Relevant bibliographies by topics / Symphony 19th century Austria

Academic literature on the topic 'Symphony 19th century Austria'

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Published: 4 June 2021
Last updated: 2 February 2022

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Journal articles on the topic "Symphony 19th century Austria":

1

Martynova, V. I. "Concerto for Oboe and Orchestra in the Works by Modern Time Composers: Aspects of Genre Stylistics." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 54, no. 54 (December 10, 2019): 71–93. http://dx.doi.org/10.34064/khnum1-54.05.

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Introduction. Concerto for oboe and orchestra in the music of modern time (20th – early 21st centuries), on the one hand, is based on the traditions of past eras, on the other hand, it contains a number of new stylistic trends, among which the leading trend is the pluralism of composer’s decisions. Despite this, the works created during this period by the composers of different national schools can be divided into three groups – academic, experimental, and pastoral. The article gives the review of them. Objective. The main objective of the article is to identify the features of genre stylistics in oboe concertos by composers of the 20th – early 21st centuries. Methods. In order to realize this objective, the elements of a number of general scientific and special musicological research methods have been used – historical-and-genetic, deductive, comparative, organological, stylistic, genre and performing analysis. Results and Discussion. The article discusses and systematizes the features of the genre stylistics of modern time oboe concertos. Based on the analysis of the historical-and-stylistic context, the correlation of traditions and innovations in the oboe-concerto genre, as well as the nature of the relationship between concerto and chamber manners as its common features are revealed. The classification of oboe concertos of the specified period by three genre-and-style groups – academic, experimental, and pastoral, is proposed. The main development trends in each of these groups are analyzed, taking into account the genre, national and individual-author’s stylistics (more than 70 pieces are involved). For the first time, the generalizations are proposed regarding the oboe expressiveness and techniques, generally gravitating towards universalism as a style dominant in the concerto genre. It is noted that, in spite of this main trend, the oboe in the concertos by modern time masters retains its fundamental organological semantics – the aesthetics and poetics of pastoral mode. The music of modern time, the count of which starts from the last decade of the 19th century and to present, comes, on the one hand, as a unique encyclopedia of the previous genres and styles, and on the other hand, as a unique multicomponent artistic phenomenon of hypertext meaning. The first is embodied in the concept of the style pluralism which means the priority of the person’s (composer’s and performer’s) component in aesthetics and poetics of a musical work. The second involves an aspect of polystylistics that is understood in two meanings: 1) aesthetic, when different stylistic tendencies are represented in a particular artistic style; 2) purely “technological”, which is understood as the technique of composing, when different intonation patterns in the form of style quotations and allusions (according to Alfred Schnittke) constitute the compositional basis of the same work. It is noted that the oboe concertos of the modern time masters revive the traditions of solo music-making, which were partially lost in the second half of the 19th century. At the new stage of evolution, since the early 20th century (1910s), the concerto oboe combines solo virtuosity with chamber manner, which is realized in a special way by the authors of different styles. Most of them (especially in the period up to the 1970s–1980s of the previous century) adhere to the academic model which is characterized by a three-part composition with a tempo ratio “fast – slow – fast” with typical structures of each of the parts – sonata in the first, complex three-part in the second, rondo-sonata in the third, as well as traditional, previously tried and used means of articulation and stroke set (concertos by W. Alvin, J. Horovitz – Great Britain; E. T. Zwillich, Ch. Rouse – USA; O. Respighi – Italy; Lars-Erik Larrson – Switzerland, etc.). The signs of the oboe concertos of the experimental group are the freedom of structure both in the overall composition and at the level of individual parts or sections, the use of non-traditional methods of playing (J. Widmann, D. Bortz – Germany; C. Frances-Hoad, P. Patterson – England; E. Carter – USA; J. MacMillan – Scotland; O. Navarro – Spain; N. Westlake – Australia). The group of pastoral concertos is based on highlighting the key semantics of oboe sound image. This group includes concertos of two types – non-programmatic (G. Jacob, R. Vaughan Williams, M. Arnold – Great Britain; О. T. Raihala – Finland; M. Berkeley, Е. Carter – USA and other authors); programmatic of two types – with literary names (L’horloge de flore J. Françaix – France; Helios, Two’s Company T. Musgrave; Angel of Mons J. Bingham – Great Britain); based on the themes of the world classics or folklore (two concertos by J. Barbirolli – Great Britain – on the themes of G. Pergolesi and A. Corelli; Concerto by B. Martinu – Czechia – on the themes from Petrushka by I. Stravinsky, etc.). This group of concertos also includes the genre derivatives, such as suite (L’horloge de flore J. Françaix); fantasy (Concerto fantasy for oboe, English horn and orchestra by V. Gorbulskis); virtuoso piece (Pascaglia concertante S. Veress); concertino (Concertino by N. Scalcottas, R. Kram, A. Jacques); genre “hybrids” (Symphony-Concerto by J. Ibert; Symphony-Concerto by T. Smirnova; Chuvash Symphony-Concerto by T. Alekseyeva; Concerto-Romance by Zh. Matallidi; Concerto-Poem for English horn, oboe and orchestra by G. Raman). Conclusions. Thus, the oboe concerto in the works by modern time composers appears as a complex genre-and-intonation fusion of traditions and innovations, in which prevail the individual-author’s approaches to reproducing the specificity of the genre. At the same time, through the general tendency of stylistic pluralism, several lines-trends emerge, defined in this article as academic, experimental, and pastoral, and each of them can be considered in more detail in the framework of individual studies.
2

