Log in

Relevant bibliographies by topics / Music and literature. Transcendentalism (New England) Music

Contents

Journal articles
Dissertations / Theses
Books
Book chapters

Academic literature on the topic 'Music and literature. Transcendentalism (New England) Music'

Author: Grafiati

Published: 4 June 2021

Last updated: 18 February 2022

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 'Music and literature. Transcendentalism (New England) Music.'

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 "Music and literature. Transcendentalism (New England) Music"

1

Mauk, David C. "New England Transcendentalism versus Virulent Nationalism: The Evolution of Charles Ives' Patriotic march Music." American Studies in Scandinavia 31, no. 1 (March 1, 1999): 24–33. http://dx.doi.org/10.22439/asca.v31i1.1478.

Full text

APA, Harvard, Vancouver, ISO, and other styles

2

Lapsley, James N. "Charles Ives and the Reformed Tradition." Theology Today 64, no. 3 (October 2007): 305–21. http://dx.doi.org/10.1177/004057360706400303.

Full text

Abstract:

The American composer Charles Ives (1874–1954) was rooted in New England Congregationalism, the Puritan wing of the Reformed tradition. Although he is often seen as an innovative composer identified with New England transcendentalism, he never abandoned his Reformed evangelical faith but rather expressed it in some of his greatest music, particularly the Third and Fourth Symphonies.

APA, Harvard, Vancouver, ISO, and other styles

3

Kimber, Marian Wilson. "Victorian Fairies and Felix Mendelssohn's A Midsummer Night's Dream in England." Nineteenth-Century Music Review 4, no. 1 (June 2007): 53–79. http://dx.doi.org/10.1017/s1479409800000069.

Full text

Abstract:

In art, literature, theatre and music, Victorians demonstrated increased interest in the supernatural and nostalgia for a lost mythic time, a response to rapid technological change and increased urbanization. Romanticism generated a new regard for Shakespeare, also fuelled by British nationalism. The immortal bard's plays began to receive theatrical performances that more accurately presented their original texts, partially remedying the mutilations of the previous century. The so-called ‘fairy’ plays, A Midsummer Night's Dream and The Tempest, were also popular subjects for fairy paintings, stemming from the establishment of the Boydell Shakespeare Gallery in 1789. In such a context, it is no wonder that Felix Mendelssohn's incidental music for A Midsummer Night's Dream was so overwhelmingly popular in England and that his style became closely associated with the idea of fairies. This article explores how the Victorians’ understanding of fairies and how the depiction of fairies in the theatre and visual arts of the period influenced the reception of Mendelssohn's music, contributing to its construction as ‘feminine’. Victorian fairies, from the nude supernatural creatures cavorting in fairy paintings to the diaphanously gowned dancers treading lightly on the boards of the stage, were typically women. In his study of Chopin reception, Jeffrey Kallberg has interpreted fairies as androgynous, but Victorian fairies were predominantly female, so much so that Lewis Spence's 1948 study, The Fairy Tradition in Britain, includes an entire section on fairy gender intended to refute the long-standing notion that there were no male fairies. Thus, for Mendelssohn to have composed the leading musical work that depicted fairies contributed to his increasingly feminized reputation over the course of the nineteenth century.

APA, Harvard, Vancouver, ISO, and other styles

4

Jones, Ian, and Peter Webster. "Anglican ‘Establishment’ Reactions to ‘POP’ Church Music in England, 1956–C.1990." Studies in Church History 42 (2006): 429–41. http://dx.doi.org/10.1017/s0424208400004125.

Full text

Abstract:

The use of popular styles of music in the Church has often proved contentious, and perhaps particularly so in the later twentieth century. Anecdotal evidence abounds of the debate provoked in churches by the introduction of new ‘happy-clappy’ pop-influenced styles, and the supposed wholesale discarding of a glorious heritage of hymnody. In addition, a great deal of literature has appeared elaborating on the inappropriateness of such music. Welcoming a historical study of hymnody in 1996, John Habgood lamented the displacement of traditional hymn singing by ‘trivial and repetitive choruses’. Lionel Dakers, retired Director of the Royal School of Church Music, also saw choruses and worship songs as ‘in many instances little more than trite phrases repeated ad nauseam, often with accompanying body movements’. This paper investigates the reactions of the musical and ecclesiastical establishments to the use of popular music in public worship in the Church of England from 1956 to c. 1990. The period began with a new wave of experimentation epitomized by Geoffrey Beaumont’s Folk Mass and the controversy surrounding it, and ended in the early 1990s, by which time the pop-influenced worship music of the renewal movement had become firmly established in some sections of the Church, with its own figure-heads and momentum.

APA, Harvard, Vancouver, ISO, and other styles

5

Braccio, Nathan. "Map Scarcity in Early Colonial New England." Early American Studies: An Interdisciplinary Journal 19, no. 3 (2021): 457–94. http://dx.doi.org/10.1353/eam.2021.0015.

Full text

APA, Harvard, Vancouver, ISO, and other styles

6

Harbor, Catherine. "The marketing of concerts in London 1672–1749." Journal of Historical Research in Marketing 12, no. 4 (September 4, 2020): 449–71. http://dx.doi.org/10.1108/jhrm-08-2019-0027.

