Relevant bibliographies by topics / Allgemeine musikalische Zeitung (1798)

Contents

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

Academic literature on the topic 'Allgemeine musikalische Zeitung (1798)'

Author: Grafiati
Published: 4 June 2021
Last updated: 31 July 2024

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Allgemeine musikalische Zeitung (1798).'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Journal articles on the topic "Allgemeine musikalische Zeitung (1798)"

1

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 (April 21, 2017): 9. http://dx.doi.org/10.22201/iie.18703062e.2017.1.2589.

Full text
Abstract:
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, las limitaciones del racionalismo musical que no ve más allá de la partitura, creyendo que la música se encuentra en las notas o en sus relaciones numéricas bajo una percepción visual y arquitectónica.
APA, Harvard, Vancouver, ISO, and other styles
2

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.

Full text
Abstract:
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 Decker's 1824 chalk drawing, served as the model for Josef Kriehuber's black-tie lithograph of 1832. An anonymous article in the Leipzig Allgemeine musikalische Zeitung of 1835, probably written by Tobias Haslinger, argues that the Kriehuber lithograph, and hence the 1819 original, is the best likeness of the composer. This portrait, with its visionary, serene expression, is far removed from the canonic depiction of Beethoven as a glowering, lion-maned titan, and corresponds rather with the deaf, withdrawn genius of the esoteric late works.
APA, Harvard, Vancouver, ISO, and other styles
3

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

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

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 (March 28, 2019): 401–13. http://dx.doi.org/10.18778/1505-9057.52.23.

Full text
Abstract:
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 podstawie baśni literackiej pod tym samym tytułem, wytyczając tym samym kierunek dalszego rozwoju gatunku.
APA, Harvard, Vancouver, ISO, and other styles
5

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.

Full text
Abstract:
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 expression. Both poems concern ill-fated homosexual love, "Du liebst mich nicht" most explicitly, if obliquely: the poem is a veiled reflection on the myth of Narcissus, a myth Platen frequently drew on as a symbol for his own homosexuality.
APA, Harvard, Vancouver, ISO, and other styles
6

Boder, Wolfram. "Zwischen nationalem Anspruch und lokalpolitischen Zwängen: Entstehungs- und Rezeptionsbedingungen der Kasseler Opern Louis Spohrs." Studia Musicologica 52, no. 1-4 (March 1, 2011): 311–21. http://dx.doi.org/10.1556/smus.52.2011.1-4.22.

Full text
Abstract:
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 along nationalist lines. In a way its dramaturgy depicts Kant’s definition of the Enlightenment and aims at a united and enlightened mankind. So did Spohr in his personal life. And by so doing he became very popular with the liberal citizens in Kassel, the city in which he worked as “Hofkapellmeister” from 1822 to 1857. This popularity in some cases misguided him. The liberal and enlightened ideas of Spohr are so prominent in his operas that they became increasingly neglected in the 1870s when chauvinistic tendencies became more prominent. This development culminated in the 1940s when the Nazis banned Jessonda from the German stage. They did however try to make it suitable for their ideas of German opera. As Spohr’s original did resist to this violation, the “Reichsstelle für Musikbearbeitungen” commissioned an amended version. Luckily the end of World War II terminated these efforts.
APA, Harvard, Vancouver, ISO, and other styles
7

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.

Full text
Abstract:
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 capturing fugitive musical thoughts and acts: music stenography aided Hector Berlioz, for example, in the composition of his Requiem. For others, including Rossini, Fétis, and contributors to the Allgemeine musikalische Zeitung, the claims and merits of stenography were a source of controversy as well as fascination. Grounded in a corpus of seventy music stenographies that have been largely ignored by musicologists and historians of technology alike, this article asks how musical intuitions became musical texts, thereby entering print-based networks of circulation. Although the importance of “genius” and “work” as historical concepts regulating the production, ontology, and reception of nineteenth-century music has long been acknowledged, the material basis of these concepts has been overlooked until recently. The efforts of musical stenographers demonstrate that the inscription and circulation of material texts provided the means by which musical inspiration could be registered and stored, constituting a material substrate on which such idealist concepts depended. Whereas historians of sound recording have focused on seismic historical and cultural shifts wrought by the introduction of the phonograph in 1877, the preoccupation with capturing music in the decades preceding and following this date suggests an alternate conception of text-based sound recording.
APA, Harvard, Vancouver, ISO, and other styles
8

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.

