Bibliografias temáticas / Music Germany History and criticism

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Literatura científica selecionada sobre o tema "Music Germany History and criticism"

Autor: Grafiati

Publicado: 4 de junho de 2021

Última modificação: 19 de fevereiro de 2022

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Artigos de revistas sobre o assunto "Music Germany History and criticism"

Fay, Brendan. "Conservative Music Criticism, the Inflation, and Concert Life in Weimar Germany, 1919–1924". Cultural History 6, n.º 2 (outubro de 2017): 141–63. http://dx.doi.org/10.3366/cult.2017.0147.

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In surveying the thirteen crisis-ridden years that Weimar democracy endured from its founding in 1919, perhaps none loom as large as the hyperinflation years spanning 1922–1923. According to many historians, the ‘Great Disorder’ not only destroyed the bonds between different social classes but also shattered Germans’ faith in and commitment to Weimar democracy. At the same time, Germany's cultural conservatives found themselves weathering a ‘cultural crisis’ brought on by the combined forces of artistic and technological innovation. In this article, I argue that our sense of Weimar's crises has been profoundly shaped by knowledge of what came later, and has tended to differ markedly from contemporaries’ sense of history and their place in it. This article examines the inflation's impact on German concert life, reassessing cultural conservatives—long held as hostile to Weimar democracy—and their attitudes toward German classical music, the nation, and society during the turbulent early years of the Weimar Republic.

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Majer-Bobetko, Sanja. "Between music and ideologies: Croatian music criticism from the beginning to World War II". Muzyka 63, n.º 4 (31 de dezembro de 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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Gordon, Bonnie. "The Secret of the Secret Chromatic Art". Journal of Musicology 28, n.º 3 (2011): 325–67. http://dx.doi.org/10.1525/jm.2011.28.3.325.

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In 1946, just after emigrating from Nazi Germany via the Netherlands and Cuba to the United States, Edward Lowinsky published The Secret Chromatic Art in the Netherlands Motet. He posited a system of chromatic modulations through musica ficta in sixteenth-century Netherlandish polyphony circulated by clandestine heretic societies during the period of religious struggle in the Low Countries. According to Lowinsky, in the second half of the century a small contingent of northern musicians with radical Protestant sympathies wrote pieces that appeared on the surface to set texts and use diatonic melodies condoned by the Church. Beneath that compliant surface lurked secret chromaticism and seditious meanings that remained hidden from the Inquisition. Despite Lowinsky’s obvious interest in odd passages in motets of Clemens non Papa, Lassus, and others, I argue that his history as a Jew in Nazi Germany and then as an exile from that regime compelled his idiosyncratic hearing of sixteenth-century polyphony. A close reading of the text suggests that Lowinsky identified with the composers he wrote about and that he aligned Nazi Germany with the Catholic Inquisition. Beyond its engagement with music theory and cultural history, The Secret Chromatic Art delivers a modern narrative of oppressed minorities, authoritarian regimes, and the artistic triumph of the dispossessed. The Secret Chromatic Art matters today because its themes of displacement and cultural estrangement echo similar issues that Pamela Potter and Lydia Goehr have discerned in the work of other exiled musicians and scholars who migrated from Nazi-controlled Europe to the United States, and whose contributions helped shape our discipline. Moreover, Lowinsky’s theory figured prominently in the debate initiated by Joseph Kerman in the 1960s that pitted American criticism against German positivism, a polemic that is still with us today.

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Carrasco, Clare. "The Unlike Pair". Journal of Musicology 37, n.º 2 (2020): 158–96. http://dx.doi.org/10.1525/jm.2020.37.2.158.

