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Relevant bibliographies by topics / Music – 19th century

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Academic literature on the topic 'Music – 19th century'

Author: Grafiati

Published: 4 June 2021

Last updated: 12 February 2022

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Journal articles on the topic "Music – 19th century"

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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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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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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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Dissertations / Theses on the topic "Music – 19th century"

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Risko, Sharon Marie. "19th Century Sea Shanties: From the Capstan to the Classroom." Cleveland State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=csu1439294062.

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Bauer, Petra. "The reception of E.T.A. Hoffmann in 19th century Britain." Thesis, Keele University, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.301193.

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Shank, Ashley C. "Composers as Storytellers: The Inextricable Link Between Literature and Music in 19th Century Russia." University of Akron / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=akron1290275047.

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Ertz, Matilda Ann Butkas 1979. "Nineteenth-century Italian ballet music before national unification: Sources, style, and context." Thesis, University of Oregon, 2010. http://hdl.handle.net/1794/11296.

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xxiv, 603 p. : ill. (some col.) A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.<br>Though not widely acknowledged, ballet and its music were important to the nineteenth-century Italian theatre-goer. While much scholarship exists for Italian opera, less study is made of its counterpart even though the ballet was an important feature of Italian theatre and culture. This dissertation is the first in-depth survey of the music for Italian ballets from 1800-1870, drawing from the hundreds of ballet scores in two import

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Arenas, Erick G. "A historical Study of Charles Gounod's Messe Solennelle de Sainte-Cecile." Thesis, University of Oregon, 2004. http://hdl.handle.net/1794/23902.

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189 p.<br>Church music has been given relatively little scholarly attention in the study of nineteenth-century music. While there is an array of mass settings that were composed by Romantic-era composers, current musicological research marginalizes them. Paris was one location where a tradition of composing new masses continued well into the nineteenth century. While best known for his works for the stage, Charles Gounod (1818-1893) was a leading French composer of sacred music and one of the most prolific sacred composers of his time. His most important liturgical composition is the Messe sol

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Yoo, Hyun Hanna. "The survey of Robert Schumann his artistry in the context of 19th century music /." College Park, Md. : University of Maryland, 2005. http://hdl.handle.net/1903/3165.

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Brown, Myron D. "The 19th Century Tarantella for Piano: A Pedagogical Guide to Performance and Leveling." University of Cincinnati / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1302883737.

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Andrews, Christine. "Nineteenth century English oratorio festivals : chronicling the monumental in music." Thesis, University of Oxford, 2011. http://ora.ox.ac.uk/objects/uuid:bdeff62f-fead-42a7-9724-5c79d5c2cdf9.

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Oratorio festivals were an important cultural feature of nineteenth-century English society. These massive musical events lasted for three or four days and some involved up to 4,000 musicians and 83,000 in the audience. This dissertation advances the hypothesis that the oratorio festivals, and the grand new buildings in which they were staged, coalesced to create a musical monumentalism in a society steeped in the (mainly Protestant) Christian sentiments of the day. In particular, the dissertation contends that a central premise of nineteenth-century musical thought was that the musical value

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Hambridge, Katherine Grace. "The performance of history : music, identity and politics in Berlin, 1800-1815." Thesis, University of Cambridge, 2013. https://www.repository.cam.ac.uk/handle/1810/283937.

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Silbert, Ariel. "Late 19th century German-Jewish Korperkultur and its philosophical and aesthetic sources." Waltham, Mass. : Brandeis University, 2009. http://dcoll.brandeis.edu/handle/10192/23320.

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Books on the topic "Music – 19th century"

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Wetter-Smith, Brooks De. 19th century music of Denmark & Germany. Crystal Records, 1987.

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Nineteenth-century music. University of California Press, 1989.

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Tunley, David. Music in the 19th-century Parisian salon. University of New England, 1997.

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Korda, Marion. Louisville music publications of the 19th century. M. Korda, 1991.

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Allitt, John. J.S. Mayr: Father of 19th century Italian music. Element, 1989.

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Allitt, John Stewart. J.S. Mayr: Father of 19th century Italian music. Element, 1989.

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Realism in nineteenth-century music. Cambridge University Press, 1985.