Lee, Hyangsu. "German Hegemony in Symphony Genre of the 19th century and Symphony of Nationalist as the Others." 音.樂.學 19, no. 1 (June 2011): 97–137. http://dx.doi.org/10.34303/mscol.2011.19.1.004.

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Walker, Sarah. "Cultural barriers to market integration: Evidence from 19th century Austria." Journal of Comparative Economics 46, no. 4 (December 2018): 1122–45. http://dx.doi.org/10.1016/j.jce.2018.05.001.

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Supady, Jerzy. "The beginnings of modern nursing in the 19th century." Health Promotion & Physical Activity 7, no. 2 (July 2, 2019): 1–4. http://dx.doi.org/10.5604/01.3001.0013.2654.

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The formation of modern nursing is associated with socio–political factors including the wars fought during the second half of the 19th century. The Crimean War resulted in reforms undertaken by Florence Nightingale in nursing care of the sick and the wounded. As a consequence of the military conflict between France and Austria in 1859 the Red Cross organization was founded.
5

Hahn, Sylvia. "Migration, job opportunities, and households of metalworkers in 19th-century Austria." History of the Family 8, no. 1 (January 2003): 85–102. http://dx.doi.org/10.1016/s1081-602x(03)00008-3.

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Kotova, Elena. "The German Question in the Foreign Policy of the Austrian Empire in 1850—1866." ISTORIYA 12, no. 6 (104) (2021): 0. http://dx.doi.org/10.18254/s207987840016050-4.

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For centuries, the House of Austria (the Habsburgs) maintained its leadership in the Holy Roman Empire, and later in the German Union. But in the middle of the 19th century the situation changed, Austria lost its position in Germany, lost to Prussia in the struggle for hegemony. The article examines what factors influenced such an outcome of the German question, what policy Austria pursued in the 50—60s of the 19th century, what tasks it set for itself. The paper traces the relationship between the domestic and foreign policy of Austria. Economic weakness and political instability prevented the monarchy from pursuing a successful foreign policy. The multinational empire could not resist the challenge of nationalism and prevent the unification of Italy and Germany. Difficult relations with France and Russia, inconsistent policy towards the Middle German states largely determined this outcome. The personal factor was also important. None of the Austrian statesmen could resist such an outstanding politician as Bismarck.
7

Diergarten, Felix. "Time out of joint — Time set right: Principles of form in Haydn’s Symphony No. 39." Studia Musicologica 51, no. 1-2 (March 1, 2010): 109–26. http://dx.doi.org/10.1556/smus.51.2010.1-2.8.

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The opening of Haydn’s Symphony No. 39 in G minor is interrupted by two unusually long grand pauses. These brief suspensions of the time continuum reveal Haydn’s search for new narrative strategies for a genre caught up in the tensions between the boisterous concert opener, courtly representation, the bourgeois concert hall and the demands of “connoisseurs.” This use of the Generalpause points toward a period of upheaval in the development of symphonic forms in the 18th century. A comparative analysis examining the primarily “punctuated” concept of form in the 18th century in relation to the primarily thematic concept of form in the 19th century and the synthesis of both in the writings of Anton Reicha can show that the process of developing formal functions becomes especially acute in Haydn’s Symphony No. 39, with the two grand pauses playing a key role. Such a reading of Haydn, which seeks to reconcile “historically informed” analysis with emphatic interpretation, illustrates how the spectacular grand pauses in the Symphony No. 39 can suggest a brief suspension of not only the work’s own immanent time but the historical time of 18th-century music history.
8

Minárik, Pavol, Marek Vokoun, and František Stellner. "Innovative activity and business cycle: Austria in the 19th and 20th century." E+M Ekonomie a Management 21, no. 2 (June 25, 2018): 53–68. http://dx.doi.org/10.15240/tul/001/2018-2-004.

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9

Sirotkina, Evgenya V. "The Image of Austria in Russian Public Opinion in the XIX – Early XX Century." Izvestiya of Saratov University. New Series. Series: History. International Relations 20, no. 3 (2020): 364–69. http://dx.doi.org/10.18500/1819-4907-2020-20-3-364-369.

