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Relevant bibliographies by topics / 19th-century music

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Academic literature on the topic '19th-century music'

Author: Grafiati

Published: 4 June 2021

Last updated: 27 April 2022

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Journal articles on the topic "19th-century music"

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Rochester, Marc. "19th-Century." Musical Times 127, no. 1726 (1986): 713. http://dx.doi.org/10.2307/964691.

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Criswick, Mary. "19th-Century Guitar." Musical Times 127, no. 1722 (1986): 502. http://dx.doi.org/10.2307/964602.

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Palacios, Mariantonia. "Music in 19th-Century Venezuela." Politeja 10, no. 24 (2013): 243–53. http://dx.doi.org/10.12797/politeja.10.2013.24.15.

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Newbould, Brian. "Two 19th-century symphonies." Early Music XXII, no. 4 (1994): 704–7. http://dx.doi.org/10.1093/earlyj/xxii.4.704.

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Webb, John. "19th-Century Keyed Brass." Musical Times 127, no. 1716 (1986): 83. http://dx.doi.org/10.2307/964561.

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Chavarría, Vicente. "18th-century explorers in the 19th century." Early Music 46, no. 4 (2018): 702–5. http://dx.doi.org/10.1093/em/cay077.

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Davis, W. B. "Music Therapy in 19th Century America." Journal of Music Therapy 24, no. 2 (1987): 76–87. http://dx.doi.org/10.1093/jmt/24.2.76.

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Rutledge, John B. "Late 19th-century viol revivals." Early Music XIX, no. 3 (1991): 409–18. http://dx.doi.org/10.1093/earlyj/xix.3.409.

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Leedy, D. "Temperament in the 19th century." Early Music 34, no. 2 (2006): 350. http://dx.doi.org/10.1093/em/cal026.

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Rishoi, Niel. "Yvonne Kenny: 19th Century Heroines." Opera Quarterly 12, no. 2 (1995): 152–54. http://dx.doi.org/10.1093/oq/12.2.152.

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Dissertations / Theses on the topic "19th-century music"

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Risko, Sharon Marie. "19th Century Sea Shanties: From the Capstan to the Classroom." Cleveland State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=csu1439294062.

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Bauer, Petra. "The reception of E.T.A. Hoffmann in 19th century Britain." Thesis, Keele University, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.301193.

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Shank, Ashley C. "Composers as Storytellers: The Inextricable Link Between Literature and Music in 19th Century Russia." University of Akron / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=akron1290275047.

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Ertz, Matilda Ann Butkas 1979. "Nineteenth-century Italian ballet music before national unification: Sources, style, and context." Thesis, University of Oregon, 2010. http://hdl.handle.net/1794/11296.

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xxiv, 603 p. : ill. (some col.) A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.<br>Though not widely acknowledged, ballet and its music were important to the nineteenth-century Italian theatre-goer. While much scholarship exists for Italian opera, less study is made of its counterpart even though the ballet was an important feature of Italian theatre and culture. This dissertation is the first in-depth survey of the music for Italian ballets from 1800-1870, drawing from the hundreds of ballet scores in two important collections: The John and Ruth Ward Italian Ballet Collection, part of the Harvard Theatre Collection, and the New York Public Library for the Performing Arts Research Collections. After discussion of primary and secondary sources (Chapters II and III), I provide an overview of the context in which ballets were performed during the period (Chapter IV). In Chapter V I discuss musical styles for mime and for dance, and dance sub-categories such as the pas de deux, ballabile, and national dances. I also explore specific commonly occurring choreo-musical sub-topics such as anger, love, storms, hell, witches, devils, and sylphs. Finally, I examine two complete ballets in detail. Chapter VI on Salvatore Viganò's La Vestale includes a discussion of the hitherto neglected manuscript full score and of the published piano reduction. Chapter VII on Giuseppe Rota's Bianchi e Negri explores the musical and dramatic adaptation of Harriet Beecher Stowe's Uncle Tom's Cabin . While examining the traits of Italian ballet music as a genre and exploring relationships between music, dance, and libretto, this dissertation initiates a wider discussion of the social-political context of ballet music in nineteenth-century Italian theatrical life during the turbulent decades spanning the 'Risorgimento' period.<br>Committee in charge: Marian Smith, Chairperson, Music; Anne McLucas, Member, Music; Marc Vanscheeuwijck, Member, Music; Jenifer Craig, Outside Member, Dance

