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futurism

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Journal Articles
19th-Century Music. 2013; 372113–129 doi: https://doi.org/10.1525/ncm.2013.37.2.113
Published: 01 November 2013
... Milan as a crucial location for the noises of early Italian Futurism. Not only was this city the Futurists' base, but it also inflected their representations of noise both through its symbolic architectural sites (above all the Galleria Vittorio Emanuele) and the buzz of its human multitudes. In this...
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. 2019; 432121–139 doi: https://doi.org/10.1525/ncm.2019.43.2.121
Published: 01 November 2019
Journal Articles
19th-Century Music. 2019; 43299–120 doi: https://doi.org/10.1525/ncm.2019.43.2.99
Published: 01 November 2019
... organi- zation of sound that differentiated musical com- position from the disordered sounds of nature; second, to the specifying factor in auditory sensa- tions by which music could depict, or otherwise objectify emotional states (in the spirit of Franz Brendel s future neudeutsche Schule, and not...
Journal Articles
19th-Century Music. 2010; 333232–246 doi: https://doi.org/10.1525/ncm.2010.33.3.232
Published: 01 March 2010
... criticism has not been examined in detail. Yet ideas about Gluck's achievements provided the framework for how critics, and presumably their readers, understood the ““music of the future.”” A close examination of critical reception of the 1861 productions of Tannhääuser and Alceste sheds new light on...
Journal Articles
19th-Century Music. 2017; 403283–300 doi: https://doi.org/10.1525/ncm.2017.40.3.283
Published: 01 March 2017
... the song. Past and present are of less concern than being able to move fluidly between past, present, and future. Such movement opens up the possibility of a less rigid interpretation of Strauss's historical standing that allows his songs to be considered as other than simply regressive. The...
Journal Articles
19th-Century Music. 2019; 43138–60 doi: https://doi.org/10.1525/ncm.2019.43.1.38
Published: 01 July 2019
... by others. A given review in a pub- lishing house journal for a piece published externally might be part of an overture toward future contracts, act as a retaliation against once-promised business, or serve some other extra-aesthetic function. In retrospect, the fact that the Gazette (and its later...
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; 423225–248 doi: https://doi.org/10.1525/ncm.2019.42.3.225
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
... starting in 1833, included a romantic conception of the Russian folk as a bearer of qualities essential for the future of the nation, and this perspec- tive was widely reflected in the arts and press of the time.30 When Alexander II succeeded Nikolai I on the throne, he discarded this doc- trine and...
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
... (plate 1), she wrote, will preserve 130 19TH CENTURY MUSIC for future generations his aspect on these evenings. In imagination one can see him stand- ing, bow in hand and chin upon the violin, in that room, with its wealth and colour from floor to ceiling, the art upon its walls answering so nobly to...
Journal Articles
19th-Century Music. 2018; 42130–52 doi: https://doi.org/10.1525/ncm.2018.42.1.30
Published: 01 July 2018
Journal Articles
19th-Century Music. 2018; 42153–70 doi: https://doi.org/10.1525/ncm.2018.42.1.53
Published: 01 July 2018
... is worth remembering, however, that Nietzsche did not base his claims for the revival of Ger- man society on his actual experience of Wagner s operas in production, but expressed his hopes for a rebirth of tragedy in anticipa- tion of a future realization. Indeed, Nietzsche was no different from...
Journal Articles
19th-Century Music. 2018; 4213–29 doi: https://doi.org/10.1525/ncm.2018.42.1.3
Published: 01 July 2018
... autonomous opera- tion: in registering the atmospheric present and predicting its future, they were heard to envoice nature.45 At the same time, like the cultivated technology of the piano, they served as analo- gies for what Heine bemoaned as the audible instrumentalization of human beings, whether its...
Journal Articles
19th-Century Music. 2018; 413183–205 doi: https://doi.org/10.1525/ncm.2018.41.3.183
Published: 01 March 2018
... monuments were usually established in the cities of birth or long-time residence of famous composers, Prague was the place where Mozart s music was celebrated earlier than else- where and therefore represented the logical cen- ter for the future cultivation of Mozart s legacy.37 Müller also explained that...
Journal Articles
19th-Century Music. 2018; 413225–251 doi: https://doi.org/10.1525/ncm.2018.41.3.225
Published: 01 March 2018
... office in Milan. In 1888/89, Leoncavallo had sold Ricordi the rights to his opera I Medici and with it the rights of any future opera and was now hoping to secure a performance.7 To Leoncavallo s disappointment, Ricordi had decided in favor of Giacomo Puccini s revised Edgar instead of I Medici. Having...
Journal Articles
19th-Century Music. 2017; 412151–179 doi: https://doi.org/10.1525/ncm.2017.41.2.151
Published: 01 November 2017
... libretto becomes an important symbol representing a goal toward which future generations must strive. Despite similarities of talent and knowledge, the two men are different in character. Busoni conveys the differences musically. Busoni s musical setting symbolically links Manasse to evil and darkness. 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. 2014; 373188–210 doi: https://doi.org/10.1525/ncm.2014.37.3.188
Published: 01 March 2014
... and the Grand Inquisitor, I explore how aspects of the scene's musical unfolding foreground tensions between an increasingly prominent operatic past and an imagined operatic future. Ultimately, I argue that the opera's reception was saturated with concerns about an emerging phenomenon of “canonic...