Journal articles: '19th-century music'

1

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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4

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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8

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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Wollenberg, Susan. "Bishop and 19th-Century Oxford." Musical Times 127, no. 1726 (1986): 609. http://dx.doi.org/10.2307/964269.

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12

Benestad, Finn. "Nationalistic trends in 19th century Norwegian music." History of European Ideas 16, no. 4-6 (1993): 665–70. http://dx.doi.org/10.1016/0191-6599(93)90203-3.

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13

Edgecombe, Rodney Stenning. "The 19th-Century Ländler: Some Thoughts." Musical Times 147, no. 1897 (2006): 63. http://dx.doi.org/10.2307/25434423.

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14

Barth, George. "Mozart performance in the 19th century." Early Music XIX, no. 4 (1991): 538–56. http://dx.doi.org/10.1093/earlyj/xix.4.538.

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15

CATCH, JOHN R. "The viol in the 19th century." Early Music XX, no. 3 (1992): 525—b—525. http://dx.doi.org/10.1093/earlyj/xx.3.525-b.

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16

Southcott, Jane E. "Early 19th century music pedagogy – German and English connections." British Journal of Music Education 24, no. 3 (2007): 313–33. http://dx.doi.org/10.1017/s0265051707007607.

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Calls to improve congregational psalmody in 18th century England strongly influenced early music pedagogy. In the first decades of the 19th century English music educators, concerned with psalmody and music in charitable schools, looked to Germany for models of successful practice. The Musikalisches Schulgesangbuch (1826) by Carl Gotthelf Gläser (1784–1829) influenced the music materials designed by Sarah Anna Glover (1786–1867). These, in turn, directly influenced John Turner (dates unknown), William Hickson (1803–1870) and, indirectly, John Curwen (1816–1880). It is illuminating to explore how influential a small collection of German didactic songs could be during an early and very active phase of the development of English school music curricula.

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Ghuman, Nalini. "19th- and 20th-Century British and American." Musical Times 136, no. 1826 (1995): 196. http://dx.doi.org/10.2307/1004177.

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18

Silná, Ingrid. "Watchtower Music in the 19th Century in Litovel." Musicologica Olomucensia 13, no. 1 (2011): 81–92. http://dx.doi.org/10.5507/mo.2011.005.

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Kassler, Jamie C. "Pleyel as Music Publisher:A documentary sourcebook of early 19th-century music." Musicology Australia 16, no. 1 (1993): 63–64. http://dx.doi.org/10.1080/08145857.1993.10415226.

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20

SHADLE, DOUGLAS. "Nineteenth-Century Music." Journal of the Society for American Music 9, no. 4 (2015): 477–84. http://dx.doi.org/10.1017/s1752196315000401.

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Musicological research on nineteenth-century music blossomed during the 1970s. The surge was solidified with the founding of the journal 19th-Century Music in 1977, roughly a year after the establishment of the Sonneck Society and a decade before the appearance of AmeriGrove I. During this decade, the journal published seven articles on nineteenth-century American subjects (all on the United States, not other American regions or countries). By contrast, the official journal of the Sonneck Society, American Music, published nearly twice that number between 1983 and 1986 alone. Although this simple metric has sociological explanations exceeding the scope of this review, it suggests that work on nineteenth-century music in the Americas stood at some remove from general musicological discourse in the Sonneck Society's early days.

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21

Cvejić, Žarko. "From "Bach" to "Bach's son": The work of aesthetic ideology in the historical reception of Carl Philipp Emanuel Bach." New Sound, no. 54-2 (2019): 90–108. http://dx.doi.org/10.5937/newso1954090c.

