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music-and-narration

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Journal Articles
19th-Century Music. 2020; 433170–193 doi: https://doi.org/10.1525/ncm.2020.43.3.170
Published: 01 March 2020
... unpredictable Jean Paul, a genuine instance of the unreliable narrator is Heine's troubled poet-persona in Schumann's Dichterliebe . Here the composer invites us to perceive a second persona through the voice of the piano—one that understands the poet better than he does, and whose music reveals from the outset...
Journal Articles
19th-Century Music. 2018; 42130–52 doi: https://doi.org/10.1525/ncm.2018.42.1.30
Published: 01 July 2018
... photocopy or reproduce article content through the University of California Press s Reprints and Permissions web page, httpwww.ucpress.edu/ journals.php?p=reprints. httpsdoi.org/10.1525/ncm.2018.42.1.30. Music cannot narrate. It lacks the words to do so. That much is clear. But the idea that narra- tion in...
Journal Articles
19th-Century Music. 2012; 362122–135 doi: https://doi.org/10.1525/ncm.2012.36.2.122
Published: 01 November 2012
... should be clear from the very start that words and music do not mimic one another, but rather establish an extreme dy- namic range. The music s agitation stands in contrast to the still English countryside (the narrator s eye seems to follow the contour of the scene, as if scanning a canvas), but the...
Journal Articles
19th-Century Music. 2004; 282160–182 doi: https://doi.org/10.1525/ncm.2004.28.2.160
Published: 01 November 2004
...Carlo Caballero In "What the Sorcerer Said," Carolyn Abbate proposed a reading of Dukas's Sorcerer's Apprentice (1897) focused on the possibility of musical narration. The present essay shifts that focus to the question of the work's uncanniness and excess. In particular, where Abbate finds that...
Journal Articles
19th-Century Music. 2001; 252-3266–295 doi: https://doi.org/10.1525/ncm.2001.25.2-3.266
Published: 01 November 2001
...: narrative strategy, issues of gender and characterization, developmental process, and the viability of its ending. In exquisite counterpoint with Lucy's male observe——the narrator, the curate, her unfortunate fiancéé, and the author himself——music functions in this novel as a wordless narrator with the...
Journal Articles
19th-Century Music. 2004; 273263–286 doi: https://doi.org/10.1525/ncm.2004.27.3.263
Published: 01 March 2004
... volume of the Indiana Theory Review devoted to narrative, with essays by several prominent music historians and theorists.1 In Silent Narration? Elements of Narrative in Ives s The Unanswered Question I would like to thank James Hepokoski, Lawrence Kramer, and Robert Morgan for the comments on earlier...
Journal Articles
19th-Century Music. 2020; 433143–169 doi: https://doi.org/10.1525/ncm.2020.43.3.143
Published: 01 March 2020
...: Princeton University Press, 2000), 227 85, and Silke Bettermann, Die Beschäftigung mit Beethovens Lebendmaske, in Franz von Stuck und Beethoven: Musik in der Kunst des Münchner Jugendstils (Bonn: Beethoven-Haus Verlag, 2013), 35 78. 19th Century Music, vol. 43, no. 3, pp. 143 169. ISSN: 0148-2076...
Journal Articles
19th-Century Music. 2020; 433194–208 doi: https://doi.org/10.1525/ncm.2020.43.3.194
Published: 01 March 2020
.... It is therefore necessary to take into consideration not only the text and music, but also themise-en-scène, the archival addenda, and the marginalia that reshape our understand- ing of the roles that our femmes fatales play in the metaphysics of opera. Without a doubt, the modernist femme fatale is...
Journal Articles
19th-Century Music. 2019; 432121–139 doi: https://doi.org/10.1525/ncm.2019.43.2.121
Published: 01 November 2019
... player before taking up the study of philosophy. I claim that the practice of learning and playing this instrument sheds light on his concept of music, and at the same time signals its relevance for nineteenth-century musical aesthetics. To carve out the role of Stumpf's musicianship, I propose a...
Journal Articles
19th-Century Music. 2019; 43299–120 doi: https://doi.org/10.1525/ncm.2019.43.2.99
Published: 01 November 2019
..., though an unavoidable one. See Fichte, The Science of Knowledge, trans. Peter Heath and John Lachs (Cambridge: Cambridge University Press, 1982), 93. 7Helmholtz, The Facts, 366. 19TH CENTURY MUSIC 100 Karl Vogt, and Ludwig Büchner,8 who believed in the universal reign of natural law and regarded...