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The article examines the process of forming the image of Austria in Russian public opinion in the 19th – early 20th century. The author pays main attention to the influence that public opinion had during this period on the development of Russian-Austrian relations. The author concludes that the negative image of Austria formed in public opinion had a significant impact on the development of the Russian government’s foreign policy, hindered the search for compromises and pushed for confrontation.
10

Wald, Melanie. "„Ein curios melancholisches Stückchen“: Die düstere Seite von Haydns fis-Moll Sinfonie Hob. I:45 und einige Gedanken zur pantomime in der Instrumentalmusik." Studia Musicologica 51, no. 1-2 (March 1, 2010): 79–90. http://dx.doi.org/10.1556/smus.51.2010.1-2.6.

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Haydn’s symphony no. 45, especially the final Farewell -Andante, has been looked at puzzlingly twofold: More recent understandings emphasize the wit and humour of the finale, while reports of the late 18th and early 19th century tend to notice a gloomier, even melancholic tint. This perception here is taken as a starting point for an interpretation of that symphony in terms of the 18th-century notion of melancholy as noble suffering of princes, intellectuals, and artists. Since musical works of melancholy are normally for piano or a soloist to allow for an identification of the player and the melancholic, a symphony leads us to ask anew for the melancholy persona of that orchestral piece. Answers are tried that highlight the respective roles of the orchestra, Haydn, and his most eminent listener, Prince Esterházy, within that game of deciphering melancholy. In addition, the different anecdotes concerning the Farewell -finale are analysed as tokens of an aesthetic irritation that try to tame the bewildering musical language of that symphony by linking it with extra-musical narratives. Finally, the often mentioned pantomimic aspect of the finale is taken into account and is interpreted as an important aspect of Haydn’s effort to produce meaning in the instrumental genres.
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Journal articles Dissertations / Theses Books

Dissertations / Theses on the topic "Symphony 19th century Austria":

1

Cooper, Amy Nicole. "Criticism of Beethoven's Pastoral Symphony in London and Boston, 1819-1874: A Forum for Public Discussion of Musical Topics." Thesis, University of North Texas, 2011. https://digital.library.unt.edu/ark:/67531/metadc103304/.

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Critics who discuss Beethoven’s Pastoral Symphony often write about aspects that run counter to their conception of what a symphony should be, such as this symphony’s static nature and its programmatic elements. In nineteenth-century Boston and London, criticism of the Pastoral Symphony reflects the opinions of a wide range of listeners, as critics variably adopted the views of the intellectual elite and general audience members. As a group, these critics acted as intermediaries between various realms of opinion regarding this piece. Their writing serves as a lens through which we can observe audiences’ acceptance of ideas common in contemporaneous musical thought, including the integrity of the artwork, the glorification of genius, and ideas about meaning in music.
2

Deruchie, Andrew. "The French symphony at the fin de siècle style, culture, and the symphonic tradition /." Thesis, McGill University, 2008. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=115596.

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This dissertation examines the symphony in late nineteenth- and early twentieth-century France by way of individual chapters on the period's seven most influential and frequently performed works: Camille Saint-Saens's Third Symphony (1885-86), Cesar Franck's Symphony in D minor (1887-88), Edouard Lalo's Symphony in G minor (1886), Vincent d'Indy's Symphonie sur un chant montagnard franrcais (1886) and Second Symphony (1902-03), Ernest Chausson's Symphony in B-flat (1890), and Paul Dukas's Symphony in C (1896). Beethoven established the primary paradigm for these works in his Third, Fifth; and Ninth Symphonies, and the principal historical issue I address is how French composers reconciled this paradigm with their own aesthetic priorities within the musical and cultural climate of fin-de-siecle France.
Previous critics have viewed this repertoire primarily with limited structuralist methodologies. The results have often been unhappy: all of these symphonies are in some ways formally idiosyncratic and individual, and their non-conforming aspects have tended to puzzle or disappoint. My study draws on recent methods developed by Warren Darcy, Scott Burnham, and others that emphasize the dynamic and teleological qualities of musical form. This more supple approach allows a fuller appreciation of the subtle and sophisticated ways in which individual works unfold formally, and the spectrum of procedures French composers employed.
My study demonstrates that the factors shaping the French symphony in this period included imperatives of progress as well as the popularity of the symphonic poem. Some of the earlier symphonists covered in this study also felt the need to confront Wagner's influential theoretical writings: mid -century he had famously proclaimed the death of the symphony. As many writers have argued, the archetypal heroic "plot" that Beethoven's symphonies express embodies the subject-laden values---notions of individual freedom and faith in the self---that prevailed in his time. Different inflections of this plot by French symphonists, I argue, reflect the variegated ways fin-de-siec1e French culture had received these values.
3

Callison, Hugh A. "Nineteenth-century orchestral trombone playing in the United States." Virtual Press, 1986. http://liblink.bsu.edu/uhtbin/catkey/474196.

