Relevant bibliographies by topics / Early Romantic Concerto

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

Academic literature on the topic 'Early Romantic Concerto'

Author: Grafiati
Published: 4 June 2021
Last updated: 14 February 2022

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Journal articles on the topic "Early Romantic Concerto"

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Dashak, Yevhen. "“Romantic Concert” for Piano and Orchestra by Joseph Marx in the Aspect of Aesthetics of Late Romanticism." Scientific herald of Tchaikovsky National Music Academy of Ukraine, no. 130 (May 17, 2021): 69–88. http://dx.doi.org/10.31318/2522-4190.2021.130.231198.

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There is considered the “Romantic Concert” for piano and orchestra in E major (1919) by the Austrian composer, pianist, teacher, theoretician and public figure Joseph Marx (1882–1964). The “Romantic Concert” was included in the repertoire of such pianists as W. Gieseking, J. Bolet, M.-A. Hamelin and D. Lively.
 The relevance of the study consists not only in the absence in Ukraine publications devoted to the study of the “Romantic Concert”, but also in the need to introduce this work into the creative practice of native performers.
 The main objective of this study is to explore how
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LOUGHRIDGE, DEIRDRE. "Magnified Vision, Mediated Listening and the ‘Point of Audition’ of Early Romanticism." Eighteenth Century Music 10, no. 2 (2013): 179–211. http://dx.doi.org/10.1017/s1478570613000043.

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ABSTRACTEmploying the term ‘point of audition’ to describe the spatial position musical works imply for their listeners, this article examines the use of technologies for extending the senses to define new points of audition in the late eighteenth and early nineteenth centuries. Popular literature on natural philosophy promoted magnifying instruments as windows onto distant or hidden realms and as tools for acquiring knowledge. On the operatic stage and in writers' metaphorical musings, kindred sensory extensions were imagined for hearing. These contexts connected (magic) mirrors and magnifyin
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Kopeliuk, O. O. "First Piano Concerto by Ivan Karabyts in terms of the renewal of concertо genre in Ukraine". Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 56, № 56 (2020): 8–29. http://dx.doi.org/10.34064/khnum1-56.01.

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Background. The political and cultural movement of the “Sixtiers” in XX century opened wide horizons for Ukrainian composers to search for a new artistic and imaginative sphere, for new means of expressiveness, stylistics, form etc. The aspirations of young Ukrainian composers for concert genre renewal are realized through a rethinking of reality, intellectual and philosophical searching and psychologism in creativity. One of the brightest creative assets of this time is the First Piano Concerto by Ivan Karabyts, the talented Ukrainian composer, the outstanding representative of Ukrainian musi
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Knysh, P. O. "Gender approach in the analysis of performing versions (on the example of F. Chopin’s Second Piano Concerto performed by E. Kissin, C. Arrau, Lang Lang, M. Argerich, B. Davidovich)." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 56, no. 56 (2020): 189–99. http://dx.doi.org/10.34064/khnum1-56.12.

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Background. The work focuses on studying gender peculiarities of interpretations of the Second Piano Concerto by F. Chopin. Presenting the results of the scientific works that concern the issue of gender peculiarities of performing music, the author comes to the conclusion about lack of research of this question in the field of piano art. While the contemporary social and psychological works of the domain of gender turn to the primary signs of gender differences, embodied still at the point of the earliest stage of personality formation, starting with the very birth of a child (Bendas, T., 200
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Kutluieva, Daria. "Piano quartets by F. Mendelssohn as a phenomenon of the Romantic era." Aspects of Historical Musicology 16, no. 16 (2019): 143–57. http://dx.doi.org/10.34064/khnum2-16.08.

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Background. Nowadays, the typology of the piano quartet is actively studied by the modern scientists. The genesis of this genre is becoming more contentious. As pointed out by L. Tsaregorodtseva (2005), and earlier I. Byaly (1989), a connection of concerts for clavier solo accompanied by a string ensembles and a string quartet form a foundation for a genre of the piano quartet. N. Samoilova (2011) sees the origin of this genre in ensembles with clavier, L. Tsaregorodtseva (2005) ‒ in the historical and cultural situation of the last third of the 18th century, including the genre (str
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Palić-Jelavić, Rozina. "Mise Ferde Wiesnera Livadića - O 220. obljetnici rođenja i 140. obljetnici skladateljeve smrti." Nova prisutnost XVII, no. 2 (2019): 285. http://dx.doi.org/10.31192/np.17.2.3.