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Between 1919 and 1923 Arnold Schoenberg’s Chamber Symphony, op. 9 (1906) and Franz Schreker’s Chamber Symphony (1916) were repeatedly programmed together on public concerts in Germany. Critics reviewing these and other postwar performances often framed the two works in a distinctive and, by today’s standards, surprising way: they aligned Schoenberg’s Chamber Symphony with an “expressionist” and Schreker’s Chamber Symphony with an “impressionist” musical aesthetic. With roots in prewar German critical and historical writing, impressionism and expressionism functioned as multifaceted, contextually contingent concepts in postwar music criticism. They bore not only music-stylistic but also psychological, national, and racial implications, thus serving as important mechanisms through which critics could engage music in broader cultural and political debates. Even as critics writing after the Great War almost universally—if certainly reductively—aligned Schreker’s Chamber Symphony with impressionism and Schoenberg’s Chamber Symphony with expressionism, they fiercely disagreed about the relative cultural value of these contrasting orientations. Schoenberg and Schreker were thereby implicated in discussions that related their music to pressing contemporary questions of political radicalism, national identity, and Jewishness. Critical reception of postwar performances of this “unlike pair” of chamber symphonies thus documents a consequential yet neglected chapter in the conceptual history of musical “impressionism” and “expressionism”: a chapter in which German-language critics first connected the two terms in a complex, politically laden relationship.

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Milne, Drew. "Cheerful History: the Political Theatre of John McGrath". New Theatre Quarterly 18, n.º 4 (novembro de 2002): 313–24. http://dx.doi.org/10.1017/s0266464x02000428.

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In this essay, Drew Milne suggests affinities between the dramatization of history in the work of John McGrath and Karl Marx. He shows how both Marx and McGrath refused to mourn the histories of Germany and Scotland as tragedies, but that differences emerge in the politics of McGrath's radical populism – differences apparent in McGrath's use of music, historical quotation, and direct address. McGrath's layered theatricality engages audience sympathies in ways that emphasize awkward parallels between modern and pre-modern Scotland, and this can lead to unreconciled tensions between nationalism and socialism which are constitutive of McGrath's plays. Drew Milne is the Judith E. Wilson Lecturer in Drama and Poetry, Faculty of English, University of Cambridge, and a Fellow of Trinity Hall. He has published various articles on drama and performance, including essays on the work of August Boal, Samuel Beckett, and Harold Pinter, and is currently completing a book entitled Performance Criticism.

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Vasic, Aleksandar. "Engagement in musical criticism: Pavle Stefanovic’s texts in The Music Herald (1938-1940)". Muzikologija, n.º 27 (2019): 203–20. http://dx.doi.org/10.2298/muz1927203v.

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Pavle Stefanovic (1901-1985) is one of the most prominent Serbian music critics and essayists. He created extensive musicographic work, largely scattered in periodicals. A philosopher by education, he had an excellent knowledge of music and its history. His style was marked by eloquence, associativity and plasticity of expression. Between 1938 and 1940 he published eighteen music reviews in The Music Herald, the longest-running Belgrade music magazine in the interwar period (1928-1941, with interruption from 1934 to 1938). Stefanovic wrote about concerts, opera and ballet performances in Belgrade, performances by local and eminent foreign artists. His reviews include Magda Tagliaferro, Nathan Milstein, Jacques Thibaud, Enrico Mainardi, Bronis?aw Huberman, Alexander Uninsky, Alexaner Borovsky, Ignaz Friedman, Nikita Magaloff and many other eminent musicians. Th is study is devoted to the analysis of the Stefanovic?s procedure. Pavle Stefanovic was an anti-fascist and left ist. He believed that the task of a music critic was not merely to analyze and evaluate musical works and musical interpretations. He argued that the critic should engage in important social issues that concerned music and music life. That is why he wrote articles on the occasion of German artists visiting Belgrade, about the persecution of musicians of Jewish descent and the cultural situation in the Third Reich. On the other hand, Stefanovic was an aesthetic hedonist who expressed a great sense of the beauty of musical works. Th at duality - a socially engaged intellectual and a subtle ?enjoyer? of the art - remained undisturbed. In these articles he did not go into a deterministic interpretation of the structure of musical composition and the history of music. And he did not accept the larpurlartistic views.