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The paper explores the historical correlation between the marginalization of C. P. E. Bach in his posthumous critical reception in the early and mid 19th century and the paradigm shift that occurred in the philosophical, aesthetic, and ideological conception of music in Europe around 1800, whereby music was reconceived as a radically abstract and disembodied art of expression, as opposed to the Enlightenment idea of music as an irreducibly sensuous, sonic art of representation. More precisely, the paper argues that the cause of C. P. E. Bach's marginalization in his posthumous critical reception should not be sought only in the shadow cast by his father, J. S. Bach, and the focus of 19th and 20th-century music historiography on periodization, itself centred around "great men", but also in the fundamental incompatibility between this new aesthetic and philosophical ideology of music from around 1800 and C. P. E. Bach's oeuvre, predicated as it was on an older aesthetic paradigm of music, with its reliance on musical performance, especially improvisation, itself undervalued in early and mid 19th-century music criticism for the same reasons. Other factors might also include C.P. E. Bach's use of the genre of fantasia, as well as the sheer stylistic idiosyncrasy of much of his music, especially the fantasias and other works he wrote für Kenner ("for connoisseurs"). This might also explain why his music was so quickly sidelined despite its pursuit of "free" expression, a defining ideal of early to mid 19th-century music aesthetics.

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22

Edgecombe, Rodney Stenning. "Conventions of Prayer in Some 19th-Century Operas." Musical Times 146, no. 1893 (2005): 45. http://dx.doi.org/10.2307/30044124.

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23

Kruglova, M. G. "Romantic Style in American Music and Its Place in Courses of Disciplines of Universities of Culture and Art." Uchenye Zapiski RGSU 19, no. 4 (2020): 220–27. http://dx.doi.org/10.17922/2071-5323-2020-19-4-220-227.

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in the development of American music of the 19th century, researchers find stylistic trends in romanticism. During this period, the characteristic features of national musical thinking and the features of the composer’s work of US composers manifest themselves. A similar thing was observed in European music of the same century: the Polish national composer school was formed in Chopin’s works, Liszt embodied the features of Hungarian music, Grieg – Norwegian, etc. Since the beginning of the 19th century, American composers have been passionate about European romantic trends, but at the same time they have gone and developed along their special path. The influence of Schubert, Schumann, Mendelssohn is felt in the works of American composers of the mid-19th century, in the literature of the USA romanticism manifested itself much earlier, and its development was peculiar and special due to the ethnic and historical development of the country. However, all these most important historical pages still remain almost without the attention of scholars, researchers, and are also absent from the courses of music history not only colleges, but also universities of art culture. In this work, an attempt is made to outline ways to master the artistic and creative experience of composers of the USA of the 19th century in the process of studying professional disciplines by students of universities of culture and art and at the same time enriching the scientific experience of musicology with new discoveries in the field of American romantic music.

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24

Devriès, Anik, Rita Benton, and Anik Devries. "Pleyel as Music Publisher, a Documentary Sourcebook of Early 19th-Century Music." Revue de musicologie 77, no. 1 (1991): 131. http://dx.doi.org/10.2307/947192.

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25

Field, Corey, Rita Benton, and Jeanne Halley. "Pleyel as Music Publisher: A Documentary Sourcebook of Early 19th-Century Music." Notes 47, no. 3 (1991): 793. http://dx.doi.org/10.2307/941915.

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26

Edgecombe, Rodney Stenning. "Cesare Pugni, Marius Petipa and 19th-Century Ballet Music." Musical Times 147, no. 1895 (2006): 39. http://dx.doi.org/10.2307/25434382.

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27

Cha, Hosung. "A Study on Intermezzo in 19th-century Piano music." Music Theory Forum 22, no. 2 (2015): 57–80. http://dx.doi.org/10.15571/mtf.2015.22.2.57.

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28

Cha, Hosung. "A Study on Intermezzo in 19th-century Piano music." Yonsei Music Research 22, no. 2 (2015): 57–80. http://dx.doi.org/10.16940/ymr.2015.12.57.

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29

Clark, Maribeth. "The Quadrille as Embodied Musical Experience in 19th-Century Paris." Journal of Musicology 19, no. 3 (2002): 503–26. http://dx.doi.org/10.1525/jm.2002.19.3.503.

