Academic literature on the topic 'Violin music 19th century History and criticism'
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Journal articles on the topic "Violin music 19th century History and criticism"
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Gudimova, Svetlana. "Music journalism of the first half of the 19 th century about the Russian violin school." Herald of Culturology, no. 2 (2021): 90–103. http://dx.doi.org/10.31249/hoc/2021.02.06.
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Since the beginning of the XIX century the Russian press informs its readers about all musical events. Although the authors of the publications were not professionals, the level of reviews and notes amazes with their knowledge of art, especially knowledge of the intricacies of violin playing. This phenomenon can only be explained by the rich auditory experience of journalists. In Russia there was an intense musical life, the most famous virtuosos of that time performed in salons and on stages not only in capitals, but also in provincial cities. By the beginning of the 19th century a strong Russian violin school was formed with an original («vo-cal») interpretation of sound. Its representatives pay much more attention to the quality of sound than foreign virtuosos, who prioritize technical perfec-tion, sometimes to the detriment of even the elementary requirements of musicality. Russian music criticism has never echoed the opinions of Western colleagues; it had its own criteria for evaluating it. She boldly criticized even the violinists-buffooners recognized in Europe and supported the Rus-sian virtuosos, who soon gained worldwide recognition.
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Cvejić, Žarko. "From men to machines and back: Automata and the reception of virtuosity in European instrumental art music, c.1815-c.1850." New Sound, no. 48-2 (2016): 65–80. http://dx.doi.org/10.5937/newso1648065c.
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In most histories of Western music, the 1830s and 40s are typically described as "the age/era of virtuosity and/or virtuosi". Indeed, major contemporary sources, including leading musical journals of the time, teem with reports on the latest exploits of Liszt and his rivals and in much of this body of criticism, piano and violin virtuosi were commonly celebrated for pushing the limits of humanly conceivable excellence in musical performance. However, a significant number of these critical responses were also negative, critiquing individual virtuosi for playing not like humans, but like automata. My claim in this article, documented with a detailed perusal of contemporary music criticism, is that this line of anti-virtuosic critique was part of the larger 19th-century suspicion of virtuosity as super but also, perhaps, non-humanly accomplished, automatic technique, devoid of all emotion, expression, that is, of human presence and content. Also, I propose to interpret this line of criticism with reference to the even broader 19th-century anxiety over the issue of human subjectivity, that is, its freedom, evident not only in contemporary philosophy (Schelling, Schopenhauer, Novalis, etc.), but also in literature. Such narratives and, as I argue in this paper, much of contemporary criticism of virtuosity were shaped by the uncanny feeling that the human subject, too, like automata and "automatic" virtuosi, may not be free, contrary to the Enlightenment view of the human subject in Rousseau, Kant, and others, but actually under the power of mechanisms beyond itself, operating automatically and not of its own accord. In contemporary criticism of virtuosity, the elusive notions of expression, expressivity, expressive playing and the like, which were deliberately kept under-explained, were then marshalled to preserve the supposedly ineffable or at least ineffably human core of musical performance, in line with the contemporary Romantic view of music as the only means of expressing what is otherwise inexpressible, that is, ineffable.
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Rusu-Persic, Dalia. "Critical reception of late 19th century Iași-based music. Alexandru Flechtenmacher." Artes. Journal of Musicology 18, no. 1 (March 1, 2018): 190–206. http://dx.doi.org/10.2478/ajm-2018-0012.