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Saloman, Ora Frishberg. "Continental and English Foundations of J. S. Dwight's Early American Criticism of Beethoven's Ninth Symphony". Journal of the Royal Musical Association 119, n.º 2 (1994): 251–67. http://dx.doi.org/10.1093/jrma/119.2.251.

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The reception history of Ludwig van Beethoven's symphonies in America offers striking evidence of multiple, previously unidentified, Continental and English connections to the musical thought of John Sullivan Dwight (1813–93), the first American-born critic of art music, and therefore to early American conceptions of the symphony in the 1840s. These direct links illuminate the history and criticism of the first performance in America of Beethoven's Symphony no. 9 in D minor, op. 125, which took place in New York in 1846. From the many sources associated with Dwight's musical learning and aesthetic education, I have chosen in this article to examine Dwight's literary interest in Johann Christoph Friedrich Schiller's poem ‘An die Freude’ and in Thomas Carlyle's biography of Schiller, to document his knowledge of commentary on the symphony by the German critic Adolf Bernhard Marx, and to describe Dwight's response to the initial American performance of the Ninth Symphony.

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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, n.º 1 (1 de janeiro de 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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Weitz, Shaena B. "Propaganda and Reception in Nineteenth-Century Music Criticism: Maurice Schlesinger, Henri Herz, and the Gazette musicale". 19th-Century Music 43, n.º 1 (2019): 38–60. http://dx.doi.org/10.1525/ncm.2019.43.1.38.

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In the mid-1830s, Henri Herz (1803–88) was an internationally renowned pianist, but his reputation today, for the most part, is that of a second-rate musician who wrote trivial variations on opera themes. This enduring picture of Herz was painted first in France in 1834 by the Gazette musicale. The Gazette’s campaign has been understood by modern scholars as a conspicuous moment in a broad aesthetic shift away from French salon music and toward high German Romanticism, and the Gazette has garnered praise for its prescience. But a closer examination of the Gazette’s articles, the events surrounding the coverage such as a pistol duel and a libel case, contemporary correspondence, and Herz’s publishing record indicate that the Gazette’s negative treatment of Herz was not an organic assessment of his output, but rather a revenge scheme orchestrated by the Gazette’s owner and Herz’s former publisher, Maurice Schlesinger (1798–1871). As a case study, the Gazette’s Herz campaign exposes the endemic corruption of the nineteenth-century press that has been portrayed as an unseemly rarity rather than a central component of historical criticism’s production. But taken more broadly, the Gazette’s articles on Herz highlight limitations in the history of reception. This article turns to media studies to explore the problematic relationship between propaganda and reception and shows how the Gazette, and other nineteenth-century journals, are still manipulating our cognition.

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Watkins, Holly. "From the Mine to the Shrine: The Critical Origins of Musical Depth". 19th-Century Music 27, n.º 3 (2004): 179–207. http://dx.doi.org/10.1525/ncm.2004.27.3.179.

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In recent years, the analytical concept of structural depth has been subjected to intense critical scrutiny. But amid debates over the relative merit of depth- and surface-oriented modes of listening and analysis, surprisingly little attention has been devoted to the history of the two terms in music journalism. Focusing on the period around 1800, this article examines the entry of the term "depth" into German literature on music and explores the metaphorÕs diverse, even contradictory, meanings. Writers like Wilhelm Heinrich Wackenroder and E. T. A. Hoffmann endorsed the idea, prominent in German Pietism and the criticism of Johann Gottfried Herder, that sound was uniquely able to access the deepest regions of subjectivity. At the same time, such writers began to imagine a musical inner space uncannily similar to the inner space of the listening subject. Unlike earlier aestheticians of a poetic bent, Hoffmann thought that the "deepest" works--works that stirred the soul with special force--required the critic to "penetrate" their "inner structure." Given that earlier technical discourse had treated music essentially as a linear sequence of periods, HoffmannÕs writings exhibit a momentous shift in perspective from the sequential to the vertical. By adding a new dimension to music complementing its axis of horizontal or temporal unfolding, Hoffmann imported the full spectrum of depthÕs meanings, ranging from the scientific to the spiritual, the rational to the irrational, into the modern notion of the masterwork.