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The nineteenth century was a time of musical and cultural growth in the United States. Six of the major orchestras which exist today were established during this time. From the birth of the New York Philharmonic in 1842 through the founding of the Philadelphia Orchestra in 1900, audiences that valued orchestral music provided an impetus for professional orchestral development.A comprehensive review of the events leading up to the establishment of the New York Philharmonic, Boston Symphony, Chicago Symphony, Cincinnati Symphony, and Philadelphia Orchestras provides a basis for understanding the nature of professional orchestral trombone playing in the United States before 1900. It was found that orchestras were established in a common manner though growth was often retarded by social and economic factors. The Civil War, especially, was an event which momentarily hindered the growth of American symphony orchestras.Biographical data about the orchestral trombone players of the nineteenth century is very incomplete in the standard texts for American music history. A registry of orchestral trombonists in the United States during this period identifies 65 trombone players who were active in major symphony orchestras. An examination of the lives of some of the better-known orchestral trombonists shows that most of these musicians immigrated from Germany. The largest number of these musicians seem to have immigrated during a period from about 1870 to 1900. These capable musicians were leaders in the development of orchestras whose personal performance was reported to be of high quality. Especially influential was Frederick Lesch, a trombonist in the Theodore Thomas Orchestra and the New Philharmonic, who served as a principal player, bass trombonist, and soloist. His performance of Ferdinand David's Concertino for Trombone and orchestra is a landmark in the growth of orchestral trombone playing.A review of literature which includes a listing of all pieces performed by major orchestras during the nineteenth century establishes the repertoire of the orchestral trombonist of the period. Through analysis of this repertoire, the technical requirements for orchestral trombone playing are established. Technique, pitch range, and dynamic range were areas where the greatest demands were made upon the players. The orchestral trombonists of the nineteenth century were indeed pioneers who set the stage for today's orchestral trombone players.
4

Halbwidl, Dieter Anton. "The teaching of history at the Habsburg Universities of Vienna, Graz and Innsbruck, compared to Padova and Pavia between 1848 and 1855 /." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape11/PQDD_0003/NQ44449.pdf.

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Silverthorne, Diane. "New spaces of art, design and performance : Alfred Roller and the Vienna Secession 1897-1905." Thesis, Royal College of Art, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.602330.

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6

Clayden, Mark John. "Music, timbre, colour in fin-de-Siècle Vienna : Zemlinsky, Schreker, Schoenberg." Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:73c4d92f-5754-43d0-b07d-31975ad0539c.

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Timbre and orchestration are neglected parameters in analytical writing, partly because analysis traditionally privileges pitch organisation as the primary structural parameter in music, but also because timbre appears more resistant than pitch to theoretical abstraction and systematisation. Yet, in the music of early twentieth-century Viennese composers such as Schreker, Zemlinsky and Schoenberg, timbre often assumes a pre-eminent place in musical design and formal architecture. In such works, timbre often moves from what Robert Hopkins (1990) describes as a 'secondary parameter' to the forefront of a listener's consciousness. Conventional analytical approaches - including Schenkerian, Neo-Riemannian or pitch-class set theories - arguably have little to offer at such moments. This thesis begins by examining the 'crisis of response' to timbre in fin-de-siècle Austro-Germanic circles and, in particular, to the increasingly complex timbral constructions of many Viennese composers, such as Franz Schreker and Arnold Schoenberg. The crisis of response appeared to stem from an inherited nineteenth-century view of orchestration as ornamental in function, as well as the lack of an appropriate analytical framework and meta-language with which to critique the growing importance of timbre as a musical parameter. This thesis contributes to the discussion as to the how the area of timbral analysis might develop: firstly, by treating timbre as an 'emergent' property rather than an absolute analytical category (i.e., that timbre often results from a complex interaction of multiple musical parameters); secondly, by considering the effect of timbre's spatial properties within the auditory scene on subject-position through examination of contemporary and more recent theories on the convergence of the visual and auditory arts; and thirdly, through timbre's ability to function as an agent of immanent musical critique through disjunctive juxtapositions, or by historically-contextualized responses to codified orchestral tropes as found in Alexander Zemlinsky's 'Der Zwerg'. Timbre certainly was not always the secondary parameter some fin-de-siècle critics suggested it was, or wanted it to be. The joint purpose of this thesis is to offer historically-engaged analytical readings of neglected works from twentieth-century Vienna (alongside a few better-known works whose timbral construction had been left unanalyzed), and to reflect on the benefits of applying recent research to contemporary theories of timbre. These two aims are set in productive counterpoint rather than a straightforward synthesis, with the adoption of recent cognitive research and theories of subject-position feeding into analyses of historical work in order to try to mediate the gap between theory, text, and musical practice.
7

Venegas, Carro Gabriel Ignacio, and Carro Gabriel Ignacio Venegas. "The Slow Movements of Anton Bruckner's Symphonies: Dialogical Perspectives." Diss., The University of Arizona, 2017. http://hdl.handle.net/10150/626364.