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Through his compositional contributions, Ferdo Wiesner Livadić enriched the Croatian (sacral) musical creativity of the age of Romanticism, realizing – alongside thirty church/sacral »small form« pieces – also one mass in Latin (Missa in C), and one in Croatian, with the title (Missa croatica pastoralis) as well as the titles of its parts/movements in Latin. By observing the autographical scores of the two Livadić’s masses, certain reflections regarding their similarities and differences had resulted; first of all, in terms of textual and language base, composition structure, performers’ ensam
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BIONDI, FABIO. "EDITORIAL." Eighteenth Century Music 15, no. 1 (2018): 5–8. http://dx.doi.org/10.1017/s1478570617000367.

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The revival of early music performed on original instruments has resurrected the role of the violinist-conductor ‘maestro dei concerti’, one historical designation among many describing a conductor equipped with an instrument rather than a baton. Prior to this revival, one rarely saw an orchestra led without a baton, particularly if the orchestra was sizeable. Exceptions included a few historically minded ensembles – here I'd like to mention I Musici of Rome for the baroque repertory and, for a case involving a large symphonic orchestra, the Vienna Philharmonic's 1996 New Year's Eve Concert, a
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Svetlova, Anna. "The poet who failed his best play? Podmiot mówiący w utworach zespołu Nightwish wobec paradygmatu romantycznego." Annales Universitatis Paedagogicae Cracoviensis. Studia de Cultura 3, no. 10 (2018): 72–87. http://dx.doi.org/10.24917/20837275.10.3.6.

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The poet who failed his best play? Speaking subject in the tracks of Nightwish in the face of the romantic paradigm The article gives an insight into the problem of lyrical subject in songs recorded by Nightwish, along with the myth of the damned poet led by the group’s leader, Tuomas Holopainen, and romantic concepts of poetry, love and nature. It raises issues of autobiography and authenticity of artists, as well as the multidisciplinary narrative in rock music led on literary, iconic and musical levels. This text focuses primarily on the early Nightwish songs, the Century Child concept albu
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Glanz, Berit. "Icelandic Nature and Global Evils – Concepts of Nature in Romantic Poetry and Nordic Noir TV Series from Iceland." European Journal of Scandinavian Studies 49, no. 1 (2019): 128–40. http://dx.doi.org/10.1515/ejss-2019-0008.

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Abstract This paper takes concepts from spatial theory and globalization discourse and uses them in order to analyze the narrative function of descriptions of nature in romantic Icelandic poetry from the beginning of the 19th century and an Icelandic TV-Series from 2015. In Iceland’s romantic poetry of the early 19th century, especially in poems written by Bjarni Thorarensen, sublime nature is described as a form of guardian against foreign influences that threaten the way of living on the peripheral island. This romantic concept of Icelandic nature is closely connected to narrative patterns i
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Savoniakaitė, Vida. "A romantic nation: Eduards Volters’ concepts of ethnographical-statistical studies of Lithuania." Prace Kulturoznawcze 25, no. 1 (2021): 107–26. http://dx.doi.org/10.19195/0860-6668.25.1.7.

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The aim of this paper is to show the academic links inherent in the idea of ethnographical-statistical studies of Lithuania conceived by the Latvian ethnographer Eduards Volters (1856–1941). In as early as the end of the nineteenth century, the Latvian linguist and ethnographer was working at the Imperial Russian Geographical Society and was developing ethnographical-statistical studies to determine the “tribal” composition of the population. In an original way the theory integrated the concepts of the history of ideas and ethnographical statistics. In 1930 Volters engaged in the activities of
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Dissertations / Theses on the topic "Early Romantic Concerto"

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McGorray, Ian. "Ferdinand Ries and the Piano Concerto: Beethoven's Shadow and the Early Romantic Concerto." University of Cincinnati / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1439296816.

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Books on the topic "Early Romantic Concerto"

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Lindeman, Stephan D. Structural novelty and tradition in the early romantic piano concerto. Pendragon Press, 1999.

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Lindeman, Stephan D. Formal novelty and tradition in the early romantic piano concerto. UMI, 1995.

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Mason, Nicholas, and Tom Mole, eds. Romantic Periodicals in the Twenty-First Century. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474448123.001.0001.

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While the twenty-first century has brought a wealth of new digital resources for researching late eighteenth- and early nineteenth-century serials, the subfield of Romantic periodical studies has remained largely inchoate. This collection sets out to begin tackling this problem, offering a basic groundwork for a branch of periodical studies that is distinctive to the concerns, contexts and media of Britain’s Romantic age. Featuring eleven chapters by leading experts on the subject, it showcases the range of methodological, conceptual and literary-historical insights to be drawn from just one o
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Whitehead, James. ‘A Precarious Gift’. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198733706.003.0001.