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Taruskin, Richard. Music in the nineteenth century. Oxford University Press, 2009.

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Benton, Rita. Pleyel as music publisher: A documentary sourcebook of early 19th-century music. Pendragon Press, 1990.

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Music in the nineteenth century. W. W. Norton, 2013.

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Book chapters on the topic "Music – 19th century"

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Rossi, Arcangelo. "Kantianism and Physics from the 19th to the 20th Century." In Language, Quantum, Music. Springer Netherlands, 1999. http://dx.doi.org/10.1007/978-94-017-2043-4_27.

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Thanailaki, Polly. "Euterpe, the Muse of Music: Women’s Position as Seen through Folklore Songs and Dances (Nineteenth to Early Twentieth Centuries)." In Gender Inequalities in Rural European Communities During 19th and Early 20th Century. Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-75235-8_6.

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Brown, Clive. "Dots and strokes in late 18th- and 19th-century music." In Classical and Romantic Music. Routledge, 2017. http://dx.doi.org/10.4324/9781315095653-23.

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Walker, Margaret E. "The ‘Nautch’, the Veil and the Bayadère: The Indian Dance as Musical Nexus." In The Music Road. British Academy, 2019. http://dx.doi.org/10.5871/bacad/9780197266564.003.0011.

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During the early period of mercantile contact with India, the exotic spectacle of the Bayadères or Nautch Girls seized the imagination of western sojourners and inspired an abundance of artistic production back in Europe. The ‘dancing girl’ is found everywhere in late 18th- and 19th-century orientalist paintings, poetry, novels, and of course, ballets, operas and other musical compositions. Although there are substantial studies exploring musical orientalisms in western art music, little attention has been paid to the role of real-life performances in such musical creation. This chapter explores the influence of the colonial interaction with Indian dance performances over the long 19th century. It argues not only for a nuanced and historicised approach to musical encounter but also, given the centrality of the Nautch in the Indian context, for the crucial inclusion of dance in the global history of music.

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Jennings, David. "How a Northern Quarter music venue was crucial in the reinterpretation of 19th-century Broadside Ballads." In Music and Heritage. Routledge, 2021. http://dx.doi.org/10.4324/9780429343049-16.

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Xepapadako, Avra. "European Itinerant Opera and Operetta Companies Touring in the Near and Middle East." In The Music Road. British Academy, 2019. http://dx.doi.org/10.5871/bacad/9780197266564.003.0016.

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Τ‎his chapter focuses on the activity of musical theatre companies touring in south-eastern Europe, the Near East, the Caucasus and Central Asia during the 19th and early 20th centuries. It investigates cultural transfer and amalgamation between the metropolitan culture of the West and the Orient in the domain of opera and operetta. Greece, in particular, functioned as a cultural crossroads between East and West. From 1840 onwards, Italian opera companies began to tour in Greece and its new theatres, and even further towards the Near East; they were followed, from 1870 onwards, by French operetta and vaudeville companies. In the last decades of the 19th century, these French artists expanded their itineraries towards the East, beyond familiar geographical boundaries, tracing their own small odysseys on the map. The chapter charts and presents these traces, attempting to shed light on an unexplored area of the world history of music and theatre.

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Romanou, Katy. "The Music of the Modern Greeks in Western and Eastern Music Literature, from the 9th to the 19th Centuries." In The Music Road. British Academy, 2019. http://dx.doi.org/10.5871/bacad/9780197266564.003.0013.

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This chapter concerns the interactions between Eastern and western music from the ninth to the 19th century. Through observations of western writers (such as Zarlino, Burney, Martini, Villoteau, Fétis) about the music of their contemporary Greeks, it is shown that most of the Eastern terms and concepts described in western treatises of the 9th century (when the East influenced the West) have been preserved almost unchanged in the Greek church over the centuries. By the end of the 18th century, westernisation of the East and the spread of nationalism brought great political and cultural changes to the population of Asia Minor. In Constantinople, music theory and the notation of the Greek chant were then rationalised (westernised). In the books of the reformer, Chrysanthos of Madytos, the strong influence of the French Enlightenment is most evident, side by side though with, still vivid, Eastern concepts and ideas.