Full text
Abstract:
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 role in Italian musicology are determined.The Fifth Symphony was first performed in Vienna on December 22, 1808, this concert performance was as famous as it was unfortunate. The complexity of the piece, its insufficient rehearsal preparation, and the restraint of the audience caused a partial fiasco of the premiere. Beethoven was furious and foresaw negative reviews. Fortunately, he was wrong. Seven months later, the director of the largest German music newspaper, the “Allgemeine Musikalische Zeitung”, sent to Bamberg the edition of the symphony for piano four hands and an extensive review by E. T. A. Hoffmann, who was the first to recognize the Fifth Symphony as a masterpiece, thus determining its fate. It is his critical review that is considered one of the first reviews of music in the history, in the modern sense. But in Italy this original version was forgotten. Later, in “Fantasiestücke in Callot’s Manier” (1814 — first edition, 1819 — second), the review was published in an abridged form under the title “Beethoven's Instrumental Music” and translated into Italian several times.The monograph compares Hoffmann's review with its later, abridged version of the essay, and presents the author's methodology of the first Italian annotated edition; the circle of readers to whom Hoffmann appealed is outlined, it is emphasized that the Italian scholars have long accepted the essay as a review. The essay has been translated into French and English and has been published many times in German.
APA, Harvard, Vancouver, ISO, and other styles

Dissertations / Theses on the topic "Allgemeine musikalische Zeitung (1798)"

1

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.

Full text
Abstract:
Thesis (Ph.D.)--Kent State University, 2008.
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).
APA, Harvard, Vancouver, ISO, and other styles
2

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.

Full text
APA, Harvard, Vancouver, ISO, and other styles

Books on the topic "Allgemeine musikalische Zeitung (1798)"

1

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

Find full text
APA, Harvard, Vancouver, ISO, and other styles
2

Kügle, Karl. Allgemeine musikalische Zeitung, 1863-1882. Ann Arbor, Mich: U.M.I., 1995.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
3

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

Find full text
APA, Harvard, Vancouver, ISO, and other styles
4

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

Find full text
APA, Harvard, Vancouver, ISO, and other styles
5

Lang, Martina. Berliner allgemeine musikalische Zeitung, 1824-1830. Ann Arbor, Mich: U.M.I., 1994.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
6

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

Find full text
APA, Harvard, Vancouver, ISO, and other styles
7

Allgemeine Musikalische Zeitung. Creative Media Partners, LLC, 2018.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
8

Allgemeine Musikalische Zeitung. Creative Media Partners, LLC, 2018.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
9

Allgemeine Musikalische Zeitung. Creative Media Partners, LLC, 2018.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
10

Beowulf. Allgemeine Musikalische Zeitung. Creative Media Partners, LLC, 2018.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
More sources

Book chapters on the topic "Allgemeine musikalische Zeitung (1798)"

1

Budden, Julian. "The Journeyman." In Verdi, 27–38. Oxford University PressNew York, NY, 2018. http://dx.doi.org/10.1093/oso/9780195323429.003.0004.

Full text
Abstract:
Abstract of medium height; not unprepossessing but not good-looking either; solemn and haughty.’ This vignette of 1845 by an anonymous correspondent of the Allgemeine Musikalische Zeitung gives a fair idea of the view of himself that Verdi presented to the world, and would continue to present until mellowed by age. Fortunately we have a more sympathetic witness to the real man.
APA, Harvard, Vancouver, ISO, and other styles
2

Jones, David Wyn. "Shared Identities and Thwarted Narratives: Beethoven and the Austrian Allgemeine musikalische Zeitung, 1817–1824." In Beethoven Studies 4, 166–88. Cambridge University Press, 2020. http://dx.doi.org/10.1017/9781108552813.009.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Whittall, Mary. "The Symphonic Style." In Ludwig van Beethoven, 67–90. Oxford University PressOxford, 1991. http://dx.doi.org/10.1093/oso/9780198161486.003.0004.

