1-20 of 230 Search Results for

self-borrowing

Follow your search
Access your saved searches in your account

Would you like to receive an alert when new items match your search?
Close Modal
Sort by
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 (2009) 33 (2): 81–109.
Published: 01 November 2009
... was also distinguished by a spate of self-borrowing; his 1838 revision of the earlier Gabriella di Vergy borrows material from Maria de Rudenz . Exploring the connections between the trope of gothic resurrection and Donizetti's borrowings highlights how the two works represent a characteristic...
Journal Articles
19th-Century Music (2008) 32 (1): 52–93.
Published: 01 July 2008
... and chart its compositional history and generic evolution. A comparative presentation of selected revisions, alternatives, and variants from the work illustrates the problematic juncture between improvisation and composition, the extent to which self-borrowing and the interchangeability of texts raise...
Journal Articles
19th-Century Music (2001) 25 (2-3): 237–265.
Published: 01 November 2001
... and theoretical studies written in the last years of his life (1930-31). This discussion highlights the importance of d'Indy's borrowing from Parsifal : as Fervaal and its immediate contexts can tell us much about d'Indy's nationalist ideals and about his self-understanding as a French Wagnerian, so...
Journal Articles
19th-Century Music (2020) 43 (3): 170–193.
Published: 01 March 2020
... psychological standards. 13 To put it mildly, theories of unreliable literary narration have not been without their controversies. Just the same, Phelan s six types of unreliabil- ity,widely cited, open thedoor to a colorful assort- ment of unreliable character-types: for example, the self-deluded, like Stevens...
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 (2019) 43 (1): 38–60.
Published: 01 July 2019
... that the leverage his journal afforded in con- trolling stories, self-promoting, and counter- acting negative press warranted a loss of income. While all publishing house journals were compromised in some way about their publish- ing commitments, the Gazette musicale was 26Ellis, Music Criticism, 46 47...
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 (2018) 42 (2): 73–95.
Published: 04 December 2018
... broader political commitment to understand- ing the complex patterns of human agency lying tacitly beneath folklorists theories and collections. Stressing acts of individual artistry, initiative, and borrowing as points of origin rather than spontaneous acts of commu- nal creation, Jacobs proposed that...
Journal Articles
19th-Century Music (2018) 42 (2): 96–122.
Published: 04 December 2018
... was more mysterious and fraught with pitfalls. Having followed the non-signposted routes of a self-taught or nearly self-taught man, [operating] outside of any school and without an officially sanctioned teacher, 22 Chabrier was often considered an amateur, 23 even if he was appreciated by the...
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): 30–52.
Published: 01 July 2018
... into the low G is performed like a string of pearls, perfectly spaced, without pas- sion. The chromatic scales in octaves are equally self-possessed, unwinding with a clockmaker s perfection, commencing as if Lucille were prac- ticing at half speed. Her hands are rigid, like her body at the piano...
Journal Articles
19th-Century Music (2017) 41 (2): 95–120.
Published: 01 November 2017
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...
Journal Articles
19th-Century Music (2017) 41 (1): 75–92.
Published: 01 July 2017
..., shaking his head topped with a handkerchief and a panama, wielding a mean racquet, and managing to chat endlessly with the referee, with the audience, with his opponent, with his partner . . . and with him- self, and never tiring. What a guy! 20 Another tournament elicited additional musical accom...
Journal Articles
19th-Century Music (2017) 40 (3): 239–256.
Published: 01 March 2017
... represent the self-contained space of the soul. Rather, they present a state of immer- sive plenitude for which the garden stands as a metaphor. This aesthetic attitude pervades Fauré s songs, from Mai, op. 1, no. 2 (1862)7 to the late cycles La chanson d Eve (1910) and Le jardin clos (1914), both to...
Journal Articles
19th-Century Music (2016) 40 (2): 159–181.
Published: 01 November 2016
... given context. I use them here to refer to broad generic categories (symphonic music that may or may not have a claim to represent something outside it- self) and in their historical sense as constructed in opposi- tion to one another, especially in the 1880s and 1890s. See Sanna Pederson, Defining the...
Journal Articles
19th-Century Music (2016) 40 (2): 106–130.
Published: 01 November 2016
..., deployment, and implications in- sist upon these contradictions. 11 Alienation and dislocation are hence central to the conceit of Ibsen s play, and to the affective properties of Grieg s music. Without this capacity for self- reflection, the sheer richness and diversity of Ibsen s text, and its musical...
Journal Articles
19th-Century Music (2016) 40 (2): 131–158.
Published: 01 November 2016
..., Life and Ballets of Lev Ivanov, 141, from Birzhevye vedomosti, 8 December 1892, 3 (signed Domino). Also quoted in Wiley, Life and Ballets of Lev Ivanov, 141, from Journal de Saint-Pétersbourg, 9 Decem- ber 1892. 46Quoted in Alexandra Orlova, Tchaikovsky: A Self-Por- trait, trans. R. M. Davison (Oxford...
Journal Articles
19th-Century Music (2016) 40 (1): 7–19.
Published: 01 July 2016
... account, making her war-path at the piano a parody of the physical hardships of the battlefield. Her savage way with discords, wading chin-deep in the blood of the slain, suggests that her self-contained girlish inno- cence is the vehicle of an appetite that can be gorged only, to put it mildly...