Full text

Abstract:

Purpose This paper aims to explore the nature of the marketing of concerts 1672–1749 examining innovations in the promotion and commodification of music, which are witness to the early development of music as a business. Design/methodology/approach The study takes as its basis 4,356 advertisements for concerts in newspapers published in London between 1672 and 1749. Findings Musicians instigated a range of marketing strategies in an effort to attract a concert audience, which foreground those found in more recent and current arts marketing practice. They promoted regular concerts with a clear sense of programme planning to appeal to their audience, held a variety of different types of concerts and made use of a variety of pricing strategies. Concerts were held at an increasing number and range of venues with complementary ticket-selling locations. Originality/value Whilst there is some literature investigating concert-giving in this period from a musicological perspective (James, 1987; Johnstone, 1997; McVeigh, 2001; Weber, 2001; 2004b; 2004c; Wollenberg, 1981–1982; 2001; Wollenberg and McVeigh, 2004), what research there is that uses marketing as a window onto the musical culture of concert-giving in this period lacks detail (McGuinness, 1988; 2004a; 2004b; McGuinness and Diack Johnstone, 1990; Ogden et al., 2011). This paper illustrates how the development of public commercial concerts made of music a commodity offered to and demanded by a new breed of cultural consumers. Music, thus, participated in the commercialisation of leisure in late 17th- and 18th-century England and laid the foundations of its own development as a business.

APA, Harvard, Vancouver, ISO, and other styles

7

Rainwater, Crescent. "Netta Syrett, Nobody’s Fault, and Female Decadence: The Story of a Wagnerite." Journal of Victorian Culture 25, no. 2 (December 14, 2019): 185–99. http://dx.doi.org/10.1093/jvcult/vcz057.

Full text

Abstract:

Abstract Scholars have traditionally associated decadence with misogyny, and therefore it has typically been perceived as antithetical to feminism. Nobody’s Fault (1896), Netta Syrett’s first novel, complicates this perception through the way in which the self-assertive protagonist, Bridget Ruan, finds in the decadent music of Richard Wagner a liberating form of aesthetic experience. In this essay, I argue that encountering Wagner’s music marks Bridget’s immersion into a form of decadent culture that affirms her aesthetic longings and awakens her erotic desires. At the same time, the novel condemns an antifeminist form of decadence that is associated with elitist male artists who indulge in a superficial manipulation of language and treat women as art objects. The novel’s resistance to exclusionary forms of aesthetic experience is modelled in its straightforward narrative style and strategic engagement with familiar New Woman themes. This middlebrow narrative thus made Syrett’s intervention into debates about women and decadence accessible to a middle-class female audience. When we recognize that the history of decadence includes its appeal to feminist writers such as Syrett rather than an exclusively antifeminist legacy, we can begin to uncover a more nuanced history of feminism and decadence in England at the fin de siècle.

APA, Harvard, Vancouver, ISO, and other styles

8

Pollack, Janet. "Gouk Penelope, Music, Science and Natural Magic in Seventeenth-Century England New Haven and London: Yale University Press, 1999. xii + 68 illustrations + 352 pp. $35. ISBN: 0-300-07383-6." Renaissance Quarterly 55, no. 4 (2002): 1441–42. http://dx.doi.org/10.2307/1262144.

Full text

APA, Harvard, Vancouver, ISO, and other styles

9

Lockey, Brian C. "Edmund Spenser’s View of Christendom: New Legal and Theological Contexts for A View of the Present State of Ireland." Explorations in Renaissance Culture 47, no. 1 (June 16, 2021): 39–55. http://dx.doi.org/10.1163/23526963-47010004.

Full text

Abstract:

Abstract This paper considers how Spenser’s conception of conscience and universal law and justice in A View of the Present State of Ireland can be understood within the context of jurist Christopher St. German’s early sixteenth-century tract on equity and the common law and his subsequent tracts on the reformation of Church corruption. The paper attempts to re-situate Spenser’s engagement with legal and political theory within the context of English legal education as it had developed throughout the fifteenth and sixteenth centuries. Ultimately, it shows that Spenser’s engagement with law, theology and politics reflected a commitment to a new Protestant conception of transnational Christendom as well as a re-conception of England as a Protestant nation within that transnational entity.

APA, Harvard, Vancouver, ISO, and other styles

10

CLARK, GEOFFREY. "COMMERCE, CULTURE, AND THE RISE OF ENGLISH POWER." Historical Journal 49, no. 4 (November 24, 2006): 1239–51. http://dx.doi.org/10.1017/s0018246x06005814.