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During the 1830s in Paris the quadrille, a five-movement figure dance, became musically omnipresent to the distress of many critics, who saw the genre as detrimental to French music and musical taste. Discussions of the dance in journalism and literature associate bourgeois women and girls and working-class men with promotion of the genre. As a figure dance with walking steps, the quadrille was enjoyed by respectable women who experienced it as a safe frame for civilized social interaction, although their male counterparts found the dance boring and uninviting. In contrast, working-class men were known for their engaging and energetic performances as cancanneurs, improvisatory dancers exhibiting a lack of control associated with political instability and revolution. Quadrilles were perceived to have a negative influence on musical education for girls, who resembled the cancanneurs in their mechanical and animalistic qualities, and who preferred quadrilles over more ambitious pieces for piano. More serious was the perceived damage that arrangements of operas as quadrilles inflicted on the original, reducing great works to the banal through simplification. By serving as an example of all that stands in opposition to art in French music, the quadrille contributed to the formulation of the concept of music as art.

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30

O'Loughlin, Niall. "What is English music? The Twentieth Century Experience." Musicological Annual 43, no. 1 (2007): 147–66. http://dx.doi.org/10.4312/mz.43.1.147-166.

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Many countries in the 19th century wanted to assert their national character, with music being one way of doing so. We can distinguish four ways in which in music national identity can be established: composers may use the folk music, they can base their music on folk music, they can set the words of a nation to music and the last possibility can be found in the idea of an association of certain music with specific events and festivities in a tradition. The author discusses in detail these four possibilities of the establishment of Englishness in music in 20th century.

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31

Krummel, D. W., and D. Kern Holoman. "Writing about Music: A Style Sheet from the Editors of 19th-Century Music." Notes 45, no. 3 (1989): 518. http://dx.doi.org/10.2307/940813.

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32

Rusu-Persic, Dalia. "Critical reception of late 19th century Iași-based music. Alexandru Flechtenmacher." Artes. Journal of Musicology 18, no. 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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33

Temperley, David. "The origins of syncopation in American popular music." Popular Music 40, no. 1 (2021): 18–41. http://dx.doi.org/10.1017/s0261143021000283.

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AbstractThe origins of syncopation in 20th-century American popular music have been a source of controversy. I offer a new account of this historical process. I distinguish between second-position syncopation, an accent on the second quarter of a half-note or quarter-note unit, and fourth-position syncopation, an accent on the fourth quarter of such a unit. Unlike second-position syncopation, fourth-position syncopation tends to have an anticipatory character. In an earlier study I presented evidence suggesting British roots for second-position syncopation. in contrast, fourth-position syncopation – the focus of the current study – seems to have had no presence in published 19th-century vocal music, British or American. It first appears in notation in ragtime songs and piano music at the very end of the 19th century; it was also used in recordings by African-American singers before it was widely notated.

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34

Shushkova, O. M. "DANTE AND MUSIC OF THE 19TH CENTURY COMPOSERS: CERTAIN PARALLELS." Bulletin of Kemerovo State University of Culture and Arts, no. 46 (February 15, 2019): 24–32. http://dx.doi.org/10.31773/2078-1768-2019-46-24-32.

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35

Watanabe, Ruth, and Richard Jackson. "Democratic Souvenirs, an Historical Anthology of 19th-Century American Music." Notes 45, no. 4 (1989): 848. http://dx.doi.org/10.2307/941240.

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36

Meyn, Norbert. "Prince Albert and Anglo-German Connections in 19th-Century Music." Angermion 13, no. 1 (2020): 197–212. http://dx.doi.org/10.1515/anger-2020-0013.

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37

Hentschel, Frank, and Gunter Kreutz. "The Perception of Musical Expression in the Nineteenth Century: The Case of the Glorifying Hymnic*." Music & Science 4 (January 1, 2021): 205920432110123. http://dx.doi.org/10.1177/20592043211012396.

