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Journal Articles
19th-Century Music. 2017; 403185–188 doi: https://doi.org/10.1525/ncm.2017.40.3.185
Published: 01 March 2017
... a musical one. As Introduction Subjectivity in European Song: Time, Place, and Identity BENEDICT TAYLOR AND CERI OWEN 1Jean-Jacques Rousseau, Essay on the Origin of Languages, in which Melody and Musical Imitation Are Treated, chap. 16, trans. John T. Scott in The Collected Writings of Rousseau...
Journal Articles
19th-Century Music. 2013; 363231–247 doi: https://doi.org/10.1525/ncm.2013.36.3.231
Published: 01 March 2013
...Joanne Cormac Throughout his life Liszt projected diverse identities, which were sometimes embraced by the public, and sometimes questioned. These “contradictions” in his character have been the subject of much confusion and debate, and one aspect in particular still has scholars perplexed...
Journal Articles
19th-Century Music. 2014; 373211–241 doi: https://doi.org/10.1525/ncm.2014.37.3.211
Published: 01 March 2014
... and regional identity and was criticized from the outset for not sufficiently adopting a regionalist mandate of highlighting local history, culture, and traditions. Further tensions were generated as a result of the contrasting expectations of elite and popular audiences and the concomitant aesthetic...
Journal Articles
19th-Century Music. 2013; 3713–36 doi: https://doi.org/10.1525/ncm.2013.37.1.3
Published: 01 July 2013
... music in one broad stroke. Yet Mendelssohn was of a generation of mu- sicians that consciously sought inspiration and grounding in an idealized conception of folk music. As a fledgling liberal artist looking for an identity between Judaism, Christianity, Germanness, bourgeois society, and humanity in...
Journal Articles
19th-Century Music. 2013; 3713–36 doi: https://doi.org/10.1525/ncm.2013.37.3.3
Published: 01 July 2013
... music in one broad stroke. Yet Mendelssohn was of a generation of mu- sicians that consciously sought inspiration and grounding in an idealized conception of folk music. As a fledgling liberal artist looking for an identity between Judaism, Christianity, Germanness, bourgeois society, and humanity in...
Journal Articles
19th-Century Music. 2019; 423225–248 doi: https://doi.org/10.1525/ncm.2019.42.3.225
Published: 01 April 2019
... Bahr’s scandalous plays, the Viennese reading public was confronted with both scientific and literary material that conflated psychology, sexuality, and personal identity, while other artists such as Max Klinger sought to explore the unconscious motivations behind behaviors. In this context, we may...
Journal Articles
19th-Century Music. 2008; 313217–227 doi: https://doi.org/10.1525/ncm.2008.31.3.217
Published: 01 March 2008
...Susan McClary This piece was written as a keynote to a conference, Music and Identity , held in Bergen, Norway, in September 2007 to commemorate the centennial of Edvard Grieg's death. Its author, Susan McClary, both reflects on issues of identity politics then and now——including the ways in which...
Journal Articles
19th-Century Music. 2007; 312164–174 doi: https://doi.org/10.1525/ncm.2007.31.2.164
Published: 01 November 2007
... Hannay (London: Pen- guin Classics, 1992), p. 92; All Afsindighed bunder i en Forhærdelse, paa et eller andet Punkt i Bevidstheden (Enten/Eller: Et Livs-Fragment, Complete Works, vol. 2 [Copenhagen: Gyldenal, 1962], p. 79). Elektra s Oceanic Time: Voice and Identity in Richard Strauss STÅLE WIKSHÅLAND...
Journal Articles
19th-Century Music. 2018; 42296–122 doi: https://doi.org/10.1525/ncm.2018.42.2.96
Published: 04 December 2018
... blind submission to Wagner’s influence, especially to the point of losing one’s own identity. © 2018 by the Regents of the University of California. All rights reserved. Please direct all requests for permission to photocopy or reproduce article content through the University of California Press's...