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Abstract In late 19th-century periodicals, music criticism captured only a few details on the composition techniques, the structural organization, the rhythmic-melodic or vocal and stage interpretation of various performances. The press shed light on these pieces only at an informative level, mentioning titles, composers, and interpreters and even omitting some details due to, on the one hand, the authorities’ indifference to the musical phenomenon and, on the other hand, the editors’ sheer ignorance of particular stylistic or musical language features. However, the attempts made by the personalities active in the cultural and artistic life were real and unrelenting, their results being guided by the desire to promote music with specific national traits. This study provides an analytical perspective on the current reception of that social-artistic context. Taking into account that new sources have favored a more detailed and profound investigation of the 19th-century critical phenomenon, our analysis supplements the information presented in the music history studies already published in Romania. Consequently, the first section of this paper approaches the extremely dynamic phenomenon represented by the creation of new journals / newspapers in the 19th century. It is our belief that starting from general journalism we can acquire a better understanding of the development of musical criticism. This research aimed to discover new dimensions of Iași-based music, placing special emphasis on the critical reception of the composer Alexandru Flechtenmacher. We have followed its reflection in the Romanian press, starting from the first accounts in this respect, and ending with the subsequent assessments formulated in 20th-century musicology. Although the texts that tackle musical issues are quite few and social aspects prevail in the commentators’ list of interests, by combining the information provided by general literary/historical/social sources with the details included in specialized articles we can create a new perspective on late 19th-century Iași-based compositions.
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Stanisławska, Dorota. "The history of Polish viola literature – the 19th and 20th centuries." Notes Muzyczny 2, no. 16 (December 30, 2021): 101–16. http://dx.doi.org/10.5604/01.3001.0015.5493.
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After the Romanticism era, when virtuoso music was dominated by the violin, cello and piano, there was a noticeable tendency among composers to search for new and fresh sound inspired by instruments previously functioning mainly in an orchestra. One of the instruments which acquired a new glory back then was the viola. Even though Western European literature earned a permanent place in the repertoire of violists worldwide, Polish pieces representing this genre are lesser-known and performed not as often, except for a few compositions. The library of Polish 20th century viola works is quite rich, but many compositions did not stand the test of time and we would look for them in vain within the performance canon; others were not published in print or recorded, and their manuscripts are owned by private collections. Some autographs of compositions have gone missing and only their titles have been preserved to this day. The present article is an attempt to systematise the state of knowledge about Polish viola compositions written before the end of the 20th century.
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Majer-Bobetko, Sanja. "Between music and ideologies: Croatian music criticism from the beginning to World War II." Muzyka 63, no. 4 (December 31, 2018): 55–64. http://dx.doi.org/10.36744/m.344.
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As the Croatian lands were exposed to often aggressive Austrian, Hungarian, and Italian politics until WWI and in some regions even later, so Croatian music criticism was written in the Croatian, German and Italian languages. To the best of our knowledge, the history of Croatian music criticism began in 1826 in the literary and entertainment journal Luna, and was written by an anonymous author in the German language.A forum for Croatian language music criticism was opened in Novine Horvatzke, i.e. in its literary supplement Danica horvatska, slavonska i dalmatinska in 1835, which officially started to promote the Croatian National Revival, setting in motion the process of constituting the Croatian nation in the modern sense of the word. However, those articles cannot be considered musical criticism, at least not in the modern sense of the word, as they never went beyond the level of mere journalistic reports. The first music criticism in the Croatian language in the true sense of the word is generally considered a very comprehensive text by a poet Stanko Vraz (1810-51) about a performance of the first Croatian national opera Ljubav i zloba (Love and malice) by Vatroslav Lisinski (1819-54) from 1846. In terms of its criteria for judgement, that criticism proved to become a model for the majority of 19th-century and later Croatian music criticism. Two judgement criteria are clearly expressed within it: national and artistic.Regardless of whether we are dealing with 1) ideological-utilitarian criticism, which was directed towards promoting the national ideology (Franjo Ksaver Kuhač, 1834-1911; Antun Dobronić, 1878-1955), 2) impressionist criticism based on the critic’s subjective approach to particular work (Antun Gustav Matoš, 1873-1914; Milutin Cihlar Nehajev, 1880-1931; Nikola Polić, 1890-1960), or 3) Marxist criticism (Pavao Markovac, 1903-41), we may observe the above mentioned two basic criteria. Only at the end of the period under consideration the composer Milo Cipra (1906-85) focused his interest on immanent artistic values, shunning any ideological utilitarianism, and insisting on the highest artistic criteria.
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Vasic, Aleksandar. "The beginnings of Serbian music historiography: Serbian music periodicals between the world wars." Muzikologija, no. 12 (2012): 143–64. http://dx.doi.org/10.2298/muz120227007v.
