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Books on the topic 'Early Romantic Concerto'

Author: Grafiati

Published: 4 June 2021

Last updated: 14 February 2022

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1

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

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2

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

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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Esterhammer, Angela. Identity Crises. Edited by Paul Hamilton. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199696383.013.39.

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This chapter addresses the European dimension of nineteenth-century celebrity culture, the extent to which it involves international media networks and figures who, in person and by reputation, crossed borders to engage with multiple publics. Fame on an international scale was facilitated by the reopening of the continent to travel and tourism after the Battle of Waterloo in 1815—but the post-Napoleonic era also altered the conditions of fame, and as the effects of celebrity culture made themselves felt, so did some ironic counter-currents. In the wake of the personality-driven poetry of Byron

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12

Drury, Joseph. Coda. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198792383.003.0007.

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By the early nineteenth century, criticism of the modern novel was being linked to broader critiques of ‘the machine’, a new abstraction that denoted the entire sociotechnical complex rather than any specific device or class of devices. This Romantic concept would go on to shape modern critiques of modern technology by Horkheimer and Adorno and Foucault, as well as New Historicist approaches to the machinery of the novel. But just as Carlyle’s attack on the ‘Age of Machinery’ overlooked the complexity of Britain’s Industrial Enlightenment, so Coleridge’s critique of the technology of the moder

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13

Milnes, Tim. The Testimony of Sense. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198812739.001.0001.

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British intellectual culture witnessed a sharp reduction in the volume of epistemological debate between the mid-eighteenth and early nineteenth centuries. This change coincided with a relocation of philosophical discourse from the treatise to the informal writing of the essayist. This study argues that these two phenomena are related. Around the middle of the eighteenth century, the idea of intersubjectivity emerged as a counterdiscourse to scientific empiricism. Exemplified by Hume’s ‘easy’ philosophy, it sought to reground epistemological correspondence in social correspondence, in the circ

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14

McManus, Laurie. Brahms in the Priesthood of Art. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190083274.001.0001.

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Brahms in the Priesthood of Art: Gender and Art Religion in the Nineteenth-Century German Musical Imagination explores the intersection of gender, art religion (Kunstreligion), and other aesthetic currents in Brahms reception of the nineteenth and early twentieth centuries. In particular, it focuses on the theme of the self-sacrificing musician devoted to his art, or “priest of music,” with its quasi-mystical and German Romantic implications of purity seemingly at odds with the lived reality of Brahms’s bourgeois existence. While such German Romantic notions of art religion informed the thinki

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15

Wise, Timothy E. Yodeling and Meaning in American Music. University Press of Mississippi, 2016. http://dx.doi.org/10.14325/mississippi/9781496805805.001.0001.

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Considering yodeling as a musical device in American music, this book investigates in parallel two ways of understanding various meanings associated with yodeling: as the connotative functions of yodeling within specific musical texts and as the ideological implications of its use. It aims to provoke a reflection on the concept of singing and received cultural ideas associated with it. Starting with the premise that music is a discursive practice that is itself inseparable from a critical verbal discourse about music, the book interrogates the relationship between yodeling and predominating mu

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16

Barnard, Philip, Hilary Emmett, and Stephen Shapiro, eds. The Oxford Handbook of Charles Brockden Brown. Oxford University Press, 2019. http://dx.doi.org/10.1093/oxfordhb/9780199860067.001.0001.

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The Oxford Handbook of Charles Brockden Brown provides an up-to-date survey of the life of and full range of writings by Charles Brockden Brown (1771–1810), a key writer of the Atlantic revolutionary age and U.S. Early Republic. Through the late twentieth century, Brockden Brown was best known as an important author of political romances in the gothic mode that were widely influential in romantic era, and has generated large amounts of scholarship as a crucial figure in the history of the American novel. More recent work recognizes him likewise an influential editor, historian, and writer in o

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17

Ross, Stephen J. Invisible Terrain. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198798385.001.0001.

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In his debut collection, Some Trees (1956), John Ashbery poses a question that resonates across his oeuvre and much modern art: “How could he explain to them his prayer / that nature, not art, might usurp the canvas?” When Ashbery asks this strange question, he joins a host of transatlantic avant-gardists—from the Dadaists to the 1960s neo-avant-gardists and beyond—who have dreamed the paradoxical dream of turning art into nature. Invisible Terrain examines Ashbery’s poetic mediation of this fantasy, reading his work alongside an array of practitioners, from Wordsworth to Warhol, as an exempla

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18

Ameriks, Karl. Kantian Subjects. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198841852.001.0001.

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The first half of this book concerns issues directly related to a few key Kant texts and recent discussions of them. The Critical philosophy’s conception of subjectivity is the main focus, with special attention given to the features of freedom, autonomy, law, necessity, final ends, an overall human vocation, intentionality, and idealism. The second half contains essays on post-Kantian figures, with an emphasis on Hegel, Schelling, and Hölderlin and their role in introducing a fruitful ‘historical turn’ in philosophical methodology as well as a new conception of being a subject understanding i

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