Journal Articles
19th-Century Music. 2006; 301044–064 doi: https://doi.org/10.1525/ncm.2006.30.1.044
Published: 01 July 2006
... contradictory.37 He was certainly aware of the quasi-musical for- mal power of his narratives. In a letter of 24 March 1814, he described the episodes in Die Elixiere des Teufels (1815/1816) using tempo and dynamic designations: Grave sostenuto, Andante sostenuto e piano, and Allegro forte.38 Narrators No less...
Journal Articles
19th-Century Music. 2019; 423184–224 doi: https://doi.org/10.1525/ncm.2019.42.3.184
Published: 01 April 2019
...Kirill Zikanov This article challenges the privileged position that Glinka’s Kamarinskaia (1848) has assumed in accounts of Russian instrumental music. The first half of the article investigates nineteenth-century reception of Glinka’s orchestral works and demonstrates that his Jota Aragonese (1845...
Journal Articles
19th-Century Music. 2006; 293261–288 doi: https://doi.org/10.1525/ncm.2006.29.3.261
Published: 01 March 2006
... localized, participatory act was well suited to the flurry of commemorative festivities taking place throughout the newly unified Germany; it also finds musical expression in the motets. In particular, Brahms makes programmatic use of the double chorus to illustrate processes of unification, narration, and...
Journal Articles
19th-Century Music. 2018; 413225–251 doi: https://doi.org/10.1525/ncm.2018.41.3.225
Published: 01 March 2018
... originality of the story. And as he was tightening the opera's connection to verismo, he was concealing aspects that would have reflected poorly on the opera's reception, including Sonzogno's initial concerns regarding the music and the presence of substantial musical self-borrowings. © 2018 by the Regents...
Journal Articles
19th-Century Music. 2017; 412121–150 doi: https://doi.org/10.1525/ncm.2017.41.2.121
Published: 01 November 2017
...J. Mackenzie Pierce Music shorthand systems devised by Michel Woldemar, Hippolyte Prévost, and August Baumgartner adapted the quill strokes of speech stenography to the seemingly analogous domain of music. Eschewing conventional staff notation in favor of cursive lines that indicated pitch...
Journal Articles
19th-Century Music. 2017; 412151–179 doi: https://doi.org/10.1525/ncm.2017.41.2.151
Published: 01 November 2017
... hybrid libretto that depicts a mystical and broadminded Faust. Busoni's music reflects the richness of Faust's mind, combining heterogeneous timbres, forms, and styles. Busoni juxtaposes a Gregorian Credo, Palestrina-style choral settings, a reformation hymn, a Baroque instrumental dance suite, an organ...
Journal Articles
19th-Century Music. 2017; 41148–74 doi: https://doi.org/10.1525/ncm.2017.41.1.48
Published: 01 July 2017
...Mark Seto Ernest Chausson made two major aesthetic decisions in the mid-1880s: he resolved to “dewagnerize” himself and declared that he would no longer write program music. These developments were coeval with Chausson's revisions of Viviane (composed 1882–83, revised 1887 and 1893), a symphonic...
Journal Articles
19th-Century Music. 2017; 403257–282 doi: https://doi.org/10.1525/ncm.2017.40.3.257
Published: 01 March 2017
... voice found in The Vagabond. 258 19TH CENTURY MUSIC poems such that a new voice is introduced, bearing a new burden of narration in the cycle.3 One of relatively few Travel poems cast in the narrative third person, it functions here to con- firm both retrospectively and prospectively the emotional...
Journal Articles
19th-Century Music. 2017; 403239–256 doi: https://doi.org/10.1525/ncm.2017.40.3.239
Published: 01 March 2017
...Julian Johnson Debussy's early song settings of Théodore de Banville and Paul Bourget foreground the Romantic topic by which the singing voice revokes lost presence. The closed aesthetic space of music becomes, in these songs, the space of the nocturnal garden in which the souls of lovers merge...
Journal Articles
19th-Century Music. 2017; 403201–222 doi: https://doi.org/10.1525/ncm.2017.40.3.201
Published: 01 March 2017
... translations are my own unless stated otherwise. Absent Subjects and Empty Centers: Eichendorff s Romantic Phantasmagoria and Schumann s Liederkreis, Op. 39 202 19TH CENTURY MUSIC For those who know Schumann s Liederkreis, op. 39, some of the scenes just described might sound strangely familiar, if curiously...