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Journal Articles
19th-Century Music (2009) 32 (3): 211–234.
Published: 01 March 2009
...J. P. E. Harper-Scott Wagner's engagement with medieval sources like the Nibelungenlied has generally been examined in relation to poetic style in his librettos. One of the defining structural features of his literary inspirations is the narrative interlace structure, which is common to literature...
Journal Articles
19th-Century Music (2019) 43 (2): 121–139.
Published: 01 November 2019
... the piano. The visual presentations of the keys and notes need only to be associated with the muscular presentations. 32 Two distinctions that were relevant for Stumpf s project of Tone Psycho- logy interlace here. One relates to learning a particular instrument, the other concerns the ability to...
Journal Articles
19th-Century Music (2018) 42 (2): 73–95.
Published: 04 December 2018
Journal Articles
19th-Century Music (2016) 40 (1): 56–78.
Published: 01 July 2016
... interlaced and viewed through a lenticular lens (the coating on the card), which allows the viewer to see only one of the two views at a time. Rotating the picture slightly brings this second image into focus, displacing the first, but it is nearly impossible to view both images together. McPherson...
Journal Articles
19th-Century Music (2009) 32 (3): 235–283.
Published: 01 March 2009
Journal Articles
19th-Century Music (2008) 32 (2): 131–159.
Published: 01 November 2008
.... a. b. c. d. 1 25 33 51 second movements at a higher level. In this movement the threads interlaced across the entire work are recalled and bound up together in a synthesis of the preceding parts that looks beyond any prior model and prefigures virtu- ally all future attempts at cyclicism. Cyclic...
Journal Articles
19th-Century Music (2005) 29 (1): 003–014.
Published: 01 July 2005
.... Wagner s music, cast in the mould of the organic, cat- egorically excludes the potpourri, unlike that of Weber and Bizet, which is indeed related to Schubert. The cells that the potpourri throws together must once have been interlaced ac- cording to a law different from that of a living organism [23...
Journal Articles
19th-Century Music (2005) 28 (3): 185–213.
Published: 01 March 2005
Journal Articles
19th-Century Music (2000) 23 (3): 218–235.
Published: 01 April 2000
... revealing letter sent on 12 August 1912 to Earnest Newman, who had undertaken to write a program analysis for the premiere of Elgar's ode for mezzo-soprano, chorus, and orchestra, The Music Makers. In the course of a detailed discussion of the self-referential musical quo- tation that are interlaced...
Journal Articles
Journal Articles
19th-Century Music (1996) 19 (3): 252–262.
Published: 01 April 1996
... theology of Emanuel Swedenborg. The kind of interlacing of technical analysis with philosophical discussion that occurs in this lecture is not unusual in Schoenberg's writ- ing generally, and one can find such discus- sions all across his literary work. It seems clear that for Schoenberg real music-music...
Journal Articles
19th-Century Music (1989) 13 (2): 129–144.
Published: 01 October 1989
... the final mo- ments. What interests us most is the ambiguity that results from Brahms's interlacing of two in- timately related keys. Although one of the two keys predominates eventually, Brahms is able to continue both the D-major and the B-minor trajectories through- out most of the piece. This is...
Journal Articles
19th-Century Music (1979) 2 (3): 231–244.
Published: 01 March 1979
... "full of striking sonorities and interlaced rhythms"; Edmond Stoullig suggested that "the young composer rework this movement completely before presenting the work anew to the public suffrage."35 Though contradictory, these excerpts from the press give us an idea of a work which Faure also abandoned...