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Teses / dissertações sobre o assunto "Music Germany History and criticism"

Johnston, Gregory Scott. "Protestant funeral music and rhetoric in seventeenth-century Germany : a musical-rhetorical examination of the printed sources". Thesis, University of British Columbia, 1987. http://hdl.handle.net/2429/27359.

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The present thesis is an investigation into the musical rhetoric of Protestant funeral music in seventeenth-century Germany. The study begins with an exposition on the present state of musicological inquiry into occasional music in the Baroque, focusing primarily on ad hoc funeral music. Because funeral music is not discussed in any of the basic music reference works, a cursory overview of existing critical studies is included. The survey of this literature is followed by a brief discussion of methodological obstacles and procedure with regard to the present study. Chapter Two comprises a general discussion of Protestant funeral liturgy in Baroque Germany. Although numerous examples of the Divine Service in the Lutheran Church have survived the seventeenth century, not a single order of service for the funeral liturgy from the period seems to exist. This chapter provides both the social and extra-liturgical background for the music as well as a plausible Lutheran funerary liturgy based on documents from the period and modern studies. Prosopopoeia, the rhetorical personification of the dead, is the subject of Chapter Three. After examining the theoretical background of this rhetorical device, from Roman Antiquity to the German Baroque, the trope is examined in the context of funerary sermonic oratory. The discussion of oratorical rhetoric is followed by an investigation into the musical application of the concept of prosopopoeia in various styles of funerary composition, from simple cantional-style works to compositions in which the personified deceased assumes certain physical dimensions. Chapter Four includes an examination of various other musical-rhetorical figures effectively employed in funeral music. Also treated in this chapter are musica1-rhetorical aspects of duple and triple metre, where triple metre in particular, depending on the text, can be understood figuratively, metaphorically or as a combination of both. As this chapter makes clear, owing to the perceived antithetical properties of metre and certain figures, musical rhetoric was often used to illustrate the distinction between this world and the next.
Arts, Faculty of
Music, School of
Graduate

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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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Jang, Laurie. "Music's debt : a study of poetic influence in mid-eighteenth century German instrumental music". Thesis, University of British Columbia, 1988. http://hdl.handle.net/2429/28075.

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The aim of this study is to examine the correspondences of style, technique and aesthetic in poetry and music as it pertains to the musical thought and works of composers centered in Berlin 1740-1760. With the trend toward rational enquiry, the re-affirmation of the Aristotelian theory of imitation, and a return to the ideal of a union of the arts, 18th-century theorists and composers were once again preoccupied with the consanguinity of the "sister" arts of poetry and music. In particular, analogies were made between their materials of expression and the methods by which they achieved their ultimate goal of the imitation of human passions. The "problem" of textless music--i.e., its lack of semantic content--became a primary issue for aesthetic discussion and led to a re-evaluation of music's intrinsic qualities as a medium of expression. Berlin composers working in mid-century were especially susceptible to such aesthetic developments. Led by writer/critics Lessing, Nicolai, and Mendelssohn, a unique literary renaissance characterizing the city was generating wide-spread critical debate on matters concerning the significance and meaning of art. Two major points of discussion among the literati were 1) that since classical times the arts of poetry and music had strayed too far apart, and 2) that music especially needed the support and cognitive power of a poetic text to remain a viable artistic medium. The consequences of these ideas on Berlin composers is immediately apparent in the development of the lied. In this new musical genre which achieved great popularity in Berlin, expression through text and music were considered synonymous as composers worked to close the gap between the two in their technique and methodry. However, the impact of these aesthetic beliefs is not as easily discernible in the instrumental music of mid-eighteenth century Berlin. While it was undisputed that musical tones in themselves contained some indeterminate expressive force, the rationalists' demand for concrete meaning in art led composers to develop and assess their music in terms of poetic criteria. An analysis of their works will illustrate that poetic structure, technique, and materials of expression assumed a primary role in the creation of their art. This study hopes to clarify the relationship between poetry and music through an examination of mid-eighteenth century Berlin's lied aesthetic, and selected instrumental works by J.J. Quantz and C.P.E. Bach composed in Berlin during this period.
Arts, Faculty of
Music, School of
Graduate

