01 July 2015
... novel conception of corporeal movement for the ballet, in which the planes of the body are dislocated from traditional organic formations in order to face constantly outward and to move in grooves along the stage. The dominating imagery of dislocation resonates with the polymetric climax in the B...
Journal Articles
19th-Century Music. 2019; 43263–66 doi: https://doi.org/10.1525/ncm.2019.43.2.63
Published: 01 November 2019
... natural science during the period, and with it, those of philosophical and scientific materialism that engaged composers, listeners, and their art. To an extent, this approach aligns with a recent impulse within the humanities, one that led Michel Serres to declare that our body- box, strung tight, is...
Journal Articles
19th-Century Music. 2019; 43299–120 doi: https://doi.org/10.1525/ncm.2019.43.2.99
Published: 01 November 2019
... substance, which is radiated from the sound-producing body by an unknown law of diffusion. Alexander Wilford Hall, 1877 On 3 August 1878, Helmholtz gave an hour-long speech at the Frederick William University in Berlin entitled The Facts of Perception. It was his final speech as University Rector (com...
Journal Articles
19th-Century Music. 2019; 43267–85 doi: https://doi.org/10.1525/ncm.2019.43.2.67
Published: 01 November 2019
... madman in world litera- ture, an inescapable example for later accounts of obsession, both literary and medical. Brunetti s symphony has a special place in considering what I have called a sonic turn in medicine, meaning the increased use of sound and music to probe aspects of body and mind that go...
Journal Articles
19th-Century Music. 2019; 432121–139 doi: https://doi.org/10.1525/ncm.2019.43.2.121
Published: 01 November 2019
... through his heterogeneous body of writing. 6 He asked how our minds are set to what we perceive. In the following article, the question will be reversed; I ask whether we can trace music as mindset in the first volume of Stumpf s Tone Psychology. His references to musical practice and, more specifically...
Journal Articles
19th-Century Music. 2019; 43286–98 doi: https://doi.org/10.1525/ncm.2019.43.2.86
Published: 01 November 2019
...- drilles, in which bumbling bodies were prone to crash inelegantly into one another. It is a setting, moreover, in which the Quadrille Melodist might have been used: an upper-middle-class public (indicated in the caricature by the pain- tings on walls and a chandelier) engaging in a public but informal...
Journal Articles
19th-Century Music. 2019; 43117–37 doi: https://doi.org/10.1525/ncm.2019.43.1.17
Published: 01 July 2019
... Sassaroli s screeching laugh and corpulent body,14 Carl Maria von Weber, sitting beside the castrato at the Wagner family dinner table, admired Sassaroli greatly. Not only were they close friends, but Weber also composed the soprano solos in his two festival masses of 1818 and 1819 specifically for...
Journal Articles
19th-Century Music. 2016; 40156–78 doi: https://doi.org/10.1525/ncm.2016.40.1.56
Published: 01 July 2016
... her voice for her own pleasure in defiance of Scarlett O'Hara. The detachment of the spiritual from the everyday experience of African Americans led to a recognition of the artistry of the music and the singers on the concert stage. In film, however, the bodies of black singers are marginalized and...
Journal Articles
19th-Century Music. 2019; 423225–248 doi: https://doi.org/10.1525/ncm.2019.42.3.225
Published: 01 April 2019
... Widmann und Friedrich Nietzsche, in Nietzsche und die Musik, ed. Günther Pöltner and Helmuth Vetter (Frankfurt am Main: Peter Lang, 1997), 57 80. man. 34 Although his vaguely homoerotic interest in the composer s body distinguished him from other Brahms supporters, who lim- ited their praise to his music...
Journal Articles
19th-Century Music. 2019; 423157–183 doi: https://doi.org/10.1525/ncm.2019.42.3.157
Published: 01 April 2019
Journal Articles
19th-Century Music. 2019; 423184–224 doi: https://doi.org/10.1525/ncm.2019.42.3.184
Published: 01 April 2019
... vestnik, 26 April 1859, N. 16; rpt. in Serov, Stat i o muzyke, vol. 4, 82. organic body, and is superior to that of ele- vated, but somewhat less formally adept fig- ures such as Chopin and Schumann. 37 A few pages later, in a discussion of Jota, another organicist analogy accompanied a connection to...