Search Results for propaganda
1-20 of 39 Search Results for
19th-Century Music. 2019; 43138–60 doi: https://doi.org/10.1525/ncm.2019.43.1.38
Published: 01 July 2019
... broadly, the Gazette ’s articles on Herz highlight limitations in the history of reception. This article turns to media studies to explore the problematic relationship between propaganda and reception and shows how the Gazette , and other nineteenth-century journals, are still manipulating our cognition...
19th-Century Music. 2020; 433210 doi: https://doi.org/10.1525/ncm.2020.43.3.210
Published: 01 March 2020
... Introduction: Ideas and Matter 63 Trippett, David Sound as Hermeneutic, or Helmholtz and the Quest for Objective Perception 99 Weitz, Shaena Propaganda and Reception in Nineteenth-Century Music Criticism: Maurice Schlesinger, Henri Herz, and the Gazette musicale 36 19th Century Music, vol. 43, no. 3, pp. 210...
19th-Century Music. 2019; 423249 doi: https://doi.org/10.1525/ncm.2019.42.3.249
Published: 01 April 2019
... Liebe Get to Be So Slow? Robert Crowe: Falsetto in the Early Nineteenth Century Shaena Weitz: Propaganda and Reception in Nineteenth-Century Music Criticism 19th Century Music, vol. 42, no. 3, pp. 249 251. ISSN: 0148-2076, E-ISSN: 1533-8606 © 2019 by The Regents of the University of California. All...
19th-Century Music. 2018; 413206–224 doi: https://doi.org/10.1525/ncm.2018.41.3.206
Published: 01 March 2018
... contact with Viennese artistic circles, including the Burg- theater actress Amalie Haizinger, who recalled that, upon hearing him sing: We were all fired up, and invited a small group of aficionados straight away who also listened to him and helped make propaganda for his first concert (in those days...
19th-Century Music. 2018; 413225–251 doi: https://doi.org/10.1525/ncm.2018.41.3.225
Published: 01 March 2018
... Carroccio was published in New York and focused on Italian culture, propaganda, and defense in America (as stated in the mast- head). Maurel recalls that he offered to sing Tonio and accepted a longstanding invitation to sing at the Dal Verme only under the condition that the theater produce Leoncavallo s...
19th-Century Music. 2016; 402131–158 doi: https://doi.org/10.1525/ncm.2016.40.2.131
Published: 01 November 2016
19th-Century Music. 2016; 402159–181 doi: https://doi.org/10.1525/ncm.2016.40.2.159
Published: 01 November 2016
... over who truly understood Smetana s legacy and myth; see Kelly St. Pierre, Revolu- tionizing Czechness: Smetana and Propaganda in the Ume lecká Beseda, PhD diss. (Case Western Reserve Uni- versity, 2012), especially 146 76. 10Nejedly´ was a prolific writer, musicologist, and music critic whose dogmatic...
19th-Century Music. 2016; 393248–271 doi: https://doi.org/10.1525/ncm.2016.39.3.248
Published: 01 March 2016
..., Eloquence and Encounter, 95 96, for a discussion of how this affected and included the rather more distant locale of Corsica. 23See Detmar Klein, Becoming Alsatian: Anti-German and Pro-French Cultural Propaganda in Alsace, 1898 1914, in French Music, Culture, and National Identity, 1870 1939, 215 33, for...
19th-Century Music. 2013; 363248–263 doi: https://doi.org/10.1525/ncm.2013.36.3.248
Published: 01 March 2013
... connotations of the episode during the Restoration, and the reasons why the opera was created more than twenty years after the event as a piece of anti-royalist propaganda, in Donizetti and Wagner: Opéra de genre at the Théâtre de la Renais- sance, in Giacomo Meyerbeer and Music Drama in Nine- teenth-Century...
19th-Century Music. 2011; 35134–71 doi: https://doi.org/10.1525/ncm.2011.35.1.34
Published: 01 July 2011
... seductive propaganda among the masses, rule the public gardens, lounge in the salons, and smother the voices of critics [aristarques] with heavy blows to their throats.29 Several writers also denounced the romance for failing to contribute to the progress of art. One writer protested that a taste for easy...
19th-Century Music. 2009; 332110–150 doi: https://doi.org/10.1525/ncm.2009.33.2.110
Published: 01 November 2009
19th-Century Music. 2007; 303213–229 doi: https://doi.org/10.1525/ncm.2007.30.3.213
Published: 01 March 2007
19th-Century Music. 2005; 292185–295 doi: https://doi.org/10.1525/ncm.2005.29.2.185
Published: 01 November 2005
... consideration: it ought not to be given such prominence on ideological grounds that a critical evaluation of musical objectives is no longer viable. If historians interpret modernist classicism too readily in terms of the propaganda slogans of the day, such as Jean Cocteau s cry for a rappel à l ordre, then...
19th-Century Music. 2005; 291064–093 doi: https://doi.org/10.1525/ncm.2005.29.1.64
Published: 01 July 2005
... compa- rable to one of the special public propaganda concerts presented during the years of the Verein (Dec. 1918 Dec. 1921). 2See Owen Toller, Pfitzner s Palestrina: The Musical Leg- end and Its Background ([London]: Toccata Press, 1997), p. 287. For further background, see Craig Monson, The...
19th-Century Music. 2004; 282108–132 doi: https://doi.org/10.1525/ncm.2004.28.2.108
Published: 01 November 2004
... bekommen, er rühmte sich wohl mit Recht, daß er den ersten Entwurf des Musikstückes umgestoßen und zu dessen consequent charakteristischen Durchführung getrieben er machte ja damit Propaganda für sein System kurz Felix hing an ihm mit zärtlich hingebendem Vertrauen (Eduard Devrient, Meine Erinnerungen an...
19th-Century Music. 2003; 272137–155 doi: https://doi.org/10.1525/ncm.2003.27.2.137
Published: 01 November 2003
... seen as a corrective for the confusing problems of the Black City through education, cultural uplift, law and order, and a new kind of public spirit. 9 Education, going hand-in-hand with nation- alist propaganda, was a central theme of the fair from its planning stages. The Exposition s two primary...
19th-Century Music. 2002; 2613–22 doi: https://doi.org/10.1525/ncm.2002.26.1.3
Published: 01 July 2002
... coucher. And the collapse of such a preternaturally ordered world in 1789 had only served to broaden the audience for artistic propaganda, while blurring the distinctions be- tween stage and spectator still further.8 The gestures and vocabulary of theater became the means to sway audiences in the streets...