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Rusak, Helen Kathryn. "Rhetoric and the motet passion". Title page, table of contents and introduction only, 1986. http://web4.library.adelaide.edu.au/theses/09ARM/09armr949.pdf.

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Templeton, Inez H. "What's so German about it? : cultural identity in the Berlin hip hop scene". Thesis, University of Stirling, 2006. http://hdl.handle.net/1893/75.

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Literature on the appropriation of hip hop culture outside of the United States maintains that hip hop engenders local interpretations no longer reliant on African-American origins, and this research project is an attempt to determine the extent to which this is the case in a specific local context. My thesis is an effort to move beyond the rhetoric of much of what constitutes the debates surrounding globalisation, by employing a research strategy combining theoretical analysis and direct engagement with the Berlin hip hop scene. My project not only aims to uncover the meanings young people in Berlin give to their hip hop practices, but intends to do so within a framework that does not ignore the discursive spaces in which these young people are operating. This is particularly relevant because of the complex ways in which race and ethnicity are related to German national identity. Furthermore, this thesis is concerned with the ways in which the spaces and places collectively known as Berlin shape the cultural practices found there. While hip hop belongs to global culture, it is also the case that the city of Berlin plays a significant role in determining how hip hop is understood and reproduced by young people there.

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Dobbs, Benjamin Michael. "Gewesener Magdeburgische Musicus: An Examination into the Stylistic Characteristics of Heinrich Grimm's Eight-Voice Motet, Unser Leben Wehret Siebenzig Jahr'". Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc33142/.

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Although Magdeburg cantor Heinrich Grimm was frequently listed among prominent musical figures of the early seventeenth century such as Heinrich Schütz, Johann Hermann Schein, and Michael Praetorius in music lexica through the nineteenth century, he has almost disappeared from modern scholarship. However, a resurgence in Grimm studies has begun in recent years, especially in the areas of biographical study and compositional output. In this study, I examine the yet unexplored music-analytic perspective by investigating the stylistic characteristics of Grimm's 1631 motet, Unser Leben wehret siebenzig Jahr'. Furthermore, I compare his compositional technique to that of his contemporaries and predecessors with the goal of examining the work from both Renaissance and Baroque perspectives.

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Siddiqui, Tashmeen Monique. "Jews against Wagner : the 1929 Krolloper production of Wagner's Der fliegende Holländer". Thesis, University of Oxford, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.669985.

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Gentry, Jonathan C. "Memory and hypnotism in Wagner's musical discourse". PDXScholar, 2007. https://pdxscholar.library.pdx.edu/open_access_etds/3660.

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A rich relationship unites the composer Richard Wagner (1813-1883) and the history of psychology, especially if one considers his attempt to make music speak with the clarity of verbal language. Wagner's musical discourse participated in the development of psychology in the nineteenth century in three distinct areas. First, Wagner shared in the non-reductive materialist discourse on mind that characterized many of the thinkers who made psychology into an autonomous intellectual pursuit. Second, Wagner's theories and theatrical productions directly influenced two important psychologists - Friedrich Nietzsche (1844-1900) and Christian von Ehrenfels (1859-1932). Finally, the experiences of music achieved by Wagner at his Bayreuth festivals created greater sensitivity toward psychology, especially among the more sympathetic participants. In tracing a narrative from Wagner's first conception of a festival in 1849 to the premiere of Parsifal in 1882, one can also see several arcs in the evolution of Wagner's musical discourse. These include the shift from mnemonic to hypnotic techniques for giving music a voice, as well as the transition from a socially critical festival to one of personal affirmation. Connected to both of these augmentations of musical discourse was the volatile relationship between music and text in Wagner's compositions. Important in facilitating these transformations was not only Wagner's discovery of Schopenhauer's philosophy, but also the larger contingencies of instituting a festival in the Griinderzeit. In looking at the reception side of theatrical productions, in addition to their staging, this thesis has been able to identify psychologically-related links important to the history of music, science, and culture.

