1-20 of 182 Search Results for

fugue

Follow your search
Access your saved searches in your account

Would you like to receive an alert when new items match your search?
Close Modal
Sort by
Journal Articles
19th-Century Music. 2010; 342186–207 doi: https://doi.org/10.1525/ncm.2010.34.2.186
Published: 01 November 2010
...Keith Chapin Throughout the history of Western music, musicians have almost invariably discussed the keyboard fugue and other extreme forms of polyphony as signs of something that transcends human subjectivity. Despite the persistence of this critical topos, musicians shifted their approach to it...
Journal Articles
19th-Century Music. 1981; 43250–261 doi: https://doi.org/10.2307/746698
Published: 01 April 1981
... Norton Critical Score of the Symphonie fantastique 1971 Georges Favre, "Berlioz et la Fugue," Revue Musicale 233 (1956), 38-44 Favre 38 233 Revue Musicale 1956 Dieter Torkewitz, Harmonisches Denken im Frühwerk Franz Liszts (Munich, 1978), pp. 23-24 Torkewitz 23 Harmonisches Denken im...
Journal Articles
19th-Century Music. 2020; 433143–169 doi: https://doi.org/10.1525/ncm.2020.43.3.143
Published: 01 March 2020
Journal Articles
19th-Century Music. 2001; 252-3155–164 doi: https://doi.org/10.1525/ncm.2001.25.2-3.155
Published: 01 November 2001
...Joseph Kerman A new reading of the finale of Beethoven's String Quartet in C# Minor, op. 131, taking as point of departure the theme in "doublet" form introduced in mm. 22-29. This theme recalls (or retrieves) the fugue subject of the first movement in peculiar ways, analyzed here in perhaps...
Journal Articles
19th-Century Music. 2009; 332110–150 doi: https://doi.org/10.1525/ncm.2009.33.2.110
Published: 01 November 2009
..., which, especially in their most intense moments of subjective engagement, are replete with official topics and gestures: marches, hymns, and fugues. This might explain why the music has so often been heard as simultaneously browbeating and uplifting, authoritarian and liberating. ©© 2009 by the...
Journal Articles
19th-Century Music. 2019; 423184–224 doi: https://doi.org/10.1525/ncm.2019.42.3.184
Published: 01 April 2019
... Nineteenth Century, ed. Ian Bent, vol. 1: Fugue, Form and Style (Cambridge: Cambridge University Press, 1994), 281 82. 32Wilhelm de Lenz, Beethoven et ses trois styles: analyses des sonates de piano (St. Petersburg: Bernard, 1852), vii. Whereas Ulybyshev posited that instrumental compositions should be...
Journal Articles
19th-Century Music. 2005; 291042–048 doi: https://doi.org/10.1525/ncm.2005.29.1.42
Published: 01 July 2005
.... This article investigates these two crises. First, what is actually--if one may dare ask such a thing-- wrong with the finale? That it is all empty mock-fugue and sequence and passage-work? And thus it lacks truth-content? That Schubert is not really composing this finale; it is somehow composing him...
Journal Articles
19th-Century Music. 2017; 412151–179 doi: https://doi.org/10.1525/ncm.2017.41.2.151
Published: 01 November 2017
... Berlioz for his musical wit: I said that humour in music would be unthinkable without metaphorical meaning. Something like this: In Berlioz s Faust, when a fugue is started on the word Amen, the effect is comical because this Amen is sung by intoxicated students in a wine cellar, added to this it has...
Journal Articles
19th-Century Music. 2001; 252-3296–312 doi: https://doi.org/10.1525/ncm.2001.25.2-3.296
Published: 01 November 2001
... Symphony. In a mature work, the Variations and Fugue on a Theme of Bach, op. 81 (1904), for piano, Reger self-consciously places himself in the tradition of two monumental variation sets from the nineteenth century, Beethoven's "Diabelli" and Brahms's Handel Variations. Reger creates a complex temporal...
Journal Articles
19th-Century Music. 2015; 39299–124 doi: https://doi.org/10.1525/ncm.2015.39.2.99
Published: 01 November 2015
Journal Articles
19th-Century Music. 2014; 38179–112 doi: https://doi.org/10.1525/ncm.2014.38.1.079
Published: 01 July 2014
Journal Articles
19th-Century Music. 2013; 372130–158 doi: https://doi.org/10.1525/ncm.2013.37.2.130
Published: 01 November 2013
Journal Articles
19th-Century Music. 2013; 3713–36 doi: https://doi.org/10.1525/ncm.2013.37.1.3
Published: 01 July 2013
Journal Articles
19th-Century Music. 2013; 3713–36 doi: https://doi.org/10.1525/ncm.2013.37.3.3
Published: 01 July 2013
Journal Articles
19th-Century Music. 2012; 36124–45 doi: https://doi.org/10.1525/ncm.2012.36.1.024
Published: 01 July 2012
Journal Articles
19th-Century Music. 2012; 353ncm.2012.35.3.iii doi: https://doi.org/10.1525/ncm.2012.35.3.iii
Published: 01 March 2012
...- jects referred to in the title of this special issue are not melodic subjects, much less fugue sub- jects, but human ones: selves, personas, per- sonifications, figures, phantoms, protagonists, addressers, and addressees. But, no: the issue was not planned on this theme. It just came together as the...
Journal Articles
Journal Articles
19th-Century Music. 2011; 343357 doi: https://doi.org/10.1525/ncm.2011.34.3.357
Published: 01 March 2011
... Cinematic Appropriation of Schumann s Op. 15, No. 7 271 Chapin, Keith Time and the Keyboard Fugue 186 Chua, Daniel K. L. Listening to the Self: The Shawshank Redemption and the Technology of Music 341 Citron, Marcia J. The Operatics of Detachment: Tosca in the James Bond Film Quantum of Solace 316...
Journal Articles
19th-Century Music. 2011; 343302–315 doi: https://doi.org/10.1525/ncm.2011.34.3.302
Published: 01 March 2011
...; Vida T. Johnson and Graham Petrie, The Films of Andrei Tarkovsky: A Visual Fugue (Bloom- ington: Indiana University Press, 1994), pp. 143 45; Sean Martin, Andrei Tarkovsky (Harpenden: Pocket Essentials, 2005), pp. 161 62; and Vladimir Golstein, The Energy of Anxiety, in Tarkovsky, ed. Nathan Dunne...
Journal Articles
19th-Century Music. 2011; 343271–301 doi: https://doi.org/10.1525/ncm.2011.34.3.271
Published: 01 March 2011