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calculating-eye

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Journal Articles
19th-Century Music. 2015; 39287–98 doi: https://doi.org/10.1525/ncm.2015.39.2.87
Published: 01 November 2015
... number of such projects converged on Woolwich, an experimental space where new scientific and musical regimes emerged. The “calculating eye” secured authority by presenting science as objective and freed of emotions, but music's ability to evoke emotions was powerful. Thus, while music was a resource for...
Journal Articles
19th-Century Music. 2020; 433194–208 doi: https://doi.org/10.1525/ncm.2020.43.3.194
Published: 01 March 2020
... wholly subjective in a way that contends with authorial agency and the narratological apparatuses that seek to rele- gate her to the condition of a mere object. The femme fatale, wielding her body her voice, her hips, her eyes and reclaiming or essential- izing its synecdochic portrayal, becomes her own...
Journal Articles
19th-Century Music. 2019; 43286–98 doi: https://doi.org/10.1525/ncm.2019.43.2.86
Published: 01 November 2019
... melodic line that connects to the first note of the next card. At the same time the artic- ulation of the melody is varied by changing the grouping of slurred and staccato notes, often by a process of reversal. Perhaps with an eye to marketability, the gen- erated music is simple enough to be suitable for...
Journal Articles
19th-Century Music. 2019; 43299–120 doi: https://doi.org/10.1525/ncm.2019.43.2.99
Published: 01 November 2019
... s Don Giovanni, he asked to what extentMozart s opera remained tonally unified when performed in just intona- tion. By translating intervals into numerical values and calculating the accumulation of pitch discrepancies arising through tuning, he posited corresponding adjustments during modulations...
Journal Articles
19th-Century Music. 2019; 43117–37 doi: https://doi.org/10.1525/ncm.2019.43.1.17
Published: 01 July 2019
..., and eyes and gesture . . . the truest and at the same time, the most respectful copy of Madame [Gentile] Borgondio. . . . With the purest, most effortless fal- setto voice and with a softness and tenderness, with a [vocal] method worthy of the best trained Italian artists, he performed the entire role...
Journal Articles
19th-Century Music. 2018; 42130–52 doi: https://doi.org/10.1525/ncm.2018.42.1.30
Published: 01 July 2018
... teeth in Bernice, or a vulture-eye in The Tell-Tale Heart, or a black bird in The Raven, Poe s antagonists are undone by the objects around them; their subjectivity is fractured by the things that they uncannily resemble.13 The poet s experience with the raven is a prolonged moment of Lacanian...
Journal Articles
19th-Century Music. 2018; 4213–29 doi: https://doi.org/10.1525/ncm.2018.42.1.3
Published: 01 July 2018
... Osostowicz and Howat (Cambridge: Cambridge University Press, 1986), 55. 419TH CENTURY MUSIC of each measure.3 In this particular guise, Chopin s waltz prompted Rubinstein to unveil (or fabricate) a hidden relationship by accentu- ating notes whose canonic candidature might well elude the naked eye. Since...
Journal Articles
19th-Century Music. 2017; 412121–150 doi: https://doi.org/10.1525/ncm.2017.41.2.121
Published: 01 November 2017
... Recording Plate 1: Michel Eisenmenger, Traité sur l art graphique et la mécanique appliqués à la musique, 81. The first column lists note values from whole notes (top) to thirty-second notes (bottom). The second column calculates the number of notes of a given value that could be written in a minute, while...
Journal Articles
19th-Century Music. 2017; 412151–179 doi: https://doi.org/10.1525/ncm.2017.41.2.151
Published: 01 November 2017
... richness of Faust s mind, combining heteroge- A History of Man and His Desire : Ferruccio Busoni and Faust A history of man and his desire This night to sound of music has been told The tragedy of Faust did inspire The tale of doom before your eyes unroll d. So many metals cast into the fire, Does my...
Journal Articles
19th-Century Music. 2017; 41175–92 doi: https://doi.org/10.1525/ncm.2017.41.1.75
Published: 01 July 2017
... Darmstadt analysts and historians alike, was fated. So Boulez s statement from the begin- ning of this article needs to be revised. Jeux is not Faune in sports clothes. Like the fabular emperor, Jeux in Darmstadt eyes had no clothes at all. It has left no material trace, according to avant-garde theorists...