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Nedvin, Brian. "Holocaust Song Literature: Expressing the Human Experiences and Emotions of the Holocaust through Song Literature, Focusing on Song Literature of Hirsh Glick, Mordechai Gebirtig, and Simon Sargon". Thesis, University of North Texas, 2005. https://digital.library.unt.edu/ark:/67531/metadc4850/.

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During the years of the Holocaust, song literature was needed to fulfill the unique needs of people caught in an unimaginable nightmare. The twelve years between 1933 and 1945 were filled with a brutal display of man's inhumanity to man. Despite the horrific conditions or perhaps because of them, the Jewish people made music, and in particular, they sang. Whether built on a new or an old melody, the Holocaust song literature continues to speak to those of us who are willing to listen. This body of work tells the world that these people lived, suffered, longed for vengeance, loved, dreamed, prayed, and tragically, died. This repertoire of songs is part of the legacy, the very soul of the Jewish people. This study contains a brief look at the historical circumstances, and through the song literature of Hirsh Glick, Mordechai Gebirtig and Simon Sargon, life within the ghetto, the concentration camp, the decisions families had to make, the choices to fight back against incredible odds, the place of faith within this nightmare, and a look at the lives and works of the composers themselves.

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Wolfinbarger, Steve M. "The Nineteenth-Century German Tradition of Solo Trombone Playing: A Lecture Recital, Together with Three Recitals of Selected Works of E. Bozza, W. Hartley, A. Frackenpohl, A. Pryor. G. Frescobaldi. L. Grondahl, P. Bonneau and Others". Thesis, University of North Texas, 1989. https://digital.library.unt.edu/ark:/67531/metadc331705/.

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This study deals with trombone soloists and music of nineteenth-century Germany. Much of the discussion is based on the influence of two trombone virtuosos, Carl Traugott Queisser (1800-1846) and Friedrich August Belcke (1795- 1874) . Finally, a style and form analysis is given of several representative trombone compositions of the period. These include Ferdinand David's Concertino. Op. 4, Friedebald Grafe's Concerto. and Josef Serafin Alschausky's Concerto No. I.

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Mais fontes

Livros sobre o assunto "Music Germany History and criticism"

Lewis-Hammond, Susan. Editing music in early modern Germany. Aldershot, Hants, England: Ashgate Pub., 2007.

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Chorley, Henry Fothergill. Modern German music: Recollections and criticisms. Cambridge: Cambridge University Press, 2009.

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Komlós, Katalin. Fortepianos and their music: Germany, Austria, and England, 1760-1800. Oxford: Clarendon Press, 1995.

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Wallscheid, Margot, Stephan Schulmeistrat e J. Bradford Robinson. Musical life in Germany: Structure, facts and figures. Editado por Deutsches Musikinformationszentrum. Bonn: German Music Council, 2011.

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Rehding, Alexander. Music and monumentality: Commemoration and wonderment in nineteenth-century Germany. New York: Oxford University Press, 2009.

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German music criticism in the late eighteenth century: Aesthetic issues in instrumental music. Cambridge, U.K: Cambridge University Press, 1997.

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New music, new allies: American experimental music in West Germany from the zero hour to reunification. Berkeley: University of California Press, 2006.

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Chorley, Henry Fothergill. Music and manners in France and Germany: A series of travelling sketches of art and society. Cambridge: Cambridge University Press, 2009.