Full text
Abstract:
Abstract E. T. A. Hoffmann’s review of Beethoven’s Fifth Symphony, published in the Allgemeine musikalische Zeitung in 1810, has always been regarded both as one of the finest testimonies to an enthusiasm for Beethoven that was informed by thoughtfulness and imagination, and also as a primary document of the musical aesthetics of the Romantic era, and therefore, to that extent, a source of the misunderstandings that were part of the ‘romantic picture of Beethoven’. There is no escaping the fact that, in some important features, Hoffmann’s musical aesthetics were in direct contradiction to the principles underlying Beethoven’s music.
APA, Harvard, Vancouver, ISO, and other styles
4

Ferraguto, Mark. "Music for a Culture Hero." In Beethoven 1806, 113–47. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190947187.003.0005.

Full text
Abstract:
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 & 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.
APA, Harvard, Vancouver, ISO, and other styles
5

Bonds, Mark Evan. "First-Person Beethoven." In The Beethoven Syndrome, 120–42. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190068479.003.0006.

Full text
Abstract:
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.
APA, Harvard, Vancouver, ISO, and other styles
6

Whittall, Mary. "Church Music and the Religion of Art." In Ludwig van Beethoven, 194–201. Oxford University PressOxford, 1991. http://dx.doi.org/10.1093/oso/9780198161486.003.0011.

Full text
Abstract:
Abstract We have no means of knowing whether Beethoven ever read E.T. A. Hoffmanri ’s essay ‘Alte und neue Kirchenmusik’ (Church music old and new), but, to judge by the respect he expressed towards Hoffmann in a letter dated 23 March 1820, it is not at all unlikely (he did read the Allgemeine musikalische Zeitung, in which it was published in 1814). At all events, we arrive at a better understanding of the Missa solemnis, if we suppose that Beethoven’s attitude towards the issues of church music was similar to Hoffmann’s unconsciously, in his musical decision-making, if not consciously, in his theoretical reflections. Recourse to Hoffmann’s essay can be justified in terms of the history of ideas, by the conclusions to which it leads in discussion of the Missa solemnis.
APA, Harvard, Vancouver, ISO, and other styles
7

November, Nancy. "Op. 131 and the Rise of Attentive Listening." In Beethoven's String Quartet in C-sharp Minor, Op. 131, 103–20. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190059200.003.0006.

Full text
Abstract:
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.
APA, Harvard, Vancouver, ISO, and other styles
8

Uribe, Patrick Wood. "Chapter Eight. Exchanging Ideas in a Changing World: Adolph Bernhard Marx and the Berliner allgemeine musikalische Zeitung in 1824." In Consuming Music, 205–21. Boydell and Brewer, 2017. http://dx.doi.org/10.1515/9781782049227-010.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

Todd, R. Larry. "Leipzig vs. Berlin1840–1841." In Mendelssohn, 387–417. Oxford University PressNew York, NY, 2003. http://dx.doi.org/10.1093/oso/9780195110432.003.0013.

Full text
Abstract:
Abstract The new decade began un propitiously for Felix: debilitated by a severe cold, he arrived on a Portechaise at the Gewandhaus to direct the New Year’s Day concert. The winter season, among the most memorable of his tenure, was soon in full swing. For the next concert (January 9), he made a virtue of necessity when the featured violinist, Carl Stör from Weimar, disappeared after his first solo, leaving a gap in the second half. On the program were Beethoven’s first two Leonore Overtures; Felix now added the third and Fidelio Overtures—both unrehearsed, according to the Allgemeine musikalische Zeitung —so that for the first time Leipzigers heard all four together. Felix’s choice of repertoire again underscored his effort to promote new music, including symphonies by Friedrich Schneider of Dessau, J. F. Kittl of Prague, and J. W. Kalliwoda of Donaue- schingen, and a new overture by Julius Rietz. But an attempt to encore the Schubert “Great” Symphony on March 12 failed when a false fire alarm emptied the hall; Felix reprogrammed the symphony on the final concert of the season two weeks later.
APA, Harvard, Vancouver, ISO, and other styles
You might also be interested in the extended bibliographies on the topic 'Allgemeine musikalische Zeitung (1798)' for particular source types:
Books
We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!

To the bibliography