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local-color

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Journal Articles
19th-Century Music (2011) 35 (2): 115–131.
Published: 01 November 2011
... upon any opera, there is no straightforward method for assigning operas to Russian or non-Russian categories. Therefore an alternative approach is proposed: to revive the older concept of “local color,” which figured prominently in nineteenth-century Russian discourse on opera, and to use this as a...
Journal Articles
19th-Century Music (2008) 32 (1): 3–25.
Published: 01 July 2008
... stages not just of high-status theaters, Local Color: Donizetti s Il furioso in Naples MARTIN DEASY On 11 May 1834, Donizetti s opera semiseria Il furioso nell isola di San Domingo burst upon Naples like a supernova, opening in three the- aters on the same night. These simultaneous local premieres a...
Journal Articles
19th-Century Music (2020) 43 (3): 170–193.
Published: 01 March 2020
... psychological standards. 13 To put it mildly, theories of unreliable literary narration have not been without their controversies. Just the same, Phelan s six types of unreliabil- ity,widely cited, open thedoor to a colorful assort- ment of unreliable character-types: for example, the self-deluded, like Stevens...
Journal Articles
19th-Century Music (2019) 42 (3): 184–224.
Published: 01 April 2019
... 1880: An Anthology, trans. and ed. Stuart Campbell (Cambridge: Cambridge University Press, 1994), 47 53. Fourteen years earlier Odoyevsky had praised Glinka s A Life for the Tsar for proving that Russian melodies can be elevated to the tragic style instead of merely providing peripheral local color...
Journal Articles
19th-Century Music (2019) 42 (3): 225–248.
Published: 01 April 2019
... Brahms in the early twentieth century, his embellishment of the motif draws on Romantic imagery of martyr- dom. He paints a colorful picture of young Brahms in a lurid environment: To see the image of the unspoiled blond-haired, blue-eyed youth and young man playing among the worst company has something...
Journal Articles
19th-Century Music (2018) 42 (2): 73–95.
Published: 04 December 2018
... attention should be paid to the fact that communities are never entirely her- metic but rather in constant culture-contact, mediate or immediate with other locales, tra- ditions, and ideas.5 One key consequence was that folklore could not be separated from the category of art: We shall have to break down...
Journal Articles
19th-Century Music (2018) 42 (1): 3–29.
Published: 01 July 2018
Journal Articles
19th-Century Music (2018) 41 (3): 225–251.
Published: 01 March 2018
.... Scavello managed to escape, but the following day, four hours after sundown, as he was leav- ing the local theater, the D Alessandro broth- ers stabbed him, once in the arm and once in the stomach. Giovanni was apprehended the same night; Luigi fled but eventually turned himself in to the authorities at...
Journal Articles
19th-Century Music (2017) 41 (1): 48–74.
Published: 01 July 2017
... scale degree. The first violins move from E up to F , and an octave below, the violas move from E down to D . The resulting chord A, C , D , F has a hazy whole-tone coloration. Chausson s version makes one chromatic modification. Whereas Franck holds the third of the tonic chord constant, Chausson...
Journal Articles
19th-Century Music (2017) 41 (1): 75–92.
Published: 01 July 2017
... with appreciation. Le Gaulois s review is represen- tative: The music of Jeux is admittedly inge- nious; ideas are always colorful even in their compactness; sonorities are full of charm in their boldness, in their unexpected timbral com- binations. There is in this ballet a pleasant lack of precision...
Journal Articles
19th-Century Music (2017) 41 (1): 31–47.
Published: 01 July 2017
... tertulia, infu- riated by the tenor s actions, attended that night s performance of La forza del destino and showered the foyer and the auditorium with slips of colored paper printed with the message: the public wants and demands that The Mas- ter Singers be performed this season, even if without a tenor...
Journal Articles
19th-Century Music (2017) 40 (3): 223–238.
Published: 01 March 2017
... navy: The banks of the Hudson proved to be very beautiful, and the Niagara Falls made the most marvelous impression on us. This was in November, I think. The leaves on the trees were of many colors; the weather was marvel- ous. We climbed all over the rocks, went as far as we could under the arch of...
Journal Articles
19th-Century Music (2017) 40 (3): 189–200.
Published: 01 March 2017
...- mar (New York: Oxford University Press, 2017), Lawrence Zbikowski presents analyses of each of the settings dis- cussed so far (Zelter, Loewe, Schubert), showing how the differences among the songs reflect not simply the way music colors or inflects Goethe s words but the active participation of...
Journal Articles
19th-Century Music (2016) 40 (2): 106–130.
Published: 01 November 2016
... miniatures stemmed precisely from their sense of the familiar. Each set comprised an attrac- tive bouquet of varied musical genres that traded particularly efficiently on affective evocations of nostalgia, love, and local color. The immense commercial and popular success of the Lyriske stykker therefore...
Journal Articles
19th-Century Music (2016) 40 (2): 81–105.
Published: 01 November 2016
... color that his audience at the Ginásio knew to belong to nature and to radical liberal politics. José, again, recalls the many variants of the hue that once graced the tricolor of the hopeful Republica Cisalpina in Milan as well as the chests of radical liberals in England after the eighteenth century...
Journal Articles
19th-Century Music (2016) 40 (2): 131–158.
Published: 01 November 2016
.... Dazzling changes of locale back and forth across the seas, from Germany to Washington and Italy to New York, gained meaning within the grand historical narrative of the destruction of Obscurantism by Civilization. The use of alle- gory enabled Manzotti to amalgamate the rheto- ric of civilizational...
Journal Articles
19th-Century Music (2016) 40 (1): 7–19.
Published: 01 July 2016
... elaborate color illustrations include Charles Grobe s Battle of Shiloh (Boston: Oliver Ditson & Co., 1862) and Battle of New Orleans (Philadel- phia: Lee &Walker, 1862). 5See Christian McWhirter, Battle Hymns: The Power and Popularity of Music in the Civil War (Chapel Hill: Univer- sity of North Carolina...
Journal Articles
19th-Century Music (2016) 39 (3): 187–222.
Published: 01 March 2016
... assertion that what may be commonly heard as exemplars of the picturesque, or as evocative local color, images of nature in Nor- dic music, invite more radical interpretations that pose questions about the relationship be- tween humans, sound, and nature. 7 Mapping the Phenomenology of Musical Landscape A...
Journal Articles
19th-Century Music (2016) 39 (3): 248–271.
Published: 01 March 2016
... along with visual and material means to create broadly appealing prod- ucts: some collections included colorful and otherwise visually attractive pages, printed on high-quality paper and well bound. The indi- cated price on such volumes suggests that they would have been intended more as collector s...
Journal Articles
19th-Century Music (2015) 39 (2): 125–141.
Published: 01 November 2015
... this faculty comprehends all that is necessary to make a musician. . . . Music, like every other art, requires the aid of various faculties. TUNE and TIME, indeed, are the original faculties on which it de- pends . . . as FORM and COLOUR are the original faculties which go to constitute a talent for...