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The new German cinema: Music, history, and the matter of style. Berkeley: University of California Press, 2004.

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Musical thought in Britain and Germany during the early eighteenth century. New York: P. Lang, 1987.

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Mais fontes

Capítulos de livros sobre o assunto "Music Germany History and criticism"

Wehrs, William. "Affect and Film Music: A Brief History". In The Palgrave Handbook of Affect Studies and Textual Criticism, 735–52. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-63303-9_28.

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Rose, Stephen. "German-Language Music Criticism before 1800". In The Cambridge History of Music Criticism, 104–24. Cambridge University Press, 2019. http://dx.doi.org/10.1017/9781139795425.007.

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Berry, Mark. "TheFeuilletonand Beyond: Criticism in the Federal Republic of Germany and Austria after the Second World War". In The Cambridge History of Music Criticism, 590–608. Cambridge University Press, 2019. http://dx.doi.org/10.1017/9781139795425.031.

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Karnes, Kevin C. "GERMAN MUSIC IN AN AGE OF POSITIVISM". In Music, Criticism, and the Challenge of History, 159–87. Oxford University Press, 2008. http://dx.doi.org/10.1093/acprof:oso/9780195368666.003.0007.

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Tunbridge, Laura. "Constructing a Musical Nation: German-Language Criticism in the Nineteenth Century". In The Cambridge History of Music Criticism, 170–89. Cambridge University Press, 2019. http://dx.doi.org/10.1017/9781139795425.010.

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Painter, Karen. "Aesthetic Conservatism and Politics in German-Language Music Criticism, 1900–1945". In The Cambridge History of Music Criticism, 408–23. Cambridge University Press, 2019. http://dx.doi.org/10.1017/9781139795425.022.

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Goetschel, Willi. "Germany". In The Cambridge History of Literary Criticism, 115–38. Cambridge University Press, 2013. http://dx.doi.org/10.1017/cho9781139018456.008.

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Dahl, Per. "Music Criticism in Norway". In The Cambridge History of Music Criticism, 392–407. Cambridge University Press, 2019. http://dx.doi.org/10.1017/9781139795425.021.

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Karnes, Kevin C. "MUSIC CRITICISM AS LIVING HISTORY". In Music, Criticism, and the Challenge of History, 48–76. Oxford University Press, 2008. http://dx.doi.org/10.1093/acprof:oso/9780195368666.003.0003.

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Frey, Emily. "Music Criticism in Imperial Russia". In The Cambridge History of Music Criticism, 208–28. Cambridge University Press, 2019. http://dx.doi.org/10.1017/9781139795425.012.

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Trabalhos de conferências sobre o assunto "Music Germany History and criticism"

Tischer, Matthias. "Musikgeschichte der DDR: Ein Pilotprojekt zur digitalen Musikvermittlung". In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.106.

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Resumo:

Thirty years after the so-called ‚Wende‘, a fundamental and comprehensive study of the musical history of the GDR - encompassing both the music itself and the political and cultural contexts (i.e. the musical relations) - still represents a desideratum. The same is true for a long-term comparative music history of the divided Germany, for which the our project develops some essential prerequisites. The research project presented here is an informed cultural-historical analysis of the musical discourse of the GDR under the auspices of the Cold War. It is not about a revised version of national history only, because despite a relatively strong national and regional self-centredness of the musical life of the GDR, it can hardly be understood without the political and cultural references to the Soviet Union, the Federal Republic of Germany and the neighbouring European states.

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Treydte, Elisabeth. "Clara Schumann #digital. 40 Jahre Frau und Musik und der Start in die Digitalisierung". In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.94.

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The Archives of Women in Music based in Frankfurt a. M. (Germany) was founded in 1979. Its goals are increasing the visibility of women in music, achieving programming parity and making the wealth of creative work by women in music available for performance and research. The Archives assure long-term safe storage of both analogue and digital archive and library content. During the last three years it focused on two collection digitization projects and an oral history project.

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