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Arenas, Erick G. "A historical Study of Charles Gounod's Messe Solennelle de Sainte-Cecile." Thesis, University of Oregon, 2004. http://hdl.handle.net/1794/23902.

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189 p.<br>Church music has been given relatively little scholarly attention in the study of nineteenth-century music. While there is an array of mass settings that were composed by Romantic-era composers, current musicological research marginalizes them. Paris was one location where a tradition of composing new masses continued well into the nineteenth century. While best known for his works for the stage, Charles Gounod (1818-1893) was a leading French composer of sacred music and one of the most prolific sacred composers of his time. His most important liturgical composition is the Messe solennelle de Sainte-Cecile, which once enjoyed considerable international success. This thesis focuses on the history of this mass in biographical and historical context. I discuss the topics of music and religion in France from the Revolution to Gounod's time, the composer's long musical relationship with the church, the music of the Messe de Sainte-Cecile, and its reception.

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Yoo, Hyun Hanna. "The survey of Robert Schumann his artistry in the context of 19th century music /." College Park, Md. : University of Maryland, 2005. http://hdl.handle.net/1903/3165.

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Brown, Myron D. "The 19th Century Tarantella for Piano: A Pedagogical Guide to Performance and Leveling." University of Cincinnati / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1302883737.

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Hambridge, Katherine Grace. "The performance of history : music, identity and politics in Berlin, 1800-1815." Thesis, University of Cambridge, 2013. https://www.repository.cam.ac.uk/handle/1810/283937.

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Silbert, Ariel. "Late 19th century German-Jewish Korperkultur and its philosophical and aesthetic sources." Waltham, Mass. : Brandeis University, 2009. http://dcoll.brandeis.edu/handle/10192/23320.

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Loungsangroong, Manchusa. "First-wave Women Clarinetists Retrospective: A Guide to Women Clarinetists Born Before 1930." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1492472880913857.

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Books on the topic "19th-century music"

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Wetter-Smith, Brooks De. 19th century music of Denmark & Germany. Crystal Records, 1987.

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Tunley, David. Music in the 19th-century Parisian salon. University of New England, 1997.

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Korda, Marion. Louisville music publications of the 19th century. M. Korda, 1991.

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Nineteenth-century music. University of California Press, 1989.

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Allitt, John. J.S. Mayr: Father of 19th century Italian music. Element, 1989.

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Allitt, John Stewart. J.S. Mayr: Father of 19th century Italian music. Element, 1989.

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Benton, Rita. Pleyel as music publisher: A documentary sourcebook of early 19th-century music. Pendragon Press, 1990.

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Realism in nineteenth-century music. Cambridge University Press, 1985.

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Taruskin, Richard. Music in the nineteenth century. Oxford University Press, 2009.

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Music in the nineteenth century. W. W. Norton, 2013.

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Book chapters on the topic "19th-century music"

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Braguinski, Nikita. "Since the 19th century." In Mathematical Music. Focal Press, 2022. http://dx.doi.org/10.4324/9781003229254-7.

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Nußbaumer, Thomas. "Instrumental Folk Music in Tyrol since the 19th Century." In Playing Multipart Music. Böhlau Verlag, 2021. http://dx.doi.org/10.7767/9783205214106.213.

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Rossi, Arcangelo. "Kantianism and Physics from the 19th to the 20th Century." In Language, Quantum, Music. Springer Netherlands, 1999. http://dx.doi.org/10.1007/978-94-017-2043-4_27.