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The transition of the 19th into the 20th century in Serbian music history was a period of music criticism, journalism and essay writing. At that time, Serbian musicology had not yet been developed as an academic discipline. After WWI there were many more academic writings on this subject; therefore, the interwar period represents the beginning of Serbian music historiography. This paper analyses Serbian interwar music magazines as source material for the history of Serbian musicology. The following music magazines were published in Belgrade at the time: Muzicki glasnik (Music Herald, 1922), Muzika (Music, 1928-1929), Glasnik Muzickog drustva ?Stankovic? (Stankovic Music Society Herald, 1928-1934, 1938-1941; from January 1931. known as Muzicki glasnik /Music Herald/), Zvuk ( Sound, 1932-1936), Vesnik Juznoslovesnkog pevackog saveza (The South Slav Singing Union Courier, 1935-1936, 1938), Slavenska muzika ( Slavonic Music, 1939-1941), and Revija muzike (The Music Review, 1940). A great number of historical studies and writings on Serbian music were published in the interwar periodicals. A significant contribution was made above all to the study of Serbian musicians? biographies and bibliographies of the 19th century. Vladimir R. Djordjevic published several short biographies in Muzicki glasnik (1922) in an article called Ogled biografskog recnika srpskih muzicara (An Introduction to Serbian Musicians? Biographies). Writers on music obviously understood that the starting point in the study of Serbian music history had to be the composers? biographical data. Other magazines (such as Muzicki glasnik in 1928 and 1931, Zvuk, Vesnik Juznoslovenskog pevackog saveza, and Slavenska muzika) published a number of essays on distinguished Serbian and Yugoslav musicians of the 19th and 20th centuries, most of which deal with both composers? biographical data and analysis of their compositions. Their narrative style reflects the habits of 19th-century romanticism and positivism: in some of these writings the language also has an aesthetic function. Serbian interwar music magazines also published some archival documents contributing to the future research of Serbian music history. Interwar period in the then Yugoslavia was a time of rapid development and modernization in various fields of culture. There was a great demand for music writings of general interest. Therefore, Revija muzike (January - June 1940) was totally oriented towards the popularization of music and the arts (such as drama and film). This magazine also published some popular articles on music history. Serbian interwar music periodicals were least active in the field of musicological analysis. However, in 1934, Branko M. Dragutinovic published a detailed analytic study of Josip Slavenski?s composition Religiofonija (Religiophonics) in Zvuk. There were also some interdisciplinary history articles in Serbian interwar music magazines. Being well aware of the fact that music history comprises not only music itself, but also music writing, schools, institutions and music life, our music writers used ?indirect? sources, such as literature and art, as well as music. Serbian interwar music periodicals opened many fields of research, thus blazing a trail in postwar Serbian musicology.
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Roguska, Agnieszka. "Piano in the land of unsaid love – musical contexts of emotional lives of married female characters in Thomas Mann’s Buddenbrooks and Sándor Márai’s Embers." Notes Muzyczny 1, no. 15 (June 21, 2021): 125–39. http://dx.doi.org/10.5604/01.3001.0014.9693.
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In The Sorrows of Young Werther, an epistolary novel by J.W. Goethe, we can find a literary portrait of a beloved woman playing a keyboard instrument. This is the motif Adam Mickiewicz referred to in his Dziady, Part 4. Both texts describe unrequited love to a woman belonging to another man. Belles-lettres reflect repertoire issues – at the turn of the 19th century girls from a proper home performed simple pieces, often dances. Subsequent decades of the 19th century came with the development of piano methodics, and composers wrote pieces which today constitute part of concert canon, whereas the piano became the perfect musical tool. The plot of Thomas Mann’s Buddenbrooks is set in the second half of the 19th century. Music plays an important role in that novel. Mann depicts the problem of clashing views in the marriage of Thomas, who was fond of “pretty melodies”, and Gerda, a magnificent violin and piano player who performed ambitious compositions and showed no mercy in criticising her husband’s musical taste. An important motif is the appearance of a young officer who visits Gerda in order to perform chamber works together. Thomas fears the mysterious bond between his wife and the lieutenant on the one hand and people’s opinions on the other. The motif of music as a platform for communication between a man and a woman can also be found in the novel Embers by Sándor Márai. Here as well it is a connection unavailable to the husband of the main heroine. At the end of his life, Henri, Christine’s husband, refers to music as the “melodious and obscure language” which allows “certain people” to communicate. Both novels include the motif of the end of an era and death of the characters for whom music was extremely significant and who performed compositions of the highest artistic value. Texts by Mann and Márai reflect a decline of a certain stage in the history of culture. It is also the end of the typical ways how burgesses and aristocrats spent their leisure time, how they treated the sphere of emotions and communed with the widely understood art. The result of these changes is the dethronement of the piano, which no longer was one of the most important pieces of furniture in a drawing room nor the most important instrument – as it used to be in the 19th century culture.
