Relevant bibliographies by topics / Allgemeine musikalische Zeitung

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Allgemeine musikalische Zeitung'

Author: Grafiati
Published: 4 June 2021
Last updated: 16 February 2022

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Journal articles on the topic "Allgemeine musikalische Zeitung"

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Hoeprich, E. "'Regarding the clarinet': Allgemeine musikalische Zeitung, 1808." Early Music 37, no. 1 (2009): 89–100. http://dx.doi.org/10.1093/em/can159.

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Kornatowska, Beata. "Między wizją a praktyką. Początki niemieckiej opery romantycznej w ujęciu E.T.A. Hoffmanna." Acta Universitatis Lodziensis. Folia Litteraria Polonica 52, no. 1 (2019): 401–13. http://dx.doi.org/10.18778/1505-9057.52.23.

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Artykuł poświęcony jest stworzonej przez E.T.A. Hoffmanna teorii nowej opery niemieckiej oraz pierwszej próbie przełożenia jej na praktykę. Jego opowiadanie Poeta i kompozytor (1813), które ukazało się na łamach lipskiej „Allgemeine Musikalische Zeitung”, to rozpisany na dwa głosy program opery romantycznej, która ma czerpać inspirację ze świata nadprzyrodzonego, a także dążyć do spójnej poetyckiej wizji. Część postulatów wyartykułowanych w analizowanym opowiadaniu oraz w korespondencji z tamtego czasu E.T.A. Hoffmann zrealizował w Ondynie (1816) do libretta Friedricha de la Motte Fouquégo na
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García Gómez, Arturo. ""Carta a un tal barón von…” de W. A. Mozart sobre el proceso creativo." Anales del Instituto de Investigaciones Estéticas 1, no. 1 (2017): 9. http://dx.doi.org/10.22201/iie.18703062e.2017.1.2589.

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El artículo trata sobre la concepción romántica del “genio creador”, mediante el análisis de una carta atribuida a Wolfgang Amadeus Mozart, escrita en 1791. La carta la publicó Johann Friedrich Rochlitz el 23 de agosto de 1815 en la Allgemeine Musikalische Zeitung de Leipzig, y desde entonces ésta ha sido el centro de atención de filósofos, historiadores y musicólogos. Su interés se centra en el proceso de la creación musical y en cómo el “genio creador”, el compositor, percibe mentalmente la obra musical ya terminada antes de escribirse. Mi objetivo es mostrar, en el análisis de esta carta, l
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Muxfeldt, Kristina. "Schubert, Platen, and the Myth of Narcissus." Journal of the American Musicological Society 49, no. 3 (1996): 480–527. http://dx.doi.org/10.2307/831770.

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When Franz Schubert's friend Franz von Bruchmann returned to Vienna in 1821 from his studies in Erlangen, he brought with him August von Platen's Ghaselen just off the press. Soon after, Schubert set two Platen texts. A reviewer for the Leipzig Allgemeine musikalische Zeitung singled out "Die Liebe hat gelogen" as particularly incomprehensible, in part because he found Schubert's radical harmony to be unmotivated by the text. The daring harmonic language of the second Platen song has struck even recent critics as excessive, yet none have addressed the textual motivation for Schubert's extreme
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Steblin, Rita. "The Newly Discovered Hochenecker Portrait of Beethoven (1819): "Das ähnlichste Bildnis Beethovens"." Journal of the American Musicological Society 45, no. 3 (1992): 468–97. http://dx.doi.org/10.2307/831715.

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In 1987 the author discovered a pencil-drawing portrait of Beethoven signed "J. Hochenecker" and dated "1819" in an antique shop in Vienna. Scientific analysis of the paper by experts at the Albertina confirms the authenticity of the 1819 date, and the artist Josef Hochenecker (1794-1876) is identified as a sculptor in Anton Redl's address book of 1820. Circumstantial evidence suggests that this was the portrait drawing of Beethoven's face ordered by Nikolaus Zmeskal in the letter "Ich kann weder für das Gluck" which MacArdle and Misch date "fall of 1819." This 1819 portrait, and not Stephan D
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Boder, Wolfram. "Zwischen nationalem Anspruch und lokalpolitischen Zwängen: Entstehungs- und Rezeptionsbedingungen der Kasseler Opern Louis Spohrs." Studia Musicologica 52, no. 1-4 (2011): 311–21. http://dx.doi.org/10.1556/smus.52.2011.1-4.22.