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This chapter (along with those following) concerns reception, broadly conceived, beginning with the Romantic reception of classical and early modern commonplaces about poetic madness. The chapter examines the status of earlier topoi such as the furor poeticus and the vesanus poeta in the Romantic period, by looking at the way in which these topoi were handled or discussed in the period. Subjects include Plato’s dialogue Ion, via Coleridge’s notebooks and Shelley’s Platonic translations, the Aristotelian Problems, Byron’s translation of Horace’s Ars Poetica, and figurations of Renaissance melan
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Kivy, Peter. Hume’s Taste and the Rationalist Critique. Edited by Paul Russell. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199742844.013.13.

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The concept of genius—artistic genius in particular—is generally thought of as a quintessentially nineteenth-century phenomenon: the cornerstone, in fact, of German Romanticism. Kant’s treatment of the concept has always been recognized as the source from which the early Romantics drew. But the fact of the matter is that it is to the British Enlightenment that we must look for the first modern formulation of the concept of artistic genius. For it was already well formed and clearly recognizable before Kant got his hands on it. In this article, the author begins by suggesting two ancient source
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Levinson, Marjorie. Thinking Through Poetry. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198810315.001.0001.

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This is a work of and about literary criticism. Its title signals a contribution to debates about reading. We think “through”—“by means of,” “with”—poems, sympathetically elaborating their surfaces. We “think through” poems to their end—solving a problem, getting to their roots. And we “think through” to “go beyond,” in a philosophical, speculative criticism to which the poem carries us. All three meanings of “through” are in play throughout. The subtitle applies “field” first to Romantic studies—offering new readings of canonical British Romantic poems to address contemporary topics (depth vs
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Levinson, Marjorie. Pre- and Post-Dialectical Materialism. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198810315.003.0004.

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This chapter argues for a changed concept of the relationship between the human and the natural. It mobilizes contemporary work in the fields of theoretical biology and post-anthropological, post-dialectical perspectives drawn from Spinoza. We get a very different picture of Romantic poetry when we read it in light of the efforts of today’s radical thinkers to reconceive both the practical and categorical relations between culture and nature, the human and the non-human, the biological and the mechanical. This project is to be distinguished from the ecological critiques of industrial and post-
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Milazzo, Kathy M. Black Erased. Edited by Anthony Shay and Barbara Sellers-Young. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199754281.013.004.

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One of flamenco’s many palos, or forms, is the tango, which was transported as the tango de negros or tangos de Americas from Cuba to Spain in the mid-nineteenth century. There, it was transformed into the tango de gitanos and the tango flamenco, an action which disassociated it from its Africanist roots. In order to illustrate the consequences of omitting negro references to the tango in flamenco narratives, this chapter addresses the mechanisms of myth-making in the construction of identity as the Cuban tango was appropriated and subsumed into the flamenco repertoire. This chapter argues tha
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Harrison, Douglas. Nostalgia, Modernity, and the Reconstruction Roots of Southern Gospel. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036972.003.0003.

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This chapter traces the emergence of modern southern gospel forward from its Reconstruction roots. It pays attention to the abiding influence of the songbook publisher, songwriter, romantic poet, and melancholic Civil War veteran Aldine S. Kieffer. As the more creative half of the Ruebush–Kieffer songbook publishing empire, Kieffer played an inimitable role in the industrialization of southern gospel at a pivotal moment when shape-note music education was transitioning from a paraprofessional recreation to a commercialized economy based on songbooks and increasingly professionalized music teac
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Barclay, Katie. Caritas. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198868132.001.0001.

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Caritas, a form of divine grace that transformed neighbourly love into moral action, was a key concept in early modern Europe, guiding ideas about morality, the self, and becoming an embodied ethic. This book introduces the concept of an ‘emotional ethic’ to help explain the role of caritas in early modern communities, where love was not simply how one should feel about one’s neighbour but the ways that our bodies and emotions guide us to ethical action. It explores how an emotional ethic operates through a study of how caritas was deployed amongst the lower orders in eighteenth-century Scotla
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Book chapters on the topic "Early Romantic Concerto"

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Stewart-MacDonald, Rohan H. "Locating the early-romantic British piano concerto." In Muzio Clementi and British Musical Culture. Routledge, 2018. http://dx.doi.org/10.4324/9781315206936-12.