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This study presents a detailed analytical examination of formal organization in Anton Bruckner’s early instrumental slow movements: from the String Quartet, WAB 111, to the Third Symphony, WAB 103. It proposes an analytical methodology and conception of the formative process of musical works that seeks to 1) reappraise the development and idiosyncrasies of his slow movements’ form, and 2) turn the textual multiplicity often associated with Bruckner’s large-scale works (a scholarly issue often referred to as the “Bruckner Problem”) into a Bruckner Potential. In addressing traditional and innovative formal aspects of Bruckner’s music, critics have tended to overemphasize one side or the other, consequentially portraying his handling of form as either whimsical or excessively schematic. By way of a reconstruction of Bruckner’s early experiments with slow-movement form (1862–1873), this study argues that influential lines of criticism in the reception history of Bruckner’s large-scale forms find little substantiation in the acoustical surface of Bruckner’s music and its dialogic engagement with mid- and late-19th-century generic expectations. Because the textual multiplicity often associated with Bruckner’s works does not sit comfortably with traditional notions of authenticity and authorship, Bruckner scholarship has operated under aesthetic premises that fail to acknowledge textual multiplicity as a basic trait of his oeuvre. The present study circumvents this shortcoming by conceiving formal-expressive meaning in Bruckner’s symphonies as growing out of a dual-dimensional dialogue comprising 1) an outward dialogue, characterized by the interplay between a given version of a Bruckner symphony and its implied genre (in this case, sonata form); and 2) an inward dialogue, characterized by the interplay among the various individualized realizations of a single Bruckner symphony. The analytical method is exemplified through a detailed consideration of each of the surviving realizations of the slow movement of Bruckner’s Third Symphony, WAB 103.
8

Li, Chao (Conductor). "Liszt's Portrayal of Goethe's Faust Using Flat 6th Scale Degree as Harmonic Organizing Principle in the Faust Movement from His Faust Symphony." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1505162/.

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Franz Liszt's Faust Symphony has suffered neglect since its premiere in 1857. The analysis in this study aims to clarify some of the misunderstandings which have led to this neglect, particularly concerning Liszt's formal structure and character portrayal. In the Faust movement, the flat 6th scale degree (♭6) plays a prominent role in harmonic organization. Nineteenth-century composers sometimes used the distinct sonic color of chromatic-third progressions, as Liszt does here between C and E rather than diatonic movement by fifth to evoke a distant dream-world state. Liszt's conspicuous and form-defining use of ♭6 in the Faust movement suggests fantasy and mysterious elements ripe for programmatic interpretation. In this dissertation, I will attempt to clarify how Liszt portrayed the character of Faust by using the flat 6th scale degree as a crucial harmonic organizing principle in the Faust movement.
9

White, Jonathan Paul. "The symphonies of Charles Villiers Stanford : constructing a national identity?" Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:6d16fac7-bb70-4ba9-bf0e-17c0a9f26ce5.

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Writing in 2001, musicologist Axel Klein concluded that Stanford’s reception history has been significantly impacted by the complicated national identities surrounding both the composer and his music. A lifelong devotee of the nineteenth-century Austro-Germanic tradition, Stanford’s status as an Irish-born leading figure of the ‘English’ Musical Renaissance has compromised the place that the composer and his musical output occupy within the history of Western music. Stanford is well-known for being an outspoken critic on matters musical and Irish. Although his views seldom appear ambiguous, there is still a sense that the real Stanford remains partially obscured by his opinions. Through an examination of his symphonic works, this thesis seeks to readdress our understanding of Stanford and his relationship with Ireland and the musical community of his time. Although A. Peter Brown has stated that the symphony was not a central genre for the composer, it is my argument that, on the contrary, the symphony was a pivotal form for him. Considering these works within the broader history of the symphony in Europe in the nineteenth century, and through a critical examination of Stanford’s relationship with Ireland, this thesis seeks to demonstrate that these seven works can be read as an allegory for the composer’s relationship both with his homeland and with the musical community of his time. His struggle to combine the universality of symphonic expression with a need to articulate his Irish identity parallels Stanford’s own attempts to integrate himself within both British and European musical communities, and further demonstrates, in his eventual rejection of it, that it was only when he attempted to forge a more individualistic path through his music that he found a way of expressing his individual Irish identity.
10

Kostera, Thomas. "When Europa meets Bismarck: cross-border healthcare and usages of Europe in the Austrian healthcare system." Doctoral thesis, Universite Libre de Bruxelles, 2014. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/209268.

