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self-and-consciousness

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Journal Articles
19th-Century Music (2008) 32 (2): 131–159.
Published: 01 November 2008
... perspective of the composer's strong historical sense and takes up ideas of musical memory, history, and circular narrative journey as embodied in the cyclical structure of the piece. The Octet enacts a coming to self-consciousness of its own musical history, a process with close parallels in the writings of...
Journal Articles
19th-Century Music (2017) 40 (3): 257–282.
Published: 01 March 2017
... art music, these songs explore the possibility of achieving a self-consciously collective authorial subjectivity, often reaching toward a musical intersubjectivity wherein boundaries between self and other—and between composer, performer, and listener—are collapsed. In the recognition of such...
Journal Articles
19th-Century Music (2008) 32 (1): 94–128.
Published: 01 July 2008
... underappreciated and underexplored aspect of his output (at least in the West), are characterized by a degree of literary and musical sophistication seldom attributed to the composer. Their self-consciousness is held to be the product of a combination of three main social and aesthetic forces characteristic of...
Journal Articles
19th-Century Music (2005) 29 (2): 142–160.
Published: 01 November 2005
...: This combination of narration and enactment mod- els self-consciousness, merging the aggrandizing im- pulse of German Idealism with the dynamic polarity of Goethean speculative empiricism. It also helps us understand why this music plays to one s sense of self: an external presence is simultaneously...
Includes: Multimedia, Supplementary data
Journal Articles
19th-Century Music (2020) 43 (3): 194–208.
Published: 01 March 2020
... embraces the fragmentation of the Self and launches her body into the bodies of Others. In order to seduce, the femme fatale must fragment herself and disseminate herself. The femme fatale is she who uses her voice as body, as material, to seize upon the other, crack herself up, and infil- trate sites of...
Journal Articles
19th-Century Music (2020) 43 (3): 143–169.
Published: 01 March 2020
... battle was believed to be channeled into his art. An influential 1927 monograph by J. W. N. Sullivan held that Beethoven s music navigates two essential drives, the capacity for suffering and the power of self-assertion that led him to overcome that suffering. Sullivan heard Beethoven s last works as...
Journal Articles
19th-Century Music (2019) 43 (2): 67–85.
Published: 01 November 2019
... consciousness, first of all to the orchestra s awareness and thereby to the listeners as well. The larger irony is that thewhole orchestra (and theworld it repre- sents) is obsessed no less than themaniático him- self. Brunetti shows his obsessions as congruent with (and responsive to) the orchestra around him...
Journal Articles
19th-Century Music (2019) 43 (2): 99–120.
Published: 01 November 2019
... second oblong of 72 degrees, relating to the right angle as 4 to 5 (major third).33 The resulting comparative table is given as plate 3, where the reciprocity between scales of pitch and of proportionally related rectangles appears self- reinforcing; each confirmed by the other s force of beauty...
Journal Articles
19th-Century Music (2019) 43 (2): 121–139.
Published: 01 November 2019
... Self-Portrait, in Carl Stumpf, The Origins of Music, ed. and trans. David Trippett (Oxford: Oxford University Press, 2012), 189 252; Helga Sprung and Lothar Sprung, Carl Stumpf: Eine Biografie: Von der Philosophie zur Experimentellen Psychologie (Munich: Profil, 2006). 3On Stumpf as philosopher, see...
Journal Articles
19th-Century Music (2019) 43 (2): 86–98.
Published: 01 November 2019
... during the Romantic period notions of self-expression and ingenuity were inflected by writings from the Jena Romantics and criticism in the wake of Jean Paul and E. T. A. Hoffman.29 At the same time, themechanicalmusicalmachi- nes have offered examples of technologies in which the creative potential of...
Journal Articles
19th-Century Music (2001) 25 (2-3): 296–312.
Published: 01 November 2001
... Symphony. In a mature work, the Variations and Fugue on a Theme of Bach, op. 81 (1904), for piano, Reger self-consciously places himself in the tradition of two monumental variation sets from the nineteenth century, Beethoven's "Diabelli" and Brahms's Handel Variations. Reger creates a complex temporal...
Journal Articles
19th-Century Music (2005) 29 (1): 031–041.
Published: 01 July 2005
... itself, it sounds as though it were in E minor). This melody, its harmonic setting, and the lulling quasi-dance rhythm of the entire texture to- gether create a rare and beautiful kind of charged stasis. There is a sense of singularity here, a kind of self-sufficiency, an intensive coherence that does...
Journal Articles
19th-Century Music (2019) 43 (1): 3–16.
Published: 01 July 2019
..., and abstract, treating the nature of Jesus self-sacrifice and its conse- quences for the believer not entirely affect-neutral but not a poem of sorrow either.2 Why did Bach inflect this text so affectively at all, turning this doctrinal statement into a moment of tragedy in the Passion? This problem...
Includes: Multimedia, Supplementary data
Journal Articles
19th-Century Music (2019) 42 (3): 184–224.
Published: 01 April 2019
... described as the benchmark for all Russian instrumental music.14 Perhaps most tellingly, Glinka s self-proclaimed heirs, the Balakirev circle members, also did not privilege Kamarinskaia among the three fantasias. Whereas Balakirev s letters abound with refer- ences to Madrid and particularly to Jota, one...
Journal Articles
19th-Century Music (2002) 26 (1): 52–72.
Published: 01 July 2002
... Beethoven's rightful heir, turns out to be crucial for his subsequent career when he settled in Weimar as a self-consciously great composer (and wrote his symphonic poems). The events surrounding Liszt's engagement in the Beethoven monument are used as an exemplar of a notion of nineteenth-century musical...
Journal Articles
19th-Century Music (2018) 42 (2): 73–95.
Published: 04 December 2018
... Atlantic: Modernity and Double Consciousness (London: Verso, 1993). 14Robin D. G. Kelley, Notes on Deconstructing The Folk American Historical Review 97/5 (1992): 1400 08; Regina Bendix, In Search of Authenticity: The Formation of Folklore Studies (Madison: University of Wisconsin Press, 1997); and...
Journal Articles
19th-Century Music (2018) 42 (2): 123–154.
Published: 04 December 2018
... Joachim, which invariably show him absorbed or engrossed in the musical per- formance, unaware of the presence of a viewer, and characterized by a total identification with artistic activity. Such images project notions of self-control, even self-denial, or self-sacrifice, which are important tropes in...
Journal Articles
19th-Century Music (2018) 42 (1): 3–29.
Published: 01 July 2018
... the Enlight- enment: Mechanics, Artisans, and Cultures of the Self [Chi- cago: University of Chicago Press, 2013], esp. 201 30); Katherine Hirt (When Machines Play Chopin: Musical Spirit and Automation in Nineteenth-Century German Lit- erature [Berlin: De Gruyter, 2010 and Terrance Riley ( Composing...
Journal Articles
19th-Century Music (2018) 41 (3): 225–251.
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) 41 (1): 48–74.
Published: 01 July 2017
... a hit in the provinces and abroad. And now it s caught on again in Paris! 3 In light of his extensive revisions to Viviane, Chausson s self-deprecating note to Godet on the eve of the 1888 performance could be read on first glance as an apology for a work of juvenilia. More importantly, though, the...