Academic literature on the topic '19th-Century Form'

This thesis is concerned with how a performer might engage with the supposed narrative elements in piano ballades of the nineteenth century, and more generally with the performative principles that would be needed to sustain a narrative realisation of music wherever it seemed appropriate. Of course, the presence of narrative elements in music is usually defined not according to the methods employed by performers, but to those familiar from literary, historical, contextual and analytic studies of the music-as-a-text. Therefore a first step is to examine the tensions between methodologies centred on the “work-as-a-text”, and those concerned with the act of performance. Some important distinctions between critical interpretations and performance interpretations are suggested, even if the former sometimes provide an instigating basis for the latter. Out of this comes a need to demonstrate that, in respect to musical “meaning”, performance has a generative as well as reproductive role, and that the processes and decisions embedded in the acts of rehearsal and the “unfolding-through-time” of performances are central to the creation and emergence of such meanings, including narrative meanings. Next, the evidence for the existence of narrative meanings in music is placed in a particular historical context (that concerned with the development of the piano ballade and its conventions), and in the framework of the changing aesthetic attitudes towards programme music in the first half of the nineteenth century –attitudes that played out in radically different ways in relation to those piano works by Chopin, Schumann and Liszt that form part of this study. The focus then turns to possible and actual performances of these works, and questions are asked about how performances, as implicative sonic shapes and gestural events, for example, might be analysed and theorised by employing recent methodologies of the discipline of performance studies. A final step is to develop and test those findings against a series of case studies of performance approaches to particular works – by Kullak, Chopin, and Liszt – the last two of which are included in the recital that accompanies this doctoral investigation.

Includes abstract.<br>Includes bibliographical references.<br>The major objective of this thesis was to record, document and describe the corbelled buildings of the Great Karoo, a form of 19th century vernacular architecture. The thesis builds on the pioneering descriptive work of James Walton in the 1960s. Description of these structures lays the foundation for a more contextual interpretation of them. This focuses on the 19th century trekboer small stock farmers who occupied these buildings, and whose cultural history dates back to their 18th century movement onto the VOC Cape frontier that resulted in ongoing interaction with indigenous people and the Karoo habitat. The thesis specifically suggests that these corbelled buildings were an outcome of these cultural exchanges and interactions with Khoe and southern Sotho-speaking farmers. The research examines evidence for the chronology of these structures between the 1820s and 1870s, reasons for their discrete distribution in the Karoo and the engineering of construction.

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.

The last thirty years have seen a resurgence in the research of sonata form. One groundbreaking treatise in this renaissance is James Hepokoski and Warren Darcy’s 2006 monograph Elements of Sonata Theory: Norms, Types, and Deformations in the Late-Eighteenth-Century Sonata. Hepokoski and Darcy devise a set of norms in order to characterize typical happenings in a late 18th-century sonata. Subsequently, many theorists have taken these norms (and their deformations) and extrapolate them to 19th-century sonata forms. My work aims to characterize Antonin Dvořák’s chamber music in the context of Sonata Theory, using the treatise as a jumping off point in order to analyze his music. This dissertation contains three main chapters. The first chapter deals with two of the themes of this dissertation: form and influence. Schubert’s influence on Dvořák’s music was notable, so after comparing some of Dvořák’s writing about Schubert’s music, I examine specific musical elements (sonic, formal, and structural) from Schubert’s String Quintet in C Major, D. 956 that Dvořák emulates in his string quartet in the same key. Chapters 3 and 4 put Dvořák’s sonata form practices into a 19th-century context, and I examine how he treats the MC and EEC sections of an exposition. In Chapter 3, I contend that Dvořák’s use of energy loss before and after the medial caesura is just as rhetorically successful as 18th-century composer’s use of energy gain in the transition section of a sonata. Additionally, many of Dvořák’s sonata forms feature expositions with vastly elongated S themes, thereby pushing rhetorical closure of the exposition back. This is unlike 18th-century sonatas, whose expositions routinely wrap up with a cadence in the second key after the first phrase. Thus, Chapter 4 displays several sonatas where Dvořák extends S-rhetoric in order to delay the close of the exposition. Even though not originally intended for this music, Hepokoski and Darcy’s treatise provides a fruitful set of norms that can be related to works from the 19th century. Additionally, Dvořák’s music is especially appropriate for this treatment, as his compositional style owes many allegiances to 18th-century techniques.

This thesis represents the first effort to catalogue extant timber slab houses of 19th century Canberra and its outlying regions. From an archaeological viewpoint, it looks at slab houses as above-ground artefacts that possess ingrained information about the culture that built them and analyses them as material culture through an investigation of their: history, material, construction, function and design. It is inspired by the work of folk historian, Henry Glassie, and focuses on form and pattern, through a comparison of floor plans, in order to understand the needs, minds and behaviours of early Canberrans. The thesis also draws on the historic documentary record of a similar local group of houses, those resumed by the Commonwealth in 1912-13.