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In a series of landmark rulings on patient mobility and cross-border healthcare, the European Court of Justice (ECJ) has made clear that Member States’ healthcare systems have to comply with the rules of the EU’s Internal Market when it comes to individual patient rights and the non-discrimination of healthcare providers. The rulings increased the possibilities for EU Member State citizens to get medical treatment in another Member State (“cross-border healthcare”), yet providing that under certain conditions the home Member State has to pay for these treatments in the other country. After a decade of negotiations, these rulings have been codified in a European Directive. Assuming that European integration has an impact on national welfare states and taking the example of European rules on access to cross-border healthcare, this thesis suggests analyzes the domestic impact of European integration in terms of Europeanization of the Austrian healthcare system within the context of the interplay between actors’ interests and practices on the one hand, and institutional effects on the other. European cross-border healthcare in forms of regional projects and privately or publicly organized healthcare arrangements has already become a reality in many European countries, especially in border regions. The main research questions which guides this thesis can be be put as follows: How does European integration in healthcare impact on the interests, practices and strategies of national actors that operate between national institutional constraints and European opportunities? And if national actors’ interests and strategies change, does this in turn have repercussions on the national institutional rules of healthcare governance? Given that European integration in healthcare delivery is a rather a “recent” phenomenon, and based on the assumption that actors’ strategies change more easily than national institutions, the following hypothesis is tested: Even if national healthcare actors use Europe – and hence their practices and strategies change – their interests remain largely determined by the national institutional set-up of the healthcare system. The institutional boundaries of the national healthcare system may have become porous, but for the time being they remain intact. The main findings of this study confirm the hypothesis and can be summarized as follows: Austrian actors responsible for the delivery of healthcare actively integrate various usages Europe into their existing practices of healthcare governance. These usages of Europe are more frequent at European level than at national level. Those actors who have important legal competencies, financial resources, and hence power in healthcare governance at national level, are also in a better position to use Europe effectively than those actors who lack such national resources. Limited usages of Europe at national level by corporate actors can best be accounted for by practices of consensually governing a typically Bismarckian healthcare system. None of the actors analysed, no matter how critical their stance vis-à-vis their own healthcare system might be, puts into question the legitimacy of the national healthcare system in the light of increased European competencies in regulating cross-border healthcare. Advancing European integration, mainly through the ECJ’s rulings on cross-border healthcare, might have rendered national institutional boundaries porous, but national institutions retain – at least for the time being – their power of channelling actors’ interests and of influencing corresponding practices of healthcare governance. These results invite us to further investigate which kind of healthcare governance structures are being developed at European level in parallel to those existing at national level, and to what extent Bismarckian welfare regimes might be showing resistance to institutional change induced by European integration.
Doctorat en Sciences politiques et sociales
info:eu-repo/semantics/nonPublished
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Books on the topic "Symphony 19th century Austria":

1

Bonds, Mark Evan. After Beethoven: Imperatives of originality in the symphony. Cambridge, Mass: Harvard University Press, 1996.

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2

Kápolnai, Iván. Ausztria népességi viszonyai a 19. században =: Population conditions of Austria in the 19th century. Budapest: Központi Statisztikai Hivatal Levéltára, 2002.

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3

Loos, Adolf. On architecture. Riverside, Calif: Ariadne Press, 2002.

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Dixon, Christine. Secession: Modern art and design in Austria and Germany, 1890s-1920s. Canberra: National Gallery of Australia, 2000.

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Hahn, Hans J. The 1848/9 revolutions in German-speaking Europe. Harlow, England: Longman, 2001.

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museum, Victoria and Albert. Furniture of about 1900 from Austria & Hungary in the Victoria & Albert Museum. London: Victoria and Albert Museum, 1986.

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Johnson, Julie M. The memory factory: The forgotten women artists of Vienna 1900. West Lafayette: Purdue University Press, 2012.

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Freud, Sigmund. The letters of Sigmund Freud and Otto Rank: Inside psychoanalysis. Baltimore: Johns Hopkins University Press, 2012.

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Blaschke, Bertha. Architecture in Vienna, 1850 to 1930: Historicism-Jugendstil-new realism. Wien: Springer, 2003.

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Ziltener, Alfred. Hanswursts lachende Erben: Zum Weiterleben der lustigen Person im Wiener Vorstadt-Theater von La Roche bis Raimund. Bern: P. Lang, 1989.

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Book chapters on the topic "Symphony 19th century Austria":

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Smith, Steven C. "Elegant Revolutions." In Music by Max Steiner, 3–17. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190623272.003.0001.