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Sunarto, Sunarto. "Pemikiran Hanslick tentang Estetika dan Kritik Musik." PROMUSIKA 3, no. 2 (November 23, 2015): 163–73. http://dx.doi.org/10.24821/promusika.v3i2.1702.
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Approaching the mid‐19th century began the aesthetics of music, especially Western music aesthetics as an independent science apart from philosophy. In the development of musical aesthetics are always closely related between philosophy and the philosopher. Discussion on the aesthetics of music can not be separated from some of the theories that have been developed by philosophers. Eduard Hanslick is a figure in the history of musical aesthetics of music included in ʺGroup Autonomisʺ. This group believes that music is a world of sounds organized and stand alone without any. For him and the group, the music is not the language of emotions or feelings. He then gave a sharp criticism against some composers include Richard Wagner and Anton Bruckner as a representative ʺGroup Heteronomisʺ who argue that music can be a means of expressing feelings, expressing ideas, or a certain atmosphere. According to the aesthetics of music is ʺabsoluteʺ (to the music itself). With absolutismenya, Hanslick criticized mercilessly composers heteronomis deems to have abused the music to be ʺprogramaʺ (music for something) ‐which he regarded as ʹcheap musicʹ. The rivalry between the two camps stream music aesthetics was known as The Great Debate.
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BERNSTEIN, LAWRENCE F. "““Singende Seele”” or ““unsingbar””? Forkel, Ambros, and the Forces behind the Ockeghem Reception during the Late 18th and 19th Centuries." Journal of Musicology 23, no. 1 (January 1, 2006): 3–61. http://dx.doi.org/10.1525/jm.2006.23.1.3.
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ABSTRACT In 1868, Wilhelm Ambros lauded a number of compositions by Johannes Ockeghem, including the triple canon Prenez sur moy. Emphasizing the expressive qualities of this music, he suggested that its composer had breathed into it a ““singing soul.”” Some decades earlier, Johann Forkel also focused on Prenez sur moy, dismissing it, however, as ““unsingable.”” The present study examines the cultural and intellectual forces that gave rise to these strikingly contradictory assessments. Enlightenment historians are generally thought to have charted the flow of history according to a progressive paradigm. Late medieval music often fared poorly viewed from this perspective, drawing criticism for its failure to reflect the refinements of modern music. Initially, Forkel toed this line, but his comments about examples of 15th-century music in the Allgemeine Geschichte der Musik also reveal his capacity to strike a relativist pose regarding some of them, and even to offer unqualified praise. The changes in Forkel's position are traced to philosophical writings known to have been part of his library, and to his conviction that the music of Johann Sebastian Bach was superior to that of his own time. Taking that stand surely must have raised questions in his mind about his earlier commitment to the progressive view of history. Forkel's openness to new historiographical approaches suggests that he, of all Enlightenment writers on music, might have found value in Ockeghem's music, all the more so because he was better informed about Ockeghem's preeminent stature in his own day than anyone else at the time, and owing to his awareness of a current German tradition that regarded Ockeghem as ““the Bach of his day.”” Yet Forkel's deprecation of Ockeghem's music is among the strongest in the literature. His negative stand can be traced to his admiration for a 16th-century tract on teaching music, the Compendium musices by Adrian Petit Coclico, who demonizes Ockeghem as an icon of the scholastic approach to music. Forkel's own commitment to a humanistic orientation in music pedagogy surely led him to view Coclico as a kindred spirit.