This dissertation draws on studies of gift exchange by cultural anthropologists and social theorists to examine representations of gifts and gift giving in nineteenth-century British novels. While most studies of the economic imagination of nineteenth-century literature rely on and respond to a framework formulated by classical political economy and consequently overlook nonmarket forms of social exchange, I draw on gift theory in order to make visible the alternate, everyday exchanges shaping social relations and identity within the English novel. By analyzing formal and thematic representations of gifting over the course of the nineteenth century, in novels by Jane Austen, Charles Dickens, and George Eliot, I consider the way that gift exchange relates and responds to the emergence of capitalism and consumer culture. I trace two distinct developments in nineteenth-century gift culture: the first, the emergence of an idealized view of the gift as purely disinterested, spontaneous, and free, and the second, the emergence of a view of charity as demoralizing to the poor. These developments, I contend, were distinct ideological formations of liberal economic society and reveal a desire to make the gift conform to individualism. However, I suggest further that these transformations of the gift proceeded unevenly, for in their attention to the logic and practice of giving, nineteenth-century writers both give voice to and subvert these cultural formations. Alongside the figure of the benevolent philanthropist, the demoralized pauper, and the quintessential image of altruism, the selflessly giving domestic woman, nineteenth-century novels present another view of gift exchange, one that sees the gift as a mix of interest and disinterest, freedom and obligation, and persons and things. Ultimately, by reading the gift relations animating nineteenth-century novels, I draw attention to the competing conceptions of selfhood underlying gift and market forms of exchange in order to offer a broader history of exchange and personhood. In its recognition of expansive conceptions of the self and obligatory gifts, this dissertation recovers a history of the gift that calls into question the ascendency of the autonomous individual and the view of exchange as an anonymous, self-interested transaction.

Cette thèse vise à procéder à une analyse minutieuse de la transformation de la forme et du sens dans la traduction des Robâïât de Omar Khayyám, dans quatre importantes traductions – deux en anglais et deux en français, des XIXe et XXe siècles. Les traducteurs des traductions sélectionnées sont Edward FitzGerald, Arthur John Arberry, Jean-Baptiste Nicolas et Gilbert Lazard. Les traductions réalisées par ces traducteurs ont offert des possibilités d’investigation dans un cadre linguistique donné. En effet, on peut se demander si les traducteurs ont transformé la signification et la forme des quatrains perses. Si oui, quelles procédures ont-ils utilisées ? Plus précisément, comment les réseaux signifiants sous-jacents ont-ils été rendus par les plus importants traducteurs anglais et français des XIXe et XXe siècles ? Par ailleurs, il s’agira d’essayer d’évaluer la qualité de l’écriture dans la langue cible de chaque traduction. En somme, cette thèse cherche à comprendre si les traducteurs sont parvenus à saisir l’importance de la signification du sous-texte et l’élégance de la forme poétique des Robâïât. Cette thèse propose une application scientifique des concepts théoriques de différents chercheurs en traductologie, linguistique et littérature. Les théories dominantes utilisées dans la présente étude sont celles d’Antoine Berman, de Henri Meschonnic, Peter Newmark, Eugene Albert Nida, Susan Bassnett, Mona Baker, Geoffrey N. Leech, I.A. Richards, Roger T. Bell, George Lakoff, Mark Johnson, Michael Hanne, et Max Black. En outre, il doit être indiqué que cette thèse vise à créer un équilibre entre deux pôles de la traductologie, à savoir celui qui s’intéresse aux traductions orientées vers la langue cible et celui qui s’intéresse aux traductions orientées vers la langue source.La traduction des Robâïât dans les langues germaniques et romanes est un sujet digne d’intérêt et propice à la discussion. Cette recherche vise à montrer que l’étude des traductions des Robâïât pourrait contribuer à mettre en évidence les difficultés et même l’impossibilité qu’il y a à rendre certaines caractéristiques de l’original persan en anglais et en français<br>This thesis aims to carry out a meticulous analysis of the transformation of form and meaning in the rendition of the Rubáiyát in four significant 19th and 20th-century translations—two in English and two in French. The translators of the selected translations are Edward FitzGerald, Arthur John Arberry, Jean-Baptiste Nicolas, and Gilbert Lazard. The translations produced by these translators have offered opportunities of investigation within linguistic boundaries. In fact, one may wonder if the translators have transformed the meaning and the form of the Persian quatrains. If so, which procedures have they employed? More precisely, how are the underlying networks of signification rendered by the most significant English and French translators of the 19th and 20th centuries? Furthermore, what is the quality of the writing in the target language in each translation? On the whole, this thesis seeks to appreciate whether the translators have been successful in understanding the significance of the subtext and the elegance of the poetic form of the Rubáiyát.This dissertation provides its readers with a scientific application of the theoretical concepts of different theorists in translation studies, linguistics, and literature. The most salient theories employed in the present research are those of Antoine Berman, Henri Meschonnic, Peter Newmark, Eugene Albert Nida, Susan Bassnett, Mona Baker, Geoffrey N. Leech, I.A. Richards, Roger T. Bell, George Lakoff and Mark Johnson, Michael Hanne, and Max Black. In addition, it must be indicated that this thesis sets out to create a balance between two poles in translation studies, i.e. target-oriented and source-oriented translations.The translation of Omar Khayyám’s Rubáiyát into Germanic and Romance languages is an interesting and controversial subject to discuss. This research seeks to prove that the study of the translations of the Rubáiyát can contribute to highlighting the difficulties and the impossibilities of the rendition of certain issues from Persian into English or French

One of the difficulties of nineteenth-century form studies is ambiguity in ascertaining which formal types are at work and in what ways. This can be an especially difficult problem when multiple formal types seem to influence the construction of a single composition. Drawing on some recent innovations in form studies proposed by Steven Vande Moortele, Janet Schmalfeldt, and Caitlin Martinkus, I first develop a set of analytical tools specifically made for the analysis of sonata/variation formal hybrids. I then refine these tools by applying them to the analysis of two pieces. Chopin's Fourth Piano Ballade can be understood from this perspective as primarily following the broad outlines of a sonata form, but with important influences from the recursive structures of variation forms; Franck's Symphonic Variations, on the other hand, are better viewed as engaging most of all with multiple variation-form paradigms and overlaying them with some of the rhetorical and formal structures of sonata forms. I conclude with a brief speculation on some further, more general applications of my methodology.