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Music conveys expressive meaning, and it elicits affective and associative responses in listeners. Historical documents from the 19th century contain reflections about the perceived expression of and affective responses to music in a wide range of works, including symphonies and operas. Therefore, we asked what verbal descriptors found in contemporary writings from the 19th century provide information about the perceived expressive qualities. Additionally, we examined whether the sources hint at situational / contextual factors. To this end, we investigated the descriptors used to describe the perception of a specific type of music, defined through a set of 16 features. We called this type of music “Glorifying Hymnic.” We searched a large amount of 19th-century symphonic music to identify as many excerpts displaying these features. Then, we investigated the description of the listening experience of the excerpts mainly using the RIPM (Retrospective Index to Music Periodicals) database. We found 47 compositions with 48 excerpts that matched our rather strict criteria and 102 textual sources that provided sufficiently concrete information regarding how several of the excerpts have been perceived. We found a very high degree of consistency in the description of the music: It has been described as glorious, powerful, triumphant and victorious, grand, joyous and happy, solemn, exciting, noble, tranquil and sometimes proud. It also elicited associations with singing, especially choral singing, and with religion. Only very few connections between music perception and situational factors were detected relating to religious associations and associations of the music with choral singing. They might refer to special circumstances in France and Germany respectively. We discuss our findings in the context of both historical perspectives and musicpsychological models.

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38

Berkan-Jabłońska, Maria. "Selected 19th-Century Poetic Paeans Celebrating Stanisław Moniuszko." Czytanie Literatury. Łódzkie Studia Literaturoznawcze, no. 8 (December 30, 2019): 269–300. http://dx.doi.org/10.18778/2299-7458.08.17.

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This article has a nature of a record. It was inspired by the 200th anniversary of the birth of Stanisław Moniuszko, and its main goal is to reference selected celebratory poems created in the 19th century in order to commemorate the composer. The author of this article indicated how different authors interpreted the ideological expressions of Moniuszko’s music, its sources, and the functions it fulfilled. She also discussed the directions of the evolution regarding how the composer was depicted in poetry, as he was initially perceived as a “native busker”, a Vilnius lyrnik, and a compatriot, and he gradually gained the rank of a folk minstrel and a prophet able to reproduce the “lyrical genius of the nation”.

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39

Piperno, Franco. "Music and Italian National Identity: Mme de Staël’s Corinne ou l’Italie." Studia Musicologica 52, no. 1-4 (2011): 231–40. http://dx.doi.org/10.1556/smus.52.2011.1-4.18.

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Mme De Staël’s Corinne ou l’Italie (1807) offered the most influential statement on Italy and the Italians by a foreign writer in 19th-century Europe. It gives a fruitful opportunity to investigate what a 19th-century foreign writer thought both of Italian music and of music as a symbol of the Italian national identity. The overview of the Italian operatic repertoire and opera productions leads to the conclusion that Italy as a nation was substantially absent from the operatic scene while, on the contrary, the Italian society made of opera the most typical entertainment and of the ‘palchetto’ an unavoidable status symbol. A similar picture of Italian society and opera is already outlined in De Staël’s novel, which created a ‘Romantic’ myth of Italy and a portrait of Italian ‘musicality’ as a typical and essential element of Italy’s cultural identity and as a substitute of a still lacking political identity of that nation. The paper investigates the cultural and philosophical origin of this view of Italian musical culture and its impact on the European perception of Italy as a nation during the 19th century.

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40

Vajs, Jernej. "′Czech-Slovene′ musicians?: On the question of national identity in Slovene music at the turn of the 19th to the 20th century." Muzikologija, no. 7 (2007): 217–30. http://dx.doi.org/10.2298/muz0707217v.

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In this article, the author observes and discusses the questions of national identity in the context of Czech and Slovenian music at the turn of the 19th to the 20th century. The Italian and German influences dominating Slovenian music in the past began from the mid 19th century onward to be replaced by predominantly Czech elements as the consequence of the numerous Czech musical immigration in Slovenia. Many of Czech musicians were naturalized in Slovenia and can therefore be included among Slovenian musicians. Although they actively supported the building of a Slovenian national style, they did not feel the need for the repeated ?esthetic evaluation of traditional frames.

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41

Wise, Tim. "How the yodel became a joke: the vicissitudes of a musical sign." Popular Music 31, no. 3 (2012): 461–79. http://dx.doi.org/10.1017/s0261143012000359.

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AbstractAlthough yodelling has been a part of English-language popular music since the early decades of the 19th century, it lacks prestige in contemporary popular music. This essay charts the change in the yodel's fortunes from its use in the early 19th century as a signifier for ideas relating to a pastoral Golden Age to its present-day association with hillbillies and comic stereotypes. It examines the contexts in which yodelling was most frequently heard in order to elucidate its primary associations and connotations. By examining the changing attitudes towards the ideas associated with yodelling, the essay analyses the gradual decline in the prestige of the yodelled voice.