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This chapter focuses on the theatrical and musical dynasty into which Steiner was born. It begins by introducing his father, Gabor, a visionary entrepreneur honored by Emperor Franz Joseph. Gabor created one of Austria’s most popular attractions of the late 19th century: Venice in Vienna, an amusement emporium a third the size of Buckingham Palace. Its centerpiece, the Riesenrad (Ferris Wheel), remains one of Vienna’s most iconic attractions. Gabor’s father, Maximilian, was an influential theater manager who did much to launch the era of Viennese operetta. It was Maximilian who convinced Johann Strauss Jr. to write for the stage, leading to such enduring works as Die Fledermaus. In this chapter, we see how the Steiner family’s championing of both “high” and “low” culture profoundly shaped Max, who later combined symphonic forms with accessible melodies in his own musical language.
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Gehrke, Christian. "The reception of Malthus in Germany and Austria in the 19th century." In Malthus Across Nations, 174–235. Edward Elgar Publishing, 2020. http://dx.doi.org/10.4337/9781788977579.00009.

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Kireeva, Ekaterina S. "Serbia's struggle for economic independence in the late 19th–early 20th centuries." In Slavs and Russia: Problems of Statehood in the Balkans (late XVIII - XXI centuries), 170–84. Institute of Slavic Studies, Russian Academy of Sciences, 2020. http://dx.doi.org/10.31168/2618-8570.2020.10.

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The study is devoted to the question of economic independence of Serbia at the end of the 19th–the beginning of the 20th century. At the time Serbian economy and trade were deeply dependent on Austria-Hungary who was Serbia’s main trade partner. Not able to export its goods through any other avenues Serbia strongly relied on Austria-Hungary not only as the main consumer of Serbian agricultural goods but also as a trade mediator between Serbia and the rest of Europe. At the same time such trade relations were discriminative towards Serbia as Austria-Hungary often used Serbia’s dependent position to reach her own economic and political goals. The beginning of the 20th century was marked by Serbia’s attempts to break away from these disadvantageous ties and to find new trade partners and markets for her products.
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Scheutz, Martin. "Demand and Charitable Supply: Poverty and Poor Relief in Austria in the 18th and 19th Centuries." In Health Care and Poor Relief in 18th and 19th Century Southern Europe, 52–95. Routledge, 2017. http://dx.doi.org/10.4324/9781315253541-4.

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"Property, Power, Gender: Conflicts and Agency of a “Merchantess” in the Archduchy of Austria below the Enns in the Eighteenth Century." In Negotiations of Gender and Property through Legal Regimes (14th-19th Century), 345–74. Brill | Nijhoff, 2021. http://dx.doi.org/10.1163/9789004456204_014.

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Bauer, Martin. "Die Agrarwirtschaft. Eine Agrarrevolution in Raten." In Niederösterreich im 19. Jahrhundert, Band 1: Herrschaft und Wirtschaft. Eine Regionalgeschichte sozialer Macht, 611–44. NÖ Institut für Landeskunde, 2021. http://dx.doi.org/10.52035/noil.2021.19jh01.26.

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Agriculture. Delayed Agricultural Revolution. This chapter traces the temporal-spatial course of agricultural development in the long 19th century. The labour-intensive and production-enhancing innovations of the “first agricultural revolution” began in the Alpine foothills as early as 1800, under feudal conditions. The expanding metropolis of Vienna and its immediate surroundings were also characterized by intensive formsof cultivation and a pronounced regional specialization at that time. On the other hand, large parts of the arable land in eastern Lower Austria were only intensified from the end of the 19th century onwards. One obstacle here was the competition of Hungarian and Moravian agricultural producers on the Viennese market. As Lower Austria enjoyed locational advantages in the case of perishable products, milk production played an important role in the agricultural intensification. Prerequisites were stronger demand from Vienna and the technological improvements in transportation. Due to this development spurt, agricultural production in Lower Austria began to grow significantly towards the end of the period under investigation.
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Karpińska, Karolina. "Scientific novelties implemented into teaching mathematics in secondary schools on the Polish territories in the 19th century. The case of descriptive geometry." In “DIG WHERE YOU STAND” 6. Proceedings of the Sixth International Conference on the History of Mathematics Education, 205–18. WTM-Verlag Münster, 2020. http://dx.doi.org/10.37626/ga9783959871686.0.16.

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This article is dedicated to discussing the implementation of the descriptive geometry, i.e. the scientific novelty from the end of the 18th century, in secondary school education on the Polish territories in the 19th century. At that time, Polish lands were under the occupation of three empires: Prussia, Austria, and Russia. Over the time, the policy of the partition empires toward the Poles was changing in intensity. As a consequence, in the 19th century, there were schools on the Polish territories with Polish, Prussian, Austrian and Russian curricula and relevant lecture languages. The article analyses the implementation of descriptive geometry into teaching mathematics in schools located in all three partitions. Keywords: descriptive geometry, history of mathematics education, history of mathematics
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Rosner, Willibald. "Soldaten und Garnisonen. Das Militär und sein ziviles Umfeld." In Niederösterreich im 19. Jahrhundert, Band 1: Herrschaft und Wirtschaft. Eine Regionalgeschichte sozialer Macht, 295–329. NÖ Institut für Landeskunde, 2021. http://dx.doi.org/10.52035/noil.2021.19jh01.14.