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Thanailaki, Polly. "Euterpe, the Muse of Music: Women’s Position as Seen through Folklore Songs and Dances (Nineteenth to Early Twentieth Centuries)." In Gender Inequalities in Rural European Communities During 19th and Early 20th Century. Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-75235-8_6.

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"19th-Century Berlin and the Invention of German Musical Tradition." In Recomposing German Music. BRILL, 2005. http://dx.doi.org/10.1163/9789047416395_004.

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Brown, Clive. "Dots and strokes in late 18th- and 19th-century music." In Classical and Romantic Music. Routledge, 2017. http://dx.doi.org/10.4324/9781315095653-23.

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Regelski, Thomas A. "19th and 20th Century Philosophical Foundations of Curriculum." In Curriculum Philosophy and Theory for Music Education Praxis. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197558690.003.0003.

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This chapter explores more recent and more relevant philosophies: Existentialism-phenomenology, and Pragmatism. Existentialism is examined, first of all, in terms of its early roots in the theological philosophy of Kierkegaard and its emphasis on self-reflection in action, then as extended by humanistic existentialism and humanistic psychology. Pragmatism examines the nature of educational experiences, the action implications of “musicing” and “amateuring,” and its critique of traditional aesthetics rooted in Kantian idealism. Both topics are extensively applied to major considerations of curriculum planning. Frequent references to pragmatism continue in the following chapters.

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Walker, Margaret E. "The ‘Nautch’, the Veil and the Bayadère: The Indian Dance as Musical Nexus." In The Music Road. British Academy, 2019. http://dx.doi.org/10.5871/bacad/9780197266564.003.0011.

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During the early period of mercantile contact with India, the exotic spectacle of the Bayadères or Nautch Girls seized the imagination of western sojourners and inspired an abundance of artistic production back in Europe. The ‘dancing girl’ is found everywhere in late 18th- and 19th-century orientalist paintings, poetry, novels, and of course, ballets, operas and other musical compositions. Although there are substantial studies exploring musical orientalisms in western art music, little attention has been paid to the role of real-life performances in such musical creation. This chapter explores the influence of the colonial interaction with Indian dance performances over the long 19th century. It argues not only for a nuanced and historicised approach to musical encounter but also, given the centrality of the Nautch in the Indian context, for the crucial inclusion of dance in the global history of music.

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Jennings, David. "How a Northern Quarter music venue was crucial in the reinterpretation of 19th-century Broadside Ballads." In Music and Heritage. Routledge, 2021. http://dx.doi.org/10.4324/9780429343049-16.

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Xepapadako, Avra. "European Itinerant Opera and Operetta Companies Touring in the Near and Middle East." In The Music Road. British Academy, 2019. http://dx.doi.org/10.5871/bacad/9780197266564.003.0016.

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Τ‎his chapter focuses on the activity of musical theatre companies touring in south-eastern Europe, the Near East, the Caucasus and Central Asia during the 19th and early 20th centuries. It investigates cultural transfer and amalgamation between the metropolitan culture of the West and the Orient in the domain of opera and operetta. Greece, in particular, functioned as a cultural crossroads between East and West. From 1840 onwards, Italian opera companies began to tour in Greece and its new theatres, and even further towards the Near East; they were followed, from 1870 onwards, by French operetta and vaudeville companies. In the last decades of the 19th century, these French artists expanded their itineraries towards the East, beyond familiar geographical boundaries, tracing their own small odysseys on the map. The chapter charts and presents these traces, attempting to shed light on an unexplored area of the world history of music and theatre.

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Conference papers on the topic "19th-century music"

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Shkolina, Marina Sergeevna. "Ornamenting of Music Texture in Russian Piano Pieces in 19th – Early 20th Century." In All-Russian Scientific Conference with International Participation, chair Zivar Makhmudovna Guseinova. Publishing house Sreda, 2021. http://dx.doi.org/10.31483/r-99579.

