Search Results for musical-aesthetics
1-20 of 621 Search Results for
19th-Century Music (2006) 30 (2): 166–181.
Published: 01 November 2006
... Musically Beautiful, 1854) with this tendency toward positivism, interpreting the treatise as an argument for musical formalism. His treatise indeed sought to revise idealist musical aesthetics, but in a far less straightforward way. Hanslick devotes considerable attention to the "material" that makes up...
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...
19th-Century Music (2019) 43 (2): 121–139.
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...
19th-Century Music (2015) 38 (3): 219–242.
Published: 01 March 2015
...Martin Knust Wagner's music, aesthetics, and personality were influenced profoundly by the declamation and recitation techniques of his time. “Declamation” as an optic-acoustic phenomenon embraces in this context both the actor's artificial speech and physical delivery. The theatrical declamation...
19th-Century Music (2014) 37 (3): 211–241.
Published: 01 March 2014
... asserting contemporary French musical values. As Steven Huebner has stated, the composer was a quintessential colo- 28Louis Gallet, Critique musicale, La nouvelle revue (May 1897), 363: Je voudrais parler aujourd hui d autre chose que de Wagner et pourtant si je consulte les affiches, les programmes...
19th-Century Music (2012) 36 (1): 3–23.
Published: 01 July 2012
... Musikalisch-Schönen (On the Musically Beautiful), first published in 1854, remains the single most important docu- ment in the history of the aesthetic construct broadly known as absolute music, the idea that music is an essentially self-contained and self-referential art. Hanslick argues that music s...
19th-Century Music (2010) 34 (2): 186–207.
Published: 01 November 2010
... an Dilettanten und Laien, pp. 141 77. 35Ernst Kurth, Grundlagen des Linearean Kontrapunkts: Bachs melodische Polyphonie, 2nd edn. (Berlin: Max Hesses, 1922). 36Paul Hindemith linked his poetics and aesthetics of mu- sic to a metaphysics of musical materials and human prac- tices of making and...
19th-Century Music (2009) 33 (2): 110–150.
Published: 01 November 2009
...Nicholas Mathew This article argues for a number of hitherto unrecognized continuities——stylistic, aesthetic, and ideological——between Beethoven's marginalized ““political music”” from the period of the Congress of Vienna and his canonical symphonic works. It rereads his œœuvre against the...
19th-Century Music (2010) 34 (1): 3–38.
Published: 01 July 2010
... music s ascent to lofty, idealized heights. The so-called rise of instrumental music has been understood as a dramatic aesthetic shift that occurred around 1800 whereby purely instrumental music suddenly began to be praised for many of the reasons it had formerly been condemned. Since Dahlhaus s...
19th-Century Music (2011) 34 (3): 302–315.
Published: 01 March 2011
... expressing or enacting a central tenet of the utopian aesthetics of early Romanticism: the idea of transcendence. © 2011 by the Regents of the University of California 2011 Tarkovsky Stalker Beethoven structural trope Romanticism 302 19TH CENTURY MUSIC 19th-Century Music, vol. 34, no. 3, pp...
19th-Century Music (2012) 36 (2): 122–135.
Published: 01 November 2012
... Douglas Sirk as paradigmatic of the sensibility or aesthetic of Hollywood melo- dramas of the fifties and early sixties: Almost throughout the picture I used deep-focus lenses, which have the effect of giving a harshness to the objects and a kind of enamelled, hard sur- face to the colours. I wanted this...
19th-Century Music (1988) 12 (1): 3–22.
Published: 01 July 1988
... anderen Seite be- trachtet," Fliegende Bliitter fir Musik 1 , 361-62). 7Revue et gazette musicale de Paris (hereafter Rgm) 8 (10- 17 January 1841), 17-19, 28-29, 33-35. 8As Reinhard Strohm notes in a recent study of Wagner's early overtures and their musical-historical context, these and nearly all...
19th-Century Music (2008) 32 (1): 52–93.
Published: 01 July 2008
...- virtuoso stance was propounded by both Schumann s Neue Zeitschrift and Schlesinger s Revue et Gazette musicale. 8Jim Samson, Virtuosity and the Musical Work (Cambridge: Cambridge University Press, 2003), p. 74. 9To cite two notable examples: Edward T. Cone, The Composer s Voice (Berkeley: University of...
19th-Century Music (2019) 42 (3): 157–183.
Published: 01 April 2019
... performances of the song that a study of the 2Franz Liszt, Lettre d un Bachelier És-Musique; A M. Lambert Massart, Revue et gazette musicale de Paris 5/35 (2 September 1838): 345 52, at 352. Portions of this letter also appeared in German shortly thereafter. See Franz Liszt, Bruchstück eines Briefs von...
19th-Century Music (2017) 41 (2): 95–120.
Published: 01 November 2017
... theorizing a version of this aesthetic category that is active in the nineteenth-century critical discourse about music. In the early nineteenth century, music becomes uncanny because it discloses what should remain hidden from finite revelation. Critics understand passages of instrumental ombra music as...
19th-Century Music (2016) 40 (2): 131–158.
Published: 01 November 2016
... conclusion. This article offers an alternative reading that reconstructs the dramatic disruptions and turnabouts and relates them to the first production's aesthetics and politics. The ballet's composer and choreographers, using music, action, and dance, repeatedly placed the audience in a position of wonder...
19th-Century Music (2017) 41 (1): 48–74.
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...
19th-Century Music (2019) 43 (1): 38–60.
Published: 01 July 2019
... Gazette musicale . The Gazette ’s campaign has been understood by modern scholars as a conspicuous moment in a broad aesthetic shift away from French salon music and toward high German Romanticism, and the Gazette has garnered praise for its prescience. But a closer examination of the Gazette ’s articles...
19th-Century Music (2006) 30 (2): 097–132.
Published: 01 November 2006
... serve as epitomes of transcendence in the aesthetic sphere. A case study of Beethoven's incidental music to Goethe's Egmont traces a metonymic chain linking the lead female character Klrchen to music, heroic overcoming, and authorship. Much of the music Beethoven composed for the play was for, or...
19th-Century Music (2006) 30 (1): 004–043.
Published: 01 July 2006
...James Hepokoski Strauss's Till Eulenspiegels lustige Streiche (1895) may be read as the composer's credo of a new, antimetaphysical musical modernism that resonated with aspects of Nietzschean philosophy. In the immediately preceding years Strauss had taken a decisive philosophical-aesthetic turn...