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Stewart-MacDonald, Rohan. "The early-romantic piano concerto and the lost cultural heritage of improvisation." In Music as Heritage. Routledge, 2018. http://dx.doi.org/10.4324/9781315393865-9.

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Burton, Deborah. "Stormy Weather." In Singing in Signs. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190620622.003.0010.

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Operatic Formenlehre seems to be alive and well—witness the wealth of publications on the solita forma (after Ritorni, Basevi, and Powers) and on concerto-like sonata forms in Mozart arias as early as the 1768 La finta semplice (after Mann and Rosen). But even standard operatic forms have often been thwarted—throughout opera’s long history—by dramatic exigencies. The purpose of this chapter is to explore and define subcategories of deformations in operatic storm scenes by identifying formal types along the continuum between closed operatic numbers and continuous, fragmentary musical flow. Formal (and deformational) categories are examined here in light of the topos of storm scenes from operatic selections of the Baroque, Galant, and Romantic periods, and avoiding the more traditional loci of continuous music, such as act finales.
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Reno, Seth T. "Tennyson, Arnold, and the Victorians The Legacy of Romantic Love." In Amorous Aesthetics. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781786940834.003.0006.

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This final chapter examines the immediate afterlife of Romantic love. Victorian poets such as Alfred Tennyson and Matthew Arnold were both intrigued by and skeptical of love as a concept distinct from sexuality and ideology. Between 1830 and 1853, these poets experimented with, but eventually abandoned, the Romantics’ notion of love as a manifestation of idealism. While Romantic love continued to influence poets well into the nineteenth century, it became increasingly characterized as idealist and thus escapist: love eventually became divided from its critical and aesthetic valences, leading to a marginalization of love in discussions of Romanticism. The early poetry of Tennyson and Arnold illustrates the Victorian link between the preeminence of intellectual love in Romantic poetry and its critique and eventual dismissal in the late nineteenth and twentieth centuries.
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McManus, Laurie. "A Post-Romantic Priest of Music." In Brahms in the Priesthood of Art. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190083274.003.0003.

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This chapter introduces the concept of the priest of music as it relates to Brahms reception through 1874, the year of La Mara’s substantial biography of the composer. I argue that the concept, fundamentally an early Romantic art-religious creation, was superimposed uncomfortably onto Brahms’s first mature style in the early 1860s. Brahms’s study of counterpoint, recognized by critics as a turn from his earlier Romantic subjective style, inspired narratives of self-improvement and discipline. These narratives combined the ethical implications of counterpoint retained from its original associations with sacred repertoire with the success of the German Requiem (1868) to create the image of an ascetic priest devoted to pure music. As seen in La Mara’s biography of Brahms, critics could modify the outdated Romantic notion of priest to suit Brahms’s post-1850s biographical context and musical style.
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Dawson, Clara. "Poetic Voice: Evanescence and Animation in Early Victorian Verse." In Victorian Poetry and the Culture of Evaluation. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198856108.003.0002.

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Chapter 1 examines the mechanization of print and the changes to literary publishing in the commercial market of the 1820s and 1830s. It investigates mechanical reproduction as a formal phenomenon and argues that the mechanized production of poetry produces a rupture within poetic voice. The dialogue identified across the poems and the reviews focuses on the relation of sound and meaning. Two key concerns are the material nature of poetic voice when it is commodified and copied for a mass market and the traversing of voice from poet to reader. Landon, Hemans, and Tennyson are compared to Wordsworth to establish the difference between early Romantic and late Romantic/early Victorian verse. The three case studies are Landon’s periodical poetry for The Literary Gazette, poetry from Tennyson’s early 1830s and 1842 volumes, and Browning’s Pauline.
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Ameriks, Karl. "History, Succession, and German Romanticism." In Kantian Subjects. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198841852.003.0011.

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This chapter defends Early German Romanticism, defined by Schlegel and Novalis as “progressive,” “universal,” and “poetic,” as offering an ideal philosophy of history. The elliptical shape of the Romantic account is contrasted favorably with the other alternatives: linear, circular, and chaotic, each of which can be characterized in either simple or complex forms. The chapter explains how the Romantic terms have precise systematic meanings: the “progressive” characteristic concerns democratic ethics, the “universal” characteristic concerns a rational, philosophical approach, and the “poetic” characteristic concerns a way of writing with regard to history that aims at being maximally effective by being broadly aesthetic in style. Hölderlin’s work, and especially his poem, “Celebration of Peace,” is analyzed as an ideal presentation of this conception of history, one that builds on the Kantian notion of a succession of exemplary geniuses as crucial to history’s elliptical progress.
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Perkins, Pam. "Reviewing Femininity: Gender and Genre in the Late Eighteenth- and Early Nineteenth-Century Periodical Press." In Women's Periodicals and Print Culture in Britain, 1690-1820s. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474419659.003.0017.