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Gretzel, Peter. "Die Anfänge der Volksmusikbewegung. Begriffsbestimmung und Sammelstrategien." In Niederösterreich im 19. Jahrhundert, Band 2: Gesellschaft und Gemeinschaft. Eine Regionalgeschichte der Moderne. NÖ Institut für Landeskunde, 2021. http://dx.doi.org/10.52035/noil.2021.19jh02.23.

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The beginnings of the folk music movement. Definition and collecting strategies. In the 19th century, a folk music movement emerged in Lower Austria, fueled by the 18th century’s awakening interest in everything to do with the “peasantry”. One of the main characteristics and inspirations of this movement was the collecting, gathering and transliterating of songs and tunes handed down orally. The lack of a clearly defined concept of folk music due to the absence of scholarly folk music research led to diverging collectors’ movements and strategies; the collections reveal a conflict between national and supranational tendencies (Gesamtsstaatspatriotismus), both of which served the documentation and the cultivation of folk music on the part of the cultured classes. This “authentic” and collected folk music was intended as a counterbalance to the commercial interpretations performed on stages by “national singers”. Via dedicated collections, the folk music movement essentially shaped the folk-musical topography of the 19th century.

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"Examples of Byron’s Impact on 19th-Century German and Austrian Music [1987]." In Essays on Literature and Music (1985 – 2013) by Walter Bernhart. Brill | Rodopi, 2015. http://dx.doi.org/10.1163/9789004302747_004.

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Kalaitzidis, Kyriakos. "I Genres of Secular Music." In Post-Byzantine Music Manuscripts as a Source for Oriental Secular Music (15th to Early 19th Century). Ergon Verlag, 2012. http://dx.doi.org/10.5771/9783956506734-185.

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Conference papers on the topic "Music – 19th century"

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Haug, Judith I. "»Manch eine*r liegt, morgens noch trunken, im Rosengarten« – Rekonstruktionen osmanischer Musikgeschichte in Gesangstextsammlungen." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.56.

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In Ottoman music culture, song text collections (güfte mecmūʿaları) play a crucial role in transmitting vocal repertoire. They employ paratext which supplies information about modal and rhythmic organisation as well as genre, composer and author attribution. In combination with oral tradition continuing until the present day, this method was understood as sufficient in the prevalent absence of notation until roughly the mid-19th century. Using the example of “Kimi mestāne seḥer yār ile gülşende yatur” by Rūḥī-yi Baġdādī, a poem set to music at least three times since around the mid-17th centur

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Adamyan, Anna. "DEVELOPMENT OF THE ARMENIAN PIANO MUSIC IN THE SECOND HALF OF THE 19TH CENTURY: FIRST ARMENIAN VIRTUOSO CONCERT PIECES IN DIKRAN TCHOUHADJIANS PIANO HERITAGE." In SGEM 2014 Scientific SubConference on ARTS, PERFORMING ARTS, ARCHITECTURE AND DESIGN. Stef92 Technology, 2014. http://dx.doi.org/10.5593/sgemsocial2014/b41/s14.032.

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Konrad, Ulrich. "Philologie und Digitalität. Perspektiven für die Musikwissenschaft im Kontext fächerübergreifender Institutionen." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.90.

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Currently, the qualitative spectrum of methods in the philological sciences is being substantially expanded, with far-reaching implications, through the integration of the empirical, quantitative, and evaluative possibilities of the Digital Humanities. The example of the planning and establishment of „Kallimachos,“ the Center for Philology and Digitality (ZPD) at the University of Würzburg, demonstrates how a research center in the field of interplay between the humanities and cultural studies, digital humanities, and computer science can bring about a surge of change by providing in-depth ins

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Kim, Ji Young. "Clara Schumann and Jenny Lind in 1850." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.85.

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Clara Schumann’s 1850 tour of northern Germany with her husband officially ended with a successful concert in Altona where Jenny Lind made a surprise appearance. Immediately thereafter, one more concert featuring the pianist, singer, and Robert’s music was added at the last minute to take place in Hamburg. This too was a success. But a detail that made it especially memorable was Lind’s position behind the piano lid so that, as Clara recounted in her diary, many audience members could hardly catch a glimpse of her. This paper explores the rationales and implications of this singular and fleeti

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