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Journal Articles
19th-Century Music (2019) 43 (1): 38–60.
Published: 01 July 2019
... Music criticism reception theory propaganda media studies aesthetics 38 One aspect of reception history of which the study of music criticism is a part involves a tacit interplay between modern and historical reception. When we as present-day scholars search for the cultural practices that...
Journal Articles
19th-Century Music (2014) 37 (3): 161–187.
Published: 01 March 2014
... us a glimpse into the complex network of Wagner proponents who also supported women's rights, at the same time providing evidence for what some contemporary conservative critics saw as a concomitant social threat from both Wagnerian musical radicalism and the emancipated woman. © 2014 by the...
Journal Articles
19th-Century Music (1989) 13 (2): 159–167.
Published: 01 October 1989
... Musical Consciousness," Critical Inquiry 7 (1981), 689- 706 10.2307/1343145 689 9 Eduard Mörike, Sämmtliche Werke, ed. H. G. Gopert (Mu- nich, 1954), p. 195 Möorike 195 Sämmtliche Werke 1954 10 "What the Sorcerer Said," this journal 12 (1989), 221-30. 10.2307/746503 221 11...
Journal Articles
19th-Century Music (1984) 7 (3): 271–281.
Published: 03 April 1984
... Criticisms 1846-99, trans. and ed. Henry Pleasants (Baltimore, 1963), pp. 82-86 Hanslick 82 Music Criticisms 1846-99 1963 Brahms and Schubring: Musical Criticism and Politics at Mid-Century WALTER FRISCH In 1861-62 there appeared in the Neue Zeit- schrift ffir Musik, Germany's leading music...
Journal Articles
19th-Century Music (2017) 41 (2): 95–120.
Published: 01 November 2017
...Amanda Lalonde The term unheimlich (uncanny) comes into usage in German music criticism in the nineteenth century and is often used to describe instrumental music, particularly sections of works featuring the ombra topic. While the idea that instrumental music can be uncanny regardless of text or...
Journal Articles
19th-Century Music (2012) 36 (2): 146–158.
Published: 01 November 2012
... emotions and feelings, as opposed to reason and logic, were seen as the routes to moral and social improvement. In visual, literary, and musical artworks of the era, the emphasis on feeling was frequently connected to a male archetype of the sentimental protagonist, a “dying poet,” marked by several common...
Journal Articles
19th-Century Music (2011) 35 (1): 34–71.
Published: 01 July 2011
... critics were quick to emphasize women's putative obsession with romances while downplaying (or altogether neglecting to comment on) the extensive participation of men in the same musical venture. Men composers and poets who sought to pen marketable romances capitalized on aesthetic idioms and values that...
Journal Articles
19th-Century Music (2014) 37 (3): 211–241.
Published: 01 March 2014
... Sophocles s The Women of Trachis. Performed at the local open-air bull-fighting arena in the southern town of Béziers, Déjanire featured an elaborate score that included overtures, processional mu- sic, dance music, choral numbers, recitatives, and arias. According to critic A. Demeuré de Beaumont, the work...
Journal Articles
19th-Century Music (2010) 34 (2): 186–207.
Published: 01 November 2010
...Keith Chapin Throughout the history of Western music, musicians have almost invariably discussed the keyboard fugue and other extreme forms of polyphony as signs of something that transcends human subjectivity. Despite the persistence of this critical topos, musicians shifted their approach to it...
Journal Articles
19th-Century Music (2010) 33 (3): 232–246.
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 (1993) 17 (2): 174–192.
Published: 01 October 1993
... Music 30 (1992), 202-05 10.2307/3090634 202 Edward W. Said, The Nation, 30 December 1991, p. 860 Edward 30 December 860 The Nation 1991 David Schiff, "The Bounds of Music: The Strange New Direction of Musical Criticism," The New Republic, 3 February 1992, p. 32 David 3 February 32...
Journal Articles
19th-Century Music (2012) 36 (1): 58–83.
Published: 01 July 2012
...Ryan R Kangas “You must have had the experience of burying someone dear to you,” wrote Gustav Mahler in a letter explaining his Second Symphony to the music critic Max Marschalk, suggesting that the critic's own experiences with death might help him better understand the symphony. Inversely, if...
Journal Articles
19th-Century Music (2009) 33 (1): 25–61.
Published: 01 July 2009
... Troyens (ca. 1853––63). Because Berlioz's style and subtlety have worked against him in this famous rivalry, the priority goes to him, and especially to his magnum opus as critic, the volume A travers chants (1862). A selection from thirty years of music criticism both serious and light ("flying leaves...
Journal Articles
19th-Century Music (2018) 42 (1): 53–70.
Published: 01 July 2018
... aesthetics by way of larger nineteenth-century paradigms such as “absolute” music or the history of “metaphysics.” This article explores Nietzsche's philosophical writings on music from the 1870s as they reveal the emergence of his critical outlook on Romantic aesthetics and the musical culture of his time...
Journal Articles
19th-Century Music (2003) 27 (2): 137–155.
Published: 01 November 2003
... to 10 percent of the American population--a great deal about race, class, nationhood, and their identity as consumers. Reading the musical criticism, speculative philosophy, and patriotic grandstanding that accompanied the fair shows how musical thought of the day relied on evolutionary theory...
Journal Articles
19th-Century Music (2011) 35 (1): 3–33.
Published: 01 July 2011
... contemporary treatise on rhetoric, the anonymous Institutio ad eloquentiam , and his awareness of direct address and apostrophe are suggested by his use of them in his own writing. Modern literary critics have neglected apostrophe, with a few notable exceptions (e.g., Jonathan Culler). Music scholars have...
Journal Articles
19th-Century Music (2011) 34 (3): 302–315.
Published: 01 March 2011
... appears on the soundtrack. This brief but poignant appearance of Beethoven's music is both arresting and perplexing, but although the scene has received a number of critical readings, it is often noticed without further considerations. The present article concentrates on this overlooked aspect in order to...
Journal Articles
19th-Century Music (1978) 2 (1): 36–60.
Published: 01 July 1978
... Philosophy, pp. 189- 91 189 Philosophy R. R. Subotnik, "The Cultural Message of Musical Semiology," to be pub- lished in Critical Inquiry, vol. 5, summer 1978 10.2307/1342953 57 "Actualité," p. 91. 91 Actualité 58 "Schubert," pp. 25 and 31-33 25 Schubert "Actualité," p. 91 91 Actualité...
Journal Articles
19th-Century Music (2007) 30 (3): 213–229.
Published: 01 March 2007
... better viewed as an example of an apocalyptic narrative; after the event, the infamous frivolity of Napoleon III's era was seen to have led, inexorably, to defeat in the War, and to steep cultural change. I argue that this narrative was retrospectively constructed by contemporary music critics...
Journal Articles
19th-Century Music (2020) 43 (3): 143–169.
Published: 01 March 2020
... nineteenth-century publishers capitalized upon this appetite for deathbed legends, last words, last thoughts and breaths, pain, solace, and unwritten music taken to the grave.9 By studying a network of ephemeral sources that go beyond music criticism, musicologists can refine their understanding of late...