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Journal Articles
19th-Century Music. 2016; 393272–289 doi: https://doi.org/10.1525/ncm.2016.39.3.272
Published: 01 March 2016
...Adrian Daub This article examines the musical, literary, and theatrical practice of a group of early German modernists — above all Richard Strauss and Frank Wedekind. All of them turn to dance, its unmediated physicality, and its erotic charge to articulate a response to Richard Wagner's theatrical...
Journal Articles
19th-Century Music. 2012; 362101–121 doi: https://doi.org/10.1525/ncm.2012.36.2.101
Published: 01 November 2012
...Sean M. Parr A vogue for coloratura dance arias began in the 1850s. This emerging genre combined melismatic singing with two hugely popular social dance genres: the bolero and the waltz. Scholars have observed an association between these social dances and a certain euphoric feminine sensuality...
Journal Articles
19th-Century Music. 2019; 43286–98 doi: https://doi.org/10.1525/ncm.2019.43.2.86
Published: 01 November 2019
...Nikita Braguinski Quadrilles were a popular genre of group dancing in the nineteenth century. Existing melodies were normally used to accompany the dancing sessions, but the monotony of their repetition and the cost of a professional piano player capable of improvising were an issue. Thus, the idea...
Journal Articles
19th-Century Music. 2015; 383193–218 doi: https://doi.org/10.1525/ncm.2015.38.3.193
Published: 01 March 2015
... entire hall faces growing pale, heaving bosoms, panting breaths during the pauses and at last roaring applause. Women always seem intoxicated when Liszt plays. With wild joy these Willis of the salon threw them- selves into the dance, and I had trouble to es- cape from the crowd into a side-room. 1 Two...
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. 2016; 402131–158 doi: https://doi.org/10.1525/ncm.2016.40.2.131
Published: 01 November 2016
... conventions of the féerie and challenged its first audience just as much as its immediate predecessor, The Sleeping Beauty . To this day, writers object to the original libretto's uneven distribution of pantomime and dance and its lack of a coherent story, of continuous development, and of a satisfying...
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. 2016; 393223–247 doi: https://doi.org/10.1525/ncm.2016.39.3.223
Published: 01 March 2016
...Halina Goldberg The traditional musicological perspective on Chopin's slow, minor-key mazurkas and mazurka sections—that he modeled these episodes on the kujawiak , a Polish folk dance from Kujawy region — is plagued by contradictory statements. Re-evaluation of source material reveals that the...
Journal Articles
19th-Century Music. 2012; 353238–260 doi: https://doi.org/10.1525/ncm.2012.35.3.238
Published: 01 March 2012
.... Please direct all requests for permission to photocopy or reproduce article content through the University of California Press s Rights and Permissions Web site, at httpwww.ucpressjournals.com/ reprintInfo.asp. DOI: 10.1525/ncm.2012.35.3.238. MICHAEL KLEIN One Dance or Many? The mazurka is a curious...
Journal Articles
19th-Century Music. 2017; 412151–179 doi: https://doi.org/10.1525/ncm.2017.41.2.151
Published: 01 November 2017
... hybrid libretto that depicts a mystical and broadminded Faust. Busoni's music reflects the richness of Faust's mind, combining heterogeneous timbres, forms, and styles. Busoni juxtaposes a Gregorian Credo, Palestrina-style choral settings, a reformation hymn, a Baroque instrumental dance suite, an organ...
Journal Articles
19th-Century Music. 2017; 41175–92 doi: https://doi.org/10.1525/ncm.2017.41.1.75
Published: 01 July 2017
... what it meant to be appropriately masculine, but they also foreshadow the problematic place of danced works in current musicological scholarship. I would like to thank James Davies, Mary Ann Smart, Richard Taruskin, and the reviewers at this journal for their many helpful insights and suggestions...
Journal Articles
19th-Century Music. 2003; 27125–47 doi: https://doi.org/10.1525/ncm.2003.27.1.25
Published: 01 July 2003
... Theatre) was representative of much more than itself. Far from historically inexplicable, it can be read as an extreme manifestation of a strongly defined ballet-concert exchange that characterized the artistic trends of the late 1820s. By taking on abstract and ““musical”” forms, dance was becoming more...
Journal Articles
19th-Century Music. 2015; 39135–55 doi: https://doi.org/10.1525/ncm.2015.39.1.35
Published: 01 July 2015
... adaptation, Nijinsky's ballet creates a context that affords a fresh encounter with Debussy's work in a different medium, resetting our understanding, making new interpretations possible, and thus continuing the music's narrative legacy by varying its appearance. Nijinsky's notation of the dance reflects his...
Journal Articles
19th-Century Music. 2019; 43263–66 doi: https://doi.org/10.1525/ncm.2019.43.2.63
Published: 01 November 2019
... exemplified here by Carl Stumpf s praxis as a violinist (Julia Kursell), playful extrapolations of dance music s numerical undergirding (Nikita Braguinski), philosophical traumas over what the real matter of sound might be (David Trippett), and musical mimicry of medical diagnoses (Peter Pesic) in...
Journal Articles
19th-Century Music. 2019; 43299–120 doi: https://doi.org/10.1525/ncm.2019.43.2.99
Published: 01 November 2019
... only our ideas; . . . ideas resulting according to natural laws, but still never the things themselves. Matter itself, on such terms, becomes a factitious principle and so a con- sistently materialist view is revealed to be nothing but a consistently idealistic view. 59 Perhaps the dance between...
Journal Articles
19th-Century Music. 2019; 423184–224 doi: https://doi.org/10.1525/ncm.2019.42.3.184
Published: 01 April 2019
.... stretches of Kamarinskaia.5 The quintessential example of this technique, commonly referred to as ostinato variation or changing-back- ground variation, is shown in ex. 1. A six-mea- sure dance tune is first sounded solely by the violins and subsequently restated five times without alteration or...
Journal Articles
19th-Century Music. 2019; 423225–248 doi: https://doi.org/10.1525/ncm.2019.42.3.225
Published: 01 April 2019
... prostitutes: Then with bitter passion he [Brahms] recounted his poverty-stricken youth in the wretched slums of Hamburg; how as a shaver of nine, he was already a fairly competent pianist; and how his father would drag him from bed to play for dancing and accom- pany obscene songs in the most depraved dives...
Journal Articles
19th-Century Music. 2019; 423157–183 doi: https://doi.org/10.1525/ncm.2019.42.3.157
Published: 01 April 2019
... sung and danced genres in the movies, especially tunes that had a foxtrot rhythm.19 It was thus likely that radio listeners heard Ständchen at one moment as a film song, and another in a more elevated presentation along other classical Lieder and, even, with spoken poetry in particular programs...
Journal Articles
19th-Century Music. 2018; 42273–95 doi: https://doi.org/10.1525/ncm.2018.42.2.73
Published: 04 December 2018
Journal Articles
19th-Century Music. 2018; 422123–154 doi: https://doi.org/10.1525/ncm.2018.42.2.123
Published: 04 December 2018