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In 1823 Louis Spohr published an article entitled “Aufruf an deutsche Komponisten” (Appeal to German Composers) in the Allgemeine Musikalische Zeitung (AMZ). He did so for the purpose of encouraging young German composers to contribute to the genre of German opera. But he probably had other intentions, too. He was determined to promote his latest opera Jessonda, which he mentioned as a model for his ideas of German opera. Thus one could say that the project of “German opera” was in some aspects merely a marketing strategy.A closer look at Jessonda reveals that Spohr did certainly not think alo
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Pierce, J. Mackenzie. "Writing at the Speed of Sound: Music Stenography and Recording beyond the Phonograph." 19th-Century Music 41, no. 2 (2017): 121–50. http://dx.doi.org/10.1525/ncm.2017.41.2.121.

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Music shorthand systems devised by Michel Woldemar, Hippolyte Prévost, and August Baumgartner adapted the quill strokes of speech stenography to the seemingly analogous domain of music. Eschewing conventional staff notation in favor of cursive lines that indicated pitch, register, interval, and duration, music stenographers endeavored to record in real time instrumental improvisations and fleeting inspirations that would otherwise have been lost forever due to a lack of recording technology. To advocates of such methods, more efficient technologies of musical writing were indispensable for cap
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Saglietti, Benedetta. "Fifth Symphony by Ludwig van Beethoven According to Version by Ernst Theodor Amadeus Hoffmann." Scientific herald of Tchaikovsky National Music Academy of Ukraine, no. 130 (March 18, 2021): 197–207. http://dx.doi.org/10.31318/2522-4190.2021.130.231272.

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The purpose of the article is to characterize the research of its author entitled “Beethoven’s Fifth Symphony in the version of E. T. A. Hoffmann. In the kingdom of infinity” (Saglietti B. La quinta sinfonia di Beethoven recensita da E. T. A. Hoffmann. Nel regno dell’infinito), published in Turin in 2020. The monograph presents new scientific works on the creative heritage by L. van Beethoven; the events having taken place after the first performance of the composer's Fifth Symphony are considered; its musicological analysis, written by E. T. A. Hoffman in 1810, is characterized; its place and
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Dissertations / Theses on the topic "Allgemeine musikalische Zeitung"

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Albrecht, Carol Padgham. "Music in Public Life: Viennese Reports from the Allgemeine musikalische Zeitung, 1798-1804." [Kent, Ohio] : Kent State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=kent1207754056.

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Thesis (Ph.D.)--Kent State University, 2008.<br>Title from PDF t.p. (viewed July 15, 2009). Advisor: Kazadi wa Mukuna. Keywords: Allgemeine musikalische Zeitung, music journalism, 19th-century Vienna, concert life, Viennese opera. Includes bibliographical references (p. 236-243).
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Anderson, Ellis T. II. "The Reception of Franz Joseph Haydn in Austria and Germany 1798-1830: Biography and Criticism." University of Cincinnati / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1115997037.

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Books on the topic "Allgemeine musikalische Zeitung"

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Kügle, Karl. Allgemeine musikalische Zeitung, 1863-1882. U.M.I., 1995.

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Hass, Ole. Allgemeine musikalische Zeitung, 1798-1848. RIPM, 2009.

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Lang, Martina. Berliner allgemeine musikalische Zeitung, 1824-1830. U.M.I., 1994.

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Peschke, Michael. Berliner allgemeine musikalische Zeitung, 1824-1830. K.G. Saur, 1995.

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Sing, Beverly J. Allgemeine musikalische Zeitung, mit besonderer Rücksicht auf den österreichischen Kaiserstaat, 1817-1824. U.M.I., 1992.