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Pam Perkins examines the role played by late eighteenth- and early nineteenth-century periodicals in both demarcating and blurring contemporary ideas around feminine writing. The essay provides an overview of critical attitudes about women’s writing and the way it was treated in major Romantic-era periodicals (the Edinburgh Review, British Critic, Anti-Jacobin), and then complicates this picture with case studies in the receptions of the writers Anne Grant and Elizabeth Hamilton, whose work pushed back against traditional generic tendencies. Both were praised, surprisingly, for being innovators as well as for evincing proper femininity. Their visibility in the print media of their own day helped to normalise the concept of female authorship, and urges us to re-examine modern critical understandings of the role that periodicals played in early Romantic norms for gendered writing.
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Mole, Tom. "‘A Separate and Distinct Tribunal’: Libel Law and Reviewing in Early Issues of Blackwood’s." In Romantic Periodicals in the Twenty-First Century. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474448123.003.0004.

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In their efforts to attain the authority to police literary culture, reviewers in Blackwood’s and other Romantic periodicals needed models for making judgments that would stick and offering not mere opinions but verdicts which made further debate impertinent. In other words, they sought the authority to pronounce felicitous performatives, the ability to do things with words. Applying J. L. Austin’s concept of performative utterances to periodical criticism, this essay suggests that one of the models that particularly interested the Blackwood’s reviewers was that of libel law. Libel courts and book reviews, after all, engage in similar projects, aiming to regulate public discourse and define the limits of what it is acceptable to say or write in public. They do this by means of authoritative pronouncements, couched in performative speech acts: verdicts and sentences in the case of libel courts, decisive critical judgments in the case of reviews.
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Loop, Jan. "Language of Paradise." In Confessionalisation and Erudition in Early Modern Europe. British Academy, 2019. http://dx.doi.org/10.5871/bacad/9780197266601.003.0010.

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This chapter discusses the discovery of Arabic poetry in Western Europe in the context of Protestant Arabic studies of the seventeenth and early eighteenth centuries. The piece centres on the work of the Dutch Orientalist Albert Schultens (1686–1750). His interest in Arabic poetry was driven by the idea that it preserves some of the characteristics of the primeval language and that it can help us understand the original meaning of the Hebrew texts of the Bible. The essay argues that in spite of its shortcomings, Schultens’ work is a significant moment in the history of oriental studies. It stimulated an entire generation of young scholars in Protestant Northern Europe; and his comparative study of Semitic languages, his concepts of the primeval language and its transmission as well as his great interest in the poetry of the East still resonate in early Romantic approaches to oriental poetry.
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Conference papers on the topic "Early Romantic Concerto"

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Tudor, Sofia-Loredana. "Study on the Training Needs of Teaching Staff to Provide Quality Early Childhood Education Services." In ATEE 2020 - Winter Conference. Teacher Education for Promoting Well-Being in School. LUMEN Publishing, 2021. http://dx.doi.org/10.18662/lumproc/atee2020/36.

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Early child development is related to early education, health, nutrition, and psychosocial development; therefore, the holistic concept of early approach combines elements from the area of stimulation of the child, health, nutrition, speech therapy, psychological counselling, physical development support, etc. The need for the development of integrated early education services and their extension to the area of 0-3 years are priorities of the European strategies assumed through a complex of educational policy measures, having as a priority the development of quality early education services fo
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Nastase, Mihai-Claudiu, Alexandru Mitru, and Loredana Andreea Paun (Parnic). "The Social and Economic Impact of COVID 19 Pandemic on Museums. Case Study: „Princely Court” National Museum Ensemble." In International Conference Innovative Business Management & Global Entrepreneurship. LUMEN Publishing, 2020. http://dx.doi.org/10.18662/lumproc/ibmage2020/25.

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The new coronavirus (Covid-19) is one of the main challenges world today has to address. With no large scale availability vaccine yet, and more or less experimental medical treatments for curing the disease, we can safely say that we are still far behind a solution to this problem. This new pandemic is considered the biggest threat to the global economy since the Second World War and there is no aspects of human life have not been affected it, spiritual ones included. Its high contagiousness, as well as novelty, raised all kind of challenges and one of the main ones was our manner to produce a
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