Journal Articles
19th-Century Music. 2016; 393272–289 doi: https://doi.org/10.1525/ncm.2016.39.3.272
Published: 01 March 2016
... sound that, as Lawrence Kramer has put it, choreograph[s] the eye. 30 Even before Salomé dons her seven veils and begins to strip them away one by one, Salomé is a drama of spectatorship. Everyone at court is staring. The tetrarch Herod lusts after Salomé, the manservant Narraboth gawks at her too, so...
Journal Articles
19th-Century Music. 2015; 39299–124 doi: https://doi.org/10.1525/ncm.2015.39.2.99
Published: 01 November 2015
... the eyes by the temple, also became a byword for musical talent in all its manifestations. It was loosely defined by Combe as the sense of melody and harmony arising from it. 17 A London periodical defined it more closely as a sense of relative pitch: perceiving the pitch of the several sounds of...
Journal Articles
19th-Century Music. 2015; 39135–55 doi: https://doi.org/10.1525/ncm.2015.39.1.35
Published: 01 July 2015
... Nijinsky s scenario. Nijinsky s Body He stretches, leans on his elbow, walks in a crouch, straightens up, advances and retreats, his movements sometimes slow, sometimes broken, nervous, angu- lar, eyes flickering and arms stretched out. He opens his hands, keeping the fingers together; his head turns in...
Journal Articles
19th-Century Music. 2015; 383272–301 doi: https://doi.org/10.1525/ncm.2015.38.3.272
Published: 01 March 2015
... conscious Nietzschean strategy calculated to avoid or ironize metaphysical tropes. Following the critique of the concept of “secularization” by Jürgen Habermas and Charles Taylor, however, I wish to complicate this newer interpretation by arguing that Strauss's operas do not represent the point in music...
Journal Articles
19th-Century Music. 2015; 383219–242 doi: https://doi.org/10.1525/ncm.2015.38.3.219
Published: 01 March 2015
... in the same manner. 26 Their judgments suggest that the Germans preferred a delivery that was less calculated and less uniform than the French. This presumption is further supported from the French point of view. There are, among many others, two professional French men of the theater whose critical...
Journal Articles
19th-Century Music. 2014; 3813–29 doi: https://doi.org/10.1525/ncm.2014.38.1.003
Published: 01 July 2014
..., non pei delirii di un anima angosciata, non per le grida della disperazione (she has too much grace for Alaide, too much light in her beautiful eyes, too much charm in her smile for the mysterious Stranger. Her flowing, sweet and bloomy voice is made for joy, for comforting love, for afflictions...
Journal Articles
19th-Century Music. 2013; 372130–158 doi: https://doi.org/10.1525/ncm.2013.37.2.130
Published: 01 November 2013
... translations by Baudelaire, who some- times abandoned clarity for literalism. Baudelaire s view 141 JESSIE FILLERUP Ravel and Robert-Houdin unifying device and a poetic end point gener- ated by the artist s craft and calculation. With The Raven, as with any of his poems, Poe notes that the effect he wishes...
Journal Articles
19th-Century Music. 2013; 37156–88 doi: https://doi.org/10.1525/ncm.2013.37.3.56
Published: 01 July 2013
.... Prince s self-consciousness sustains the theatrical moment as in his mind s eye he pictures himself entering a roomful of people who watch his every move, like an actor walking onto a stage. Eager to project a dandi- fied image, he wonders whether he executes the gesture of throwing his gloves on the...
Journal Articles
19th-Century Music. 2013; 37156–88 doi: https://doi.org/10.1525/ncm.2013.37.1.56
Published: 01 July 2013
.... Prince s self-consciousness sustains the theatrical moment as in his mind s eye he pictures himself entering a roomful of people who watch his every move, like an actor walking onto a stage. Eager to project a dandi- fied image, he wonders whether he executes the gesture of throwing his gloves on the...
Journal Articles
19th-Century Music. 2013; 37137–55 doi: https://doi.org/10.1525/ncm.2013.37.1.37
Published: 01 July 2013
... Muette was staged in these circumstances as an experimental attempt to remain competitive. According to Jane Fulcher, La Muette s unorthodox presentation of his- tory was not just a populist move but a care- fully calculated political and economic strat- egy on behalf of the Opéra.23 Throughout The...