Journal Articles
19th-Century Music. 2012; 353204–223 doi: https://doi.org/10.1525/ncm.2012.35.3.204
Published: 01 March 2012
..., claimed to have the original in his private ar- chives but never accounted for it. Bernard Gavoty, Frederic Chopin (New York: Scribner, 1977 [Paris, 1974 pp. 299 300. See Kallberg, Chopin s March, Chopin s Death, nn. 59 and 60. 206 19TH CENTURY MUSIC Poles constructed their identity around the...
Journal Articles
19th-Century Music. 2018; 4213–29 doi: https://doi.org/10.1525/ncm.2018.42.1.3
Published: 01 July 2018
... produce ambiguity by calling the very distinction between identity and difference into question. © 2018 by the Regents of the University of California. All rights reserved. Please direct all requests for permission to photocopy or reproduce article content through the University of California Press's...
Journal Articles
19th-Century Music. 2020; 433170–193 doi: https://doi.org/10.1525/ncm.2020.43.3.170
Published: 01 March 2020
... Trivialliteratur of his day an umbrella term covering popular novels and serials with formulaic plots and characters . . . disguised identity, tales of conspiracy and piracy, or mock-medieval chivalrous romances (12). Jean Paul both assimilated and satirized popular Trivialromane; Reiman discusses the...
Journal Articles
19th-Century Music. 2020; 433194–208 doi: https://doi.org/10.1525/ncm.2020.43.3.194
Published: 01 March 2020
.... Just as Salome was rendered narratively mute, her dance was euphemized, understated, ignored, or altogether extracted from the telling of the story such that Salome s body could easily be ignored. Udo Kultermann writes: While Wilde had given the figure Salome an identity, Strauss gave her the chance...
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. 2010; 333232–246 doi: https://doi.org/10.1525/ncm.2010.33.3.232
Published: 01 March 2010
... perceptions of both Gluck and Wagner in nineteenth-century France and reveals the extent to which their musical identities were intertwined in French music criticism. ©© 2010 by the Regents of the University of California 2010 Tannhääuser Alceste Wagner Gluck Paris 232 19TH CENTURY MUSIC...
Journal Articles
19th-Century Music. 2019; 43299–120 doi: https://doi.org/10.1525/ncm.2019.43.2.99
Published: 01 November 2019
..., for Czolbe, not only is vibratorymovement identical in perception and imagination, but even abstractions such as metaphor or mathe- matical axioms are sensory perceptions.66 More traditionally, we might read such liter- ary reactions in terms of a discourse network, perhaps simply a trope that alloys...
Journal Articles
19th-Century Music. 2019; 43286–98 doi: https://doi.org/10.1525/ncm.2019.43.2.86
Published: 01 November 2019
... unconscious, automatic, and rule-based creation of melodies into which the music machines of the nineteenth century were deeply embedded, see David Trippett,Wagner sMelodies: Aesthetics and Materialism in German Musical Identity (Cambridge: Cambridge University Press, 2013), 96 102. 29See Trippett, Wagner s...
Journal Articles
19th-Century Music. 2019; 432121–139 doi: https://doi.org/10.1525/ncm.2019.43.2.121
Published: 01 November 2019
... learn music more generally. For Spohr, these two questions were identical. According to him, the teacher s role also com- prised helping eager parents in deciding whether the violin was the right instrument for their child. The teacher was to screen progress from the very beginning. If the child turned...
Journal Articles
19th-Century Music. 2001; 252-3237–265 doi: https://doi.org/10.1525/ncm.2001.25.2-3.237
Published: 01 November 2001
..." at several prominent moments in his opera suggests an alternative to Parsifal and a specifically Catholic identity for France. d'Indy's theoretical account of Gregorian chant as the basis of French music past, present and future offers support for this reading. Another contemporary perspective comes...
Journal Articles
19th-Century Music. 2017; 403201–222 doi: https://doi.org/10.1525/ncm.2017.40.3.201
Published: 01 March 2017
... crucial in coming to an aesthetic understanding of the cycle. Schumann's procedure, in juxtaposing a number of poems drawn from disparate works, presents an extreme case whereby narrative and subjective identity are put to the test, and the listener is invited to fill the vacant space left by the...