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narration

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Journal Articles
19th-Century Music. 2004; 273263–286 doi: https://doi.org/10.1525/ncm.2004.27.3.263
Published: 01 March 2004
... aspects include compositional techniques particular to the twentieth century, such as reordered chronologies and the layering of seemingly independent material. These features suggest comparison with various aspects of narrative structure and narration in literary and filmic narratives. The comparison...
Journal Articles
19th-Century Music. 2018; 42130–52 doi: https://doi.org/10.1525/ncm.2018.42.1.30
Published: 01 July 2018
...Michael L. Klein This article considers the problem of narration in a collection of works gathered around Chopin's Ballade in G Minor, op. 23: Guillermo del Toro's Crimson Peak , Poe's “The Raven,” Mickiewicz's Konrad Wallenrod , Dickens's The Chimes , and Władysław Szpilman's The Pianist along...
Journal Articles
19th-Century Music. 2020; 433170–193 doi: https://doi.org/10.1525/ncm.2020.43.3.170
Published: 01 March 2020
...Janet Schmalfeldt The theoretic model of the “unreliable narrative” in fiction took flight in the early 1960s; it has since become a key concept in narratology, and an indispensable one. Simply put, first-person unreliable narrators are ones about whom we as readers, in collusion with the author...
Journal Articles
19th-Century Music. 2020; 433143–169 doi: https://doi.org/10.1525/ncm.2020.43.3.143
Published: 01 March 2020
... example ofmany includes the dramatic reenactment in a BBC documentary on Beethoven from theGreat Composers series (1999). As WilliamMeredith narrates the events of the death hour, the wind shakes the curtains, candles are extin- guished, lightning flashes, thunder roars, and Beethoven s sil- houette...
Journal Articles
19th-Century Music. 2020; 433194–208 doi: https://doi.org/10.1525/ncm.2020.43.3.194
Published: 01 March 2020
... endowed with certain sonic metaphysical privileges. In Unsung Voices, Carolyn Abbate argues that the voice of operatic characters is a site ofmultiplicity and at times betrays the sup- posed narrative context of the orchestra.12Abbate suggests that narration by which she means diegetic instances or...
Journal Articles
19th-Century Music. 2012; 362122–135 doi: https://doi.org/10.1525/ncm.2012.36.2.122
Published: 01 November 2012
... melodramatic mode as they are described in writing on theater, film, and the novel before turning to a close reading of Richard Strauss's Enoch Arden , op. 38, a melodrama for speaker and piano. I aim to show that not only the themes of Enoch Arden 's narrative but also the form of its narration, the...
Journal Articles
19th-Century Music. 2019; 432121–139 doi: https://doi.org/10.1525/ncm.2019.43.2.121
Published: 01 November 2019
Journal Articles
19th-Century Music. 2019; 43299–120 doi: https://doi.org/10.1525/ncm.2019.43.2.99
Published: 01 November 2019
... individual situations were abstractly pas- sed over into appearance, now the tones expression accompanies an objective course in its details, even if this course consists purely in the subjective for- mation of a soul-process, in a narration of objective facts of greater or lesser use for our inwardness.20...
Journal Articles
19th-Century Music. 2019; 423184–224 doi: https://doi.org/10.1525/ncm.2019.42.3.184
Published: 01 April 2019
Journal Articles
19th-Century Music. 2012; 362136–145 doi: https://doi.org/10.1525/ncm.2012.36.2.136
Published: 01 November 2012
...Naomi Perley One of the pivotal scenes of Proust's novel In Search of Lost Time takes place during a performance of the fictional composer Vinteuil's Septet in Mme Verdurin's salon. The narrator and protagonist of the novel, Marcel, finds himself caught off-guard by the beauty of Vinteuil's Septet...
Journal Articles
19th-Century Music. 2018; 413225–251 doi: https://doi.org/10.1525/ncm.2018.41.3.225
Published: 01 March 2018
... two subjects, so much so as to dispense here with narrating the argument of the new op- era. 35 Dryden has pursued the connection to some extent, claiming that Leoncavallo borrowed heavily from the Un drama nuevo.36 But Leoncavallo could have borrowed from the play only if he had either read it or...
Journal Articles
19th-Century Music. 2017; 412151–179 doi: https://doi.org/10.1525/ncm.2017.41.2.151
Published: 01 November 2017
Journal Articles
19th-Century Music. 2017; 412121–150 doi: https://doi.org/10.1525/ncm.2017.41.2.121
Published: 01 November 2017
Journal Articles
19th-Century Music. 2017; 41148–74 doi: https://doi.org/10.1525/ncm.2017.41.1.48
Published: 01 July 2017
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. 2017; 403257–282 doi: https://doi.org/10.1525/ncm.2017.40.3.257
Published: 01 March 2017
... narrates with ardent urgency their sound- ing and, apparently, their hearing. But precisely who is engaged in these acts at this, the musi- cal and emotional heart of the cycle? The recollected songs are first heard on the lips of the speaker in The Vagabond, an os- tensibly archetypal Romantic wayfarer...
Journal Articles
19th-Century Music. 2017; 403239–256 doi: https://doi.org/10.1525/ncm.2017.40.3.239
Published: 01 March 2017
..., while the voice adopts a historical character, complete with mock eighteenth-century ornaments and arpeggiated lines, to narrate a tale rather than summon a presence. As in many of these early settings, when the words run out the voice continues with virtuosic vocalise, ending with a flourish of trills...
Journal Articles
19th-Century Music. 2017; 403201–222 doi: https://doi.org/10.1525/ncm.2017.40.3.201
Published: 01 March 2017
... Schumann s Eichendorff Liederkreis and the Genre of the Romantic Cycle (New York: Oxford University Press, 2000), probably the account most critical of earlier attempts at finding unity in Schumann s work. For Ferris, there is no single narrator, nor even the hint of a plot (208); yet, despite his well...
Journal Articles
19th-Century Music. 2016; 402131–158 doi: https://doi.org/10.1525/ncm.2016.40.2.131
Published: 01 November 2016
... (the shoe chord The inverted German sixth in D minor catalyzes the modulation to E major. The chord concludes Nutcracker s pantomimed narration of the battle scene. Immediately thereafter, the court celebrates Clara s service to the prince. nature of the events witnessed.63 Can one ex- plain away the...
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...