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Soldiers and Garrisons. The Military and its Civilian Environment. This chapter outlines a regional military history of Lower Austria in the 19th century. In the context of history of the k. k. and later k. u. k. Army, peacetime relations between the land and the military are presented in two particular areas. The chapter’s first section focuses on the land’s recruitment and its transformation from a system based on forced conscription by a late-absolutist system to a constitutional monarchy employing citizen soldiers. In a second section, the phenomenon of the garrison illustrates the interdependence of the military and its civilian environment in public, social and economic life. In both sections, the question of the militarization of society is also explored. The surprisingly high incidence of individuals unfit for service and the significantly lower number of actual conscripts demand as much consideration as the economic importance of a garrison for the towns of Lower Austria in last third of the 19th century.
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Wawruschka, Celine. "Stadtmuseen als kulturelle Praxis. Zur Geschichte eines bürgerlichen Phänomens." In Niederösterreich im 19. Jahrhundert, Band 2: Gesellschaft und Gemeinschaft. Eine Regionalgeschichte der Moderne, 575–660. NÖ Institut für Landeskunde, 2021. http://dx.doi.org/10.52035/noil.2021.19jh02.22.

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Municipal Museums as Cultural Practice. On the History of a Bourgeois Phenomenon. Research on the history of bourgeois collections in Lower Austria in the long 19th century turns its attention to a regional culture of science and historiography that formed part of the cultural practices that united the increasingly heterogeneous middle classes. Until the mid-19th century, the oldest bourgeois collections were still guided by the ideals of the Enlightenment and hence they closely resembled the contemporary aristocratic and monastic collections. In the second half of the 19th century, the municipal museums focussed on exhibiting local history. Thus municipal museums created, stabilised and represented the identity of the provincial middle classes (Bürgertum) and reflected their emancipatory ambitions. Nevertheless, the elites of the society of orders, the nobility and the clergy, still exerted considerable influence, particularly via the learned societies at the time.
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Evers, John. "Gegenmacht!? Arbeiter*innenbewegungen 1867–1914." In Niederösterreich im 19. Jahrhundert, Band 1: Herrschaft und Wirtschaft. Eine Regionalgeschichte sozialer Macht, 419–50. NÖ Institut für Landeskunde, 2021. http://dx.doi.org/10.52035/noil.2021.19jh01.19.

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Counterpower!? Workers’ Movements 1867–1914. This chapter outlines the efforts of workers in Lower Austria in the 19th century to represent their interests through collective mobilization and organization. From the 1880s onwards, this resistance was expressed – also from a global perspective – in a massive wave of industrial action, the formation of supra-regional and inter-professional trade unions and the rise of politically independent workers’ parties as important players. The focus of this contribution is in line with these international developments, which also had an impact on Lower Austria. The development of workers’ movements from 1890 to 1913 and their impact on the different fields of (counter)power in Lower Austria is examined in detail.

Conference papers on the topic "Symphony 19th century Austria":

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Zunno, Antonio. "La fortezza e il suo giardino: uno sguardo dal mare." In FORTMED2020 - Defensive Architecture of the Mediterranean. Valencia: Universitat Politàcnica de València, 2020. http://dx.doi.org/10.4995/fortmed2020.2020.11368.

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The fortress and its garden: a view from the seaThe Fortress was built from 1554, on the ruins of an ancient convent, at the behest of Philip of Austria, and it was completed in about 55 years under the direction of Giulio Cesare Falco, knight of the Order of Malta and Captain General against the Turks. The maine structure, called Forte a Mare, was joined with the Opera a Corno, a mighty rampart with the function of enclosure of the intermediate island, separated from the other island in 1598 by the construction of the Angevin canal: here were arranged the lodgings of the troops and garrisons. Castello and Forte, were named by the Spaniards Isla Fortalera que abre el Puerto Grande, because of its particular position to protect the port. The complex was entrusted to the Germans in 1715, then conquered by the French Revolutionaries and, in 1815, re-annexed to the Kingdom of Naples and destined to lazaretto. A period of decline follows until the end of the 19th century when Brindisi became a first class naval base and the fort became a garrison of the Royal Navy, destined, during the Great War, to recover torpedoes and detonators The recovery of the complex, starting in the 1980s, allowed the conservation of the structures but was never included in a real valorisation program. With this intervention in progress, a first visit is expected through the visit from the walkways through a circular route from the Castle to the whole Opera in Corno: the itinerary will allow you to retrace the history of the Fortress and enjoy a unique view from the high towards the sea, also through the passage in a curtain of Mediterranean scrub that has colonized the walls over the centuries, creating a veritable hanging garden on the sea. The aim is to lead the visitor to the rediscovery a forgotten place that is closely connected to the coastal landscape, for which it is a privileged point of view also in relation to the city and the port.

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