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Loos, Helmut. "Beethoven — the Zeus of Modernity." Culturology Ideas, no. 18 (2'2020) (2020): 66–84. http://dx.doi.org/10.37627/2311-9489-18-2020-2.66-84.
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A large part of German musicology sees itself as a science of art in the emphatic sense and is committed to quite different principles than historical-critical approaches in the discipline. The latter seek to gain a realistic picture of the history of music, including contemporary ways of thinking, and allow for historical actors to make meaningful, free will decisions within anthropologically determined circumstances. The emphatic science of art, on the other hand, claims to be able to prove and scientifically determine the objects of great art music and their nature. It originated during the Enlightenment, when philosophy took the place of religion and created ever new theoretical constructs of thought presented as scientifically proven and binding. In music, Beethoven rose to the ideal of the ingenious creator, who embodied the progress and achievements of mankind on the path toward perfection. Thus, in the course of the 19th century, a Beethoven cult developed using philosophy as its guide in selecting and evaluating historical sources, gladly accepting literary testimonies as historical fact. Historical criticism, which revealed this construction of a romantic image of Beethoven, was suppressed for a long time. Society’s broad acceptance of the notion of the evolutionary progress of mankind, one to which modernity adhered, proved too powerful, and belief in it took the form of an art religion. Beethoven as Zeus of the Third Reich, as the god of modernity, was the program and message of the 14th Secession Exhibition in Vienna in 1902. This image was destructed in the late 20th century.
Dissertations / Theses on the topic "Violin music 19th century History and criticism"
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Lang, Xiaoming. "He Zhanhao and Chen Gang: "The Butterfly Lovers" violin concerto." Diss., The University of Arizona, 1992. http://hdl.handle.net/10150/185865.
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Musical study of The Butterfly Lovers violin concerto by He Zhanhao and Chen Gang. Tracing its cultural background in China, analyzing in terms of the concerto's form, melody, scale, mode, harmony, and orchestration and discussing the more unusual technical demands of violin playing made by this concerto.
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Chan, Tzu-Ying. "John Playford's The Division Violin: Improvisation and Variation Practice in English Violin Music of the Seventeenth Century." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1011780/.
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English publisher John Playford (1623-1686/1687) first published his "The Division Violin: Containing a Collection of Divisions Upon Several Grounds for the Treble-Violin" in 1684. The first edition of this violin collection contains 26 written-out examples of improvisation, serving as a living snapshot of the performance practice of the time. This research is based on the second edition, which Playford had expanded into 30 pieces for the violin, published in 1685. The purpose of this study is to investigate the art of improvisation in England during the late 17th century, focusing on Playford's "The Division Violin." The dissertation first surveys the development of English violin music in the 17th century. Then, the dissertation traces eight selected 16th-century Italian diminution manuals. This will help readers understand the progression of the Italian diminution and improvisation practice in the 16th century and how it relates to the English division of the 17th century. Finally, based on a thorough research of the 17th-century improvisatory style and rhetorical approach, the author of this study provides performance suggestions on "Mr. Farinell's Ground," No. 5 from "The Division Violin."
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Forward, David William. "The keyboard repertory as a reflector of art nouveau in music /." Title page, contents and introduction only, 1993. http://web4.library.adelaide.edu.au/theses/09PH/09phf745.pdf.
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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.
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Stanek, Mark C. "Guitar in the opera literature : a study of the instrument's use in opera during the 19th and 20th centuries." Virtual Press, 2004. http://liblink.bsu.edu/uhtbin/catkey/1285408.
