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presence

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Journal Articles
19th-Century Music. 2015; 383243–271 doi: https://doi.org/10.1525/ncm.2015.38.3.243
Published: 01 March 2015
... University of California 2015 Johannes Brahms Joseph Joachim improvisation Violin Concerto in D, op. 77 performance 243 KAREN LEISTRA- JONES Joachim s Presence 19th-Century Music, vol. 38, no. 3, pp. 243 271 ISSN: 0148-2076, electronic ISSN 1533-8606. © 2015 by the Regents of the University of...
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. 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; 4113–30 doi: https://doi.org/10.1525/ncm.2017.41.1.3
Published: 01 July 2017
... premiere for an opera by Wagner in 1869—given that there would be almost nothing for two decades after 1870—is remarkable in itself. The 1860s furthermore saw the emergence of a coherent voice of Wagnérisme , the presence of French Wagnéristes at the composer's premieres all over Europe and a developing...
Journal Articles
19th-Century Music. 2017; 403201–222 doi: https://doi.org/10.1525/ncm.2017.40.3.201
Published: 01 March 2017
...Benedict Taylor A recurring theme in the reception of Schumann's Eichendorff Liederkreis is the question mark over its sense of narrative continuity and the presence (or otherwise) of a central protagonist. Up until now, however, scarcely any attempt has been made to view these features in the...
Journal Articles
19th-Century Music. 2019; 43299–120 doi: https://doi.org/10.1525/ncm.2019.43.2.99
Published: 01 November 2019
... even if we assume the presence of lawlike physical mechanismswithin the body (mechanisms that produce mental conclusions arising from sensations), wemust then ask: What is the Body? What is Matter? What is the Physical? And modern physiology, just as much as philosophy, must answer that they are all...
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; 4313–16 doi: https://doi.org/10.1525/ncm.2019.43.1.3
Published: 01 July 2019
... parts, pre- sumably for use without his presence, to play this movement slowly he needed to indicate that explicitly.35 Overall there is no indication that Aus Liebe will mein Heiland sterben was 35The Domine Deus II from Jan Dismas Zelenka s Missa Divi Xaverii, ZWV 12, appears to be of the same...
Includes: Multimedia, Supplementary data
Journal Articles
19th-Century Music. 2019; 423157–183 doi: https://doi.org/10.1525/ncm.2019.42.3.157
Published: 01 April 2019
... article, I trace the presence of this simple feeling of the dilettante, as well as broader ideas concerning amateurism or dil- ettantism, through three performances of Schubert s song Ständchen (Schwanengesang, D. 957, no. 4).3 I take one suggestive stream of twentieth-century performance and...
Journal Articles
19th-Century Music. 2019; 423225–248 doi: https://doi.org/10.1525/ncm.2019.42.3.225
Published: 01 April 2019
... After describing the poor circumstances of Brahms s childhood, Ulm adds: It must fill one with woe to consider the thoughtful, reflective child forced to play dances for his dear daily bread in places that one cannot mention in the presence of women s ears. But how it also testi- fies to a noble...
Journal Articles
19th-Century Music. 2018; 422123–154 doi: https://doi.org/10.1525/ncm.2018.42.2.123
Published: 04 December 2018
... painters in these fashionable circles were G. F. Watts (who went by the pretentious sobriquet Signor ) and Frederic Leighton; Ten- nyson was the great poetic figure, Ruskin a fre- quent presence, and Joachim one of the visitant stars from the world of music.17 Exquisite taste coexisted with extravagant...
Journal Articles
19th-Century Music. 2018; 42296–122 doi: https://doi.org/10.1525/ncm.2018.42.2.96
Published: 04 December 2018
Journal Articles
19th-Century Music. 2018; 42273–95 doi: https://doi.org/10.1525/ncm.2018.42.2.73
Published: 04 December 2018
... inacces- sible somatic presence. The question is just how much of a trace survives the erasure.28 23De Certeau, The Writing of History, 227 28. 24Michel de Certeau, The Practice of Everyday Life, trans. Steven Rendall (Berkeley: University of California Press, 1984), 20. 25Ibid., 159, 156. See also...
Journal Articles
19th-Century Music. 2018; 42130–52 doi: https://doi.org/10.1525/ncm.2018.42.1.30
Published: 01 July 2018
... first theme, the telling of the tale begins. 27 And Lawrence Kramer writes that the first theme sustains ballad mystique and asserts the presence of a narrative voice. 28 To miss the narrator in the first theme is really to miss the whole point of the Ballade: the musical con- struction of a...
Journal Articles
19th-Century Music. 2018; 42153–70 doi: https://doi.org/10.1525/ncm.2018.42.1.53
Published: 01 July 2018
... as carriers of social meaning. On the one hand, then, a turn to materiality and auditory cultures appears to suggest resis- tance to philosophical discourse about music as somehow removed from the real condi- tions of music as sonorous presence. On the other, scholarly interest in musical perfor...
Journal Articles
19th-Century Music. 2011; 35172–89 doi: https://doi.org/10.1525/ncm.2011.35.1.72
Published: 01 July 2011
... amplifies the effects of a performing presence in both textual and musical dimensions. Mahler's narrative ballad is a multivoiced text whose temporal and vocal shifts create oscillations between narrative and drama, telling and enactment, giving rise to a remarkable instability of utterance from which...
Journal Articles
19th-Century Music. 2013; 372130–158 doi: https://doi.org/10.1525/ncm.2013.37.2.130
Published: 01 November 2013
... Soiréé fantastiques —but sometimes, like von Kempelen's Turk, these automata were illusions themselves. Ravel's fascinations with enchantment and mechanism converge in the presence of these trick machines. In the opera L'Enfant et les sortilèges (1925), Ravel uses techniques known to both magicians and...
Journal Articles
19th-Century Music. 2017; 41295–120 doi: https://doi.org/10.1525/ncm.2017.41.2.95
Published: 01 November 2017
... Monelle notes, emotional responses to mu- sic can vary among individuals, and do not necessarily correlate to musical signification; The Sense of Music: Semiotic Essays (Princeton: Princeton University Press, 2000), 11. 7To evoke these emotions and presences, the ombra topic is characterized by a loose...
Journal Articles
19th-Century Music. 2017; 412151–179 doi: https://doi.org/10.1525/ncm.2017.41.2.151
Published: 01 November 2017
..., etc Ideal music that re- flected the essence of music, according to Busoni, became a substitute for religion he called composers with perceptive abilities prophets or priests. Listeners who heard com- positions reflecting the essence of music were transformed in their presence: Music is not, as the...
Journal Articles
19th-Century Music. 2017; 412121–150 doi: https://doi.org/10.1525/ncm.2017.41.2.121
Published: 01 November 2017