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42

Matyakubov, Otanazar, and Harold Powers. "19th Century Khorezmian Tanbur Notation: Fixing Music in an Oral Tradition." Yearbook for Traditional Music 22 (1990): 29. http://dx.doi.org/10.2307/767929.

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43

Brown, Clive. "Dots and strokes in the late 18th- and 19th-century music." Early Music XXI, no. 4 (1993): 593–612. http://dx.doi.org/10.1093/earlyj/xxi.4.593.

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44

Tregear, Peter. "Music and the Construction of National Identities in the 19th Century." Musicology Australia 36, no. 1 (2014): 166–69. http://dx.doi.org/10.1080/08145857.2014.911070.

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45

Atlas, Raphael. "Spelling in early 19th‐century piano music: A guide to performance." Journal of Musicological Research 10, no. 3-4 (1990): 199–237. http://dx.doi.org/10.1080/01411899108574635.

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46

Bernhart, Walter. "Examples of Byron's Impact on 19th Century German and Austrian Music." Byron Journal 15 (January 1987): 38–54. http://dx.doi.org/10.3828/bj.1987.5.

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47

Southcott, Jane E., and Angela Hao-Chun Lee. "Missionaries and Tonic Sol-fa music pedagogy in 19th-century China." International Journal of Music Education 26, no. 3 (2008): 213–28. http://dx.doi.org/10.1177/0255761408092528.

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48

Tedesco, Anna. "National identity, national music and popular music in the Italian Music Press during the long 19th century." Studia Musicologica 52, no. 1-4 (2011): 259–70. http://dx.doi.org/10.1556/smus.52.2011.1-4.20.

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Discusses the notions of national identity, national music and popular music as they emerged in Italian music periodicals during the years 1840–1890, in relation to the process of Italy’s political unification and the dissemination of foreign operas such as French grands opéras in the years 1840–1870 and Wagner’s Musikdramen from 1871 on. Essays and articles by relevant critics and musicians, such as Abramo Basevi and Francesco D’Arcais are discussed. Articles by lesser known journalists such as Pietro Cominazzi and Mattia Cipollone are also taken into account. The use of words like “national” and “popular” is analysed when referring to Italian opera, to its history and to the operas by foreign composers.

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49

Romanou, Ekaterini. "Italian musicians in Greece during the nineteenth century." Muzikologija, no. 3 (2003): 43–55. http://dx.doi.org/10.2298/muz0303043r.

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In Greece, the monophonic chant of the Orthodox church and its neumatic notation have been transmitted as a popular tradition up to the first decades of the 20th century. The transformation of Greek musical tradition to a Western type of urban culture and the introduction of harmony, staff notation and western instruments and performance practices in the country began in the 19th century. Italian musicians played a central role in that process. A large number of them lived and worked on the Ionian Islands. Those Italian musicians have left a considerable number of transcriptions and original compositions. Quite a different cultural background existed in Athens. Education was in most cases connected to the church - the institution that during the four centuries of Turkish occupation kept Greeks united and nationally conscious. The neumatic notation was used for all music sung by the people, music of both western and eastern origin. The assimilation of staff notation and harmony was accelerated in the last quarter of the 19th century. At the beginning of the 20th century in Athens a violent cultural clash was provoked by the reformers of music education all of them belonging to German culture. The clash ended with the displacement of the Italian and Greek musicians from the Ionian Islands working at the time in Athens, and the defamation of their fundamental work in music education.

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50

Tomašević, Katarina. "Contribution of Czech Musicians to the Serbian Music in the 19th Century." Musicological Annual 42, no. 1 (2006): 127–37. http://dx.doi.org/10.4312/mz.42.1.127-137.

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The main goal of this paper, devoted to the contribution of Czech Musicians to the Serbian Music in the 19th Century is to point out the facts which will contribute to the better understanding of the migration as an important cultural phenomenon. Particular attention will be paid to several musicians whose biographies and achievements are notable.

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

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