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Haug, Judith I. "»Manch eine*r liegt, morgens noch trunken, im Rosengarten« – Rekonstruktionen osmanischer Musikgeschichte in Gesangstextsammlungen." 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/10.25366/2020.56.

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In Ottoman music culture, song text collections (güfte mecmūʿaları) play a crucial role in transmitting vocal repertoire. They employ paratext which supplies information about modal and rhythmic organisation as well as genre, composer and author attribution. In combination with oral tradition continuing until the present day, this method was understood as sufficient in the prevalent absence of notation until roughly the mid-19th century. Using the example of “Kimi mestāne seḥer yār ile gülşende yatur” by Rūḥī-yi Baġdādī, a poem set to music at least three times since around the mid-17th century which is still part of the repertoire today, we explore possibilities of evaluating güfte mecmūʿaları as source material for the historiography of Ottoman art music.

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Johnson, Henry. "Chinese Music, Difference and Inter-community Relations in a 19th-century New Zealand Gold-mining Setting." In The Asian Conference on Asian Studies 2020. The International Academic Forum(IAFOR), 2020. http://dx.doi.org/10.22492/issn.2187-4735.2020.2.

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Adamyan, Anna. "DEVELOPMENT OF THE ARMENIAN PIANO MUSIC IN THE SECOND HALF OF THE 19TH CENTURY: FIRST ARMENIAN VIRTUOSO CONCERT PIECES IN DIKRAN TCHOUHADJIANS PIANO HERITAGE." In SGEM 2014 Scientific SubConference on ARTS, PERFORMING ARTS, ARCHITECTURE AND DESIGN. Stef92 Technology, 2014. http://dx.doi.org/10.5593/sgemsocial2014/b41/s14.032.

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Kim, Ji Young. "Clara Schumann and Jenny Lind in 1850." 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/10.25366/2020.85.

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Clara Schumann’s 1850 tour of northern Germany with her husband officially ended with a successful concert in Altona where Jenny Lind made a surprise appearance. Immediately thereafter, one more concert featuring the pianist, singer, and Robert’s music was added at the last minute to take place in Hamburg. This too was a success. But a detail that made it especially memorable was Lind’s position behind the piano lid so that, as Clara recounted in her diary, many audience members could hardly catch a glimpse of her. This paper explores the rationales and implications of this singular and fleeting moment, and teases out aspects of the two star performers’ relationship both on and off the stage. In the process, the paper draws attention to hitherto neglected variables in the performance practice of Lieder and seeks to expand our lines of inquiry with regards to the 19th-century Lied as cultural practice.

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Konrad, Ulrich. "Philologie und Digitalität. Perspektiven für die Musikwissenschaft im Kontext fächerübergreifender Institutionen." 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/10.25366/2020.90.

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Currently, the qualitative spectrum of methods in the philological sciences is being substantially expanded, with far-reaching implications, through the integration of the empirical, quantitative, and evaluative possibilities of the Digital Humanities. The example of the planning and establishment of „Kallimachos,“ the Center for Philology and Digitality (ZPD) at the University of Würzburg, demonstrates how a research center in the field of interplay between the humanities and cultural studies, digital humanities, and computer science can bring about a surge of change by providing in-depth insights into each other‘s subjects and ways of thinking. It not only brings with it a new view of the epistemological interests of philology, its questions, its canon, and its key concepts, but also makes computer science aware of the ‚recalcitrance‘ of humanities subjects and thus confronts it with new tasks. The ZPD is the result of a systematic reflection on the digital transformation of philology, with its traditional focus on editing and analyzing, in order to advance this development both in terms of content and methodology. For example, the formation of linguistic conventions in speaking and writing about music in 19th-century composers‘ texts and in music journals would be an ideal subject for the application of digital methods of analysis and the development of new research questions based on them. Research networks that jointly develop and rethink methods on the level of data structures across disciplines are likely to be a proven means of preserving our own discipline in the future, even if this may occasionally be a relationship borne more by reason than by love.

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