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This dissertation is a study of the use of guitar in opera. Ten operas were chosen from the early nineteenth century to the middle of the twentieth century as a representative cross section of operas that use the guitar. The operas studied are: The Barber of Seville by Gioachino Rossini, Oberon by Carl Maria von Weber, Don Pasquale by Gaetano Donizetti, Beatrice and Benedict by Hector Berlioz, Otello and Falstaff by Giuseppe Verdi, La vida breve by Manuel de Falla, The Nightingale by Igor Stravinsky, Wozzeck by Alban Berg, and Paul Bunyan by Benjamin Britten. The study examines the technical aspects of each guitar part and how the guitar relates to the libretto and to the other instruments of the orchestra.The study finds that, with some exceptions, the guitar parts are idiomatic and not difficult to execute. There is some need on the part of the guitarist to edit the parts for technical and historical reasons and editorial suggestions are made by the author. The guitar is often related to the libretto and often appears onstage, yet it is almost always used as a prop and the performing guitarist is placed offstage or in the orchestra pit. There are significant problems found concerning the guitar's lack of volume. Composers tend to limit the number of instruments in use with the guitar. They do not, however, tend to give the guitar louder dynamics when other instruments are used at the same time. The guitar is generally used in outdoor scenes, to evoke a folk idiom, or when specifically referred to in the libretto. The use of the guitar is found to be mostly limited to simple accompaniments which do not utilize the full resources of the instrument.School of Music
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Mulvey, Margaret N. "The School Fugue: Its Place in the Organ Repertoire of the French Symphonic School, a Lecture Recital, Together with Three Recitals of Selected Works of J.S. Bach, D. Buxtehude, C. Franck, P. Eben, F. Mendelssohn, R. Schumann, M. Reger and Others." Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc278639/.
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This study focuses on the central role which fugue d'ecole, as defined and taught by the post-revolutionary Conservatoire de Paris, played in re-establishing standards of excellence in organ composition and aiding the development of the French Symphonic Organ School. An examination of counterpoint and fugue treatises by Cherubini, Dubois, and Gedalge reveals the emergence of a specific school fugue form, intended for academic purposes only, as a means to instilling discipline and honing the technical skills required in all forms of musical composition.
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Schuppener, James Gregory. "Felix Mendelssohn-Bartholdy, director of music for the Berlin Court: Influences upon his unaccompanied compositions written for the Berlin "Domchor"." Diss., The University of Arizona, 1991. http://hdl.handle.net/10150/185735.
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This study discusses Felix Mendelssohn-Bartholdy's appointment to the Prussian Court of King Friedrich Wilhelm IV, Mendelssohn's relationship with the Court (both personal and professional) and the numerous difficulties encountered with this appointment. In addition, Mendelssohn's musical responsibilities and personal feelings toward the cities of Leipzig and Berlin, Berlin's choral traditions (including a brief history of the Berlin Domchor) will also be discussed. Mendelssohn's op. 78, op. 79 and Die deutsche Liturgie written for the Berlin Domchor reflect the sometimes competing demands of the traditional liturgical genres (e.g. Masses, psalms, motets), which are more "objective" in nature and the far more "subjective" elements inherent in the Romantic "ideal" of expression. This study deals exclusively with the unaccompanied choral compositions written for the Berlin Domchor with particular emphasis given to op. 78 - Drei Psalmen, and op. 79 - Sechs Spruche.
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Reilly, Olivia. "An epicure in sound : Samuel Taylor Coleridge and music." Thesis, University of Oxford, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.719835.
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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.
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Peersen, Hild Breien. "Franz Berwald and his quartet for piano and winds: its historical, stylistic, and social context." The Ohio State University, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=osu1104257313.
Full textBooks on the topic "Violin music 19th century History and criticism"
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Jabłoński, Maciej, and Danuta Jasińska. Henryk Wieniawski and the 19th century violin schools: Techniques of playing, performance, questions of sources and editorial issues. Poznań: The Henryk Wieniawski Musical Society, 2006.
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Violin technique and performance practice in the late eighteenth and early nineteenth centuries. Cambridge [Cambridgeshire]: Cambridge University Press, 1985.
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Thomas, Binkley, ed. Italian violin music of the seventeenth century. Bloomington: Indiana University Press, 1990.
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Nineteenth-century music. Berkeley: University of California Press, 1989.
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1924-, Kerman Joseph, ed. Music at the turn of century: A 19th-century music reader. Berkeley: University of California Press, 1990.
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