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walt-whitman

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Journal Articles
19th-Century Music. 2016; 40120–46 doi: https://doi.org/10.1525/ncm.2016.40.1.20
Published: 01 July 2016
... repeatedly and poignantly acknowledged in the poetry and prose of Walt Whitman. The Civil War was the first to be extensively photographed, which brought the realities of its extreme violence into sharp relief throughout the country on both sides of the conflict. Battlefield photographers often focused their...
Journal Articles
19th-Century Music. 2016; 4013–5 doi: https://doi.org/10.1525/ncm.2016.40.1.3
Published: 01 July 2016
... conference, which lends its title to the issue, commemorated two events: the 150th anniver- sary of the de facto end of the American Civil War in April 1865, and the publication at roughly the same time of the original version of Walt Whitman s collection of Civil War poems, Drum- Taps. The volume was in...
Journal Articles
19th-Century Music. 2016; 40147–55 doi: https://doi.org/10.1525/ncm.2016.40.1.47
Published: 01 July 2016
... beat pulled people behind in a musical queue. On other occasions, though, music is lulling, and by that I don t mean necessarily as in a lullaby, but as in the useful expression of Walt Whitman, in Song of Myself, when lulling means the personal and sensory response to rhythmic sound: Only the lull...
Journal Articles
19th-Century Music. 2016; 4017–19 doi: https://doi.org/10.1525/ncm.2016.40.1.7
Published: 01 July 2016
... that was notably terrible Walt Whitman called it a bloody holocaust, in part because the woods in which it was fought caught fire but a stalemate?21 This absence of a glorification of war may also relate to Hatch s gender. It is difficult to imagine that anyone felt the casualties of the bloodiest...
Journal Articles
19th-Century Music. 2016; 393187–222 doi: https://doi.org/10.1525/ncm.2016.39.3.187
Published: 01 March 2016
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19th-Century Music. 2014; 38179–112 doi: https://doi.org/10.1525/ncm.2014.38.1.079
Published: 01 July 2014
...) Holy Children 2. Hark, my soul, how 2. John Austin (1613 69) everything Dona nobis 1. Agnus Dei 1. Mass (Latin) pacem (1936) 2. Beat! Beat! Drums! 2. Walt Whitman (1819 92) 3. Reconciliation 3. Whitman 4. Dirge for Two Veterans 4. Whitman 5. Political speech / from the 5. John Bright (1811...
Journal Articles
19th-Century Music. 2012; 362146–158 doi: https://doi.org/10.1525/ncm.2012.36.2.146
Published: 01 November 2012
... dy- ing poets to the more immediate reality of dying sons, husbands, and brothers. Walt Whit- man s poem A March in the Ranks Hard-Prest, 8Of course, many pieces lie outside this general character- ization; often ballads were modeled on operatic styles rather than folk ones, and some, including...
Journal Articles
19th-Century Music. 2008; 313193–216 doi: https://doi.org/10.1525/ncm.2008.31.3.193
Published: 01 March 2008
Journal Articles
19th-Century Music. 2005; 283230–253 doi: https://doi.org/10.1525/ncm.2005.28.3.230
Published: 01 March 2005
... Bloom has recently given this exploration of latency in Shakespeare a new definition, and uses it as the central thesis of his Shakespeare: The Invention of the Human. Quoting Ralph Waldo Emerson s words to the aspiring young poet Walt Whitman, I greet you at the begin- ning of a great career, which...
Journal Articles
19th-Century Music. 1994; 182152–167 doi: https://doi.org/10.2307/746358
Published: 01 October 1994
... 18 Lewis Hyde, The Gift: Imagination and the Erotic Life of Property (New York, 1983), p. xii. Hyde xii The Gift: Imagination and the Erotic Life of Property 1983 19 The Nigger of the Narcissus (quoted in Hyde, The Gift, p. 153) 153 The Nigger of the Narcissus 20 Walt Whitman...
Journal Articles
19th-Century Music. 1989; 13128–38 doi: https://doi.org/10.2307/746209
Published: 01 July 1989
...: A Historical Anthology 1770-1965 1966 Alan H. Levy, Musical Nationalism: American Composers' Search for Identity (Westport, 1983), chap. 1 Levy chap. 1 Musical Nationalism: American Composers' Search for Identity 1983 7 Walt Whitman, "Democratic Vistas," in Whitman: Poetry and Prose...
Journal Articles
19th-Century Music. 1993; 163242–252 doi: https://doi.org/10.2307/746393
Published: 01 April 1993
... a theatrical icon of the inspired musician; what it hears is a highly charged extension of the performer's touch, breath, rhythm: the body electric, in Walt Whitman's phrase" (Music as Cultural Practice, 1800-1900 [Berkeley and Los Angeles, 1990), p. 90). 245 19TH CENTURY MUSIC love, and romantic...
Journal Articles
Journal Articles
19th-Century Music. 1987; 11192–104 doi: https://doi.org/10.2307/746634
Published: 01 July 1987
... elements of a cosmopolitan Euro- pean spirit" whose finest symbol was Bayreuth. This was all possible because Wagner was "ter- rifyingly expressive," his work filled with "grip- ping moments" (pp. 32-36). With ambivalence, Mann noted in 1908 that while Walt Whitman probably had "more in- fluence on the...
Journal Articles
19th-Century Music. 1985; 92156–160 doi: https://doi.org/10.2307/746581
Published: 01 October 1985
... Always Round Me, three poems by Walt Whitman for voice and piano, was premiered in New York in May 1985; a new song cycle on texts by Emily Dickinson will be premiered in January 1986. David B. Levy holds the Ph.D. in musicology from the Eastman School of Music and is Assist- ant Professor of Music at...