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Maksimov, E. I. Fortepiannoe tvorchestvo Betkhovena v ret︠s︡enzii︠a︡kh ego sovremennikov. Prest, 2001.

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7

Surian, Laura. La cronaca musicale, 1896-1917. RIPM, 2009.

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8

Wie Beethoven auf den Sockel kam: Die Entstehung eines musikalischen Mythos. J.B. Metzler, 1992.

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9

E.T.A. Hoffmanns Theorie des musikalischen Dramas: Untersuchungen zum musikalischen Romantikbegriff im Umkreis der Leipziger allgemeinen musikalischen Zeitung. V. Koerner, 1985.

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10

University of Maryland. Center for studies in nineteenth-century music., ed. Allgemeine musikalische Zeitung, 1863-1882. UMI, 1995.

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Book chapters on the topic "Allgemeine musikalische Zeitung"

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Ferraguto, Mark. "Music for a Culture Hero." In Beethoven 1806. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190947187.003.0005.

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Beethoven’s Fourth Symphony has often been described as “Haydnesque.” But neither the extent of Haydn’s influence nor Beethoven’s motivations for emulating him has been carefully explored. In early 1806, publisher Breitkopf &amp; Härtel began issuing the “London” Symphonies in full score, allowing many connoisseurs to study the works for the first time. Beethoven’s Fourth Symphony, composed that summer, bears numerous compositional affinities to these works (especially Nos. 99, 102, and 103). By turning to the “London” Symphonies for inspiration, Beethoven memorialized his former mentor while capitalizing on the Haydn mania that was sweeping theaters, concert halls, and the pages of journals like the Leipzig Allgemeine musikalische Zeitung.
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Bonds, Mark Evan. "First-Person Beethoven." In The Beethoven Syndrome. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190068479.003.0006.

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With the growing perception of composers as oracles, the person of Beethoven became the key to understanding his music. The reminiscences, biographies, and letters that came to light in the years immediately after the composer’s death, particularly the so-called Heiligenstadt Testament, bolstered the perception of his works as an outpouring of his inner self. Critics came to regard Beethoven’s life as a nonfictional Bildungsroman, a record of personal growth and development that was audible in his compositions. Reviews of the late works in A. B. Marx’s Berliner allgemeine musikalische Zeitung in the 1820s proved particularly influential in setting the tone for the future reception of Beethoven’s music within a hermeneutic framework. Later biographies would posit highly detailed connections between specific works and events in the composer’s life.
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November, Nancy. "Op. 131 and the Rise of Attentive Listening." In Beethoven's String Quartet in C-sharp Minor, Op. 131. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190059200.003.0006.

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This chapter begins with a discussion of Mark Andre’s ensemble work riss 2 (2014) as an alternative window on the modern-day reception of Op. 131—the two works can similarly disrupt our ontological understanding of musical works in terms of structure, sound transformations, and especially sense of time. I then step back to consider the larger context in which Op. 131 was originally heard, setting it within an emerging ideology of “serious listening” in Vienna in the early nineteenth century. I consider the early nineteenth century as an era in which the seeds for silent listening were sown, by key agents of change, who tried to adjust audience behavior at string quartet concerts—influential figures such as Schuppanzigh, Beethoven, and reviewers for the Wiener Theater-Zeitung and Viennese Allgemeine musikalische Zeitung in the 1810s and ’20s. Beethoven’s C-sharp minor quartet can be understood as a work that took part in this move to instill silent and serious listening. However, the climate in Vienna was not was not such that Beethoven (and Schuppanzigh) could enjoy much success with this particular listening project. The “romantic listener” does not represent a nineteenth-century norm, and was certainly not the norm in Beethoven’s Vienna. But the compelling ideology of listening and associated habits that started to develop there—especially reverent silence—continue to influence powerfully our concert hall behaviors today.
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Jones, David Wyn. "Shared Identities and Thwarted Narratives: Beethoven and the Austrian Allgemeine musikalische Zeitung, 1817–1824." In Beethoven Studies 4. Cambridge University Press, 2020. http://dx.doi.org/10.1017/9781108552813.009.

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