Full text

Abstract:

Barclays: the business of banking, 1690–1996. By Margaret Ackrill and Leslie Hannah. Cambridge: Cambridge University Press, 2001. Pp. xxi+481. ISBN 0-521-79035-2. £45.00.The worlds of the East India Company. Edited by H. V. Bowen, Margarette Lincoln, and Nigel Rigby. Woodbridge: Boydell, 2002. Pp. xvii+246. ISBN 0-85115-877-3. £45.00.Kingship and crown finance under James VI and I, 1603–1625. By John Cramsie. Woodbridge: Boydell, 2002. Pp. xi+242. ISBN 0-86193-259-5. £50.00.Mammon's music: literature and economics in the age of Milton. By Blair Hoxby. New Haven: Yale University Press, 2002. Pp. xii+320. ISBN 0-300-09378-0. $45.00.Usury, interest, and the Reformation. By Eric Kerridge. Aldershot: Ashgate, 2002. Pp. 206. ISBN 0-7546-0688-0. £55.00.The rise of commercial empires: England and the Netherlands in the age of mercantilism, 1650–1770. By David Ormrod. Cambridge: Cambridge University Press, 2003. Pp. xvii+400. ISBN 0-521-81926-1. £55.00.The rhetoric of credit: merchants in early modern writing. By Ceri Sullivan. London: Associated University Presses, 2002. Pp. 217. ISBN 0-8386-3926-7. £38.00.The unshackling of the European economy from the sixteenth to the eighteenth centuries was achieved, ironically, by the forging of new and stronger chains of trade and credit within nations, across regions, and around the globe. The seven books under review explore that process from different disciplinary standpoints, but chiefly as it affected England, the country that would become emblematic of commercial advancement and under whose sway the modern capitalist system emerged. How England managed this feat financially and commercially, politically and culturally, amidst the shifting opportunities and perils of these centuries is answered with an often impressive sophistication and imagination that take us well beyond hackneyed analyses prompted by the Weber–Tawney thesis.

APA, Harvard, Vancouver, ISO, and other styles

More sources

Dissertations / Theses on the topic "Music and literature. Transcendentalism (New England) Music"

1

Fuller, Rachael Anora. "In Pursuit of "The Walden State-of-Mind": Henry David Thoreau in Charles Ives's Music." Kent State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=kent1428944240.

Full text

APA, Harvard, Vancouver, ISO, and other styles

Books on the topic "Music and literature. Transcendentalism (New England) Music"

1

Kitson, Richard. The new musical magazine, review, and register, 1809-1810: The English musical gazette, or, Monthly intelligencer, 1819 ; The musical monthly and repertoire of literature, the drama, and the arts, 1864-1865. Baltimore, Md: NISC, 2006.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

2

Bankes, Ariane. New Aldeburgh Anthology. Boydell & Brewer, Incorporated, 2009.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

3

Ariane, Bankes, and Reekie Jonathan, eds. New Aldeburgh anthology. Woodbridge, UK: Aldeburgh Music/Boydell, 2009.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

4

Hawthorne, Nathaniel. The Scarlet Letter (Classic Literature with Classical Music). Naxos Audiobooks, 2006.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

5

Louis, Stevenson Robert. Treasure Island (Classic Literature With Classical Music. Junior Classics). Naxos Audiobooks, 1996.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

6

Marks, Peter. Literature of the 1990s. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474411592.001.0001.

Full text

Abstract:

Placing literary creativity within a changing cultural and political context that saw the end of Margaret Thatcher and rise of New Labour, this book offers fresh interpretations of mainstream and marginal works from all parts of Britain. Based on a framework of thematically-structured accounts, the individual chapters cover national identity, ethnicity, sexuality, class, celebrity culture, history and fantasy in literature from Wales, Scotland, Northern Ireland and England. It offers its readers a comprehensive view of the changing and challenging literary landscape in this period, critically examining the fiction, poetry and drama as well as representative films, art and music. Placed within the broader context of a transformative political and cultural environment that included Margaret Thatcher and Tony Blair, Damian Hirst and Princess Diana, the book captures the energetic and sometimes provocative experimentation that typified the final decade of the twentieth century.

APA, Harvard, Vancouver, ISO, and other styles

7

Paul, David C. Songs of Our Fathers. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037498.003.0003.

Full text

Abstract:

This chapter focuses on Henry Cowell's advocacy of Charles E. Ives and his music between the years 1927 and 1947. Cowell's ideas about Ives can be grouped into two periods: those produced prior to the sentence he served at San Quentin State Prison for a 1936 conviction on a morals charge, and those produced after his release in 1940. This chapter first considers Cowell's portrait of Ives as a New England musical ethnographer before discussing the views of anthropologists, folklorists, and musical modernists about folk music. It then examines how Cowell became interested in folk music, along with his influence on Ives. It also looks at the notion of a usable past, advanced by Van Wyck Brooks in his essay “On Creating a Usable Past,” in which he called for a rewriting of the history of American literature. The chapter concludes with an assessment of Ives's “Concord” Sonata and Ives's commitment to freedom (in the sense of refusing to impose a fixed final form on his works).

APA, Harvard, Vancouver, ISO, and other styles

8

Gutjahr, Paul C., ed. The Oxford Handbook of the Bible in America. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780190258849.001.0001.

Full text

Abstract:

The Oxford Handbook of the Bible in America is designed to address a noticeable void in resources focused on analyzing the Bible in America in specific historical moments and in relationship to specific institutions and cultural expressions. Paying attention to the Bible from its earliest appearance in seventeenth-century New England up through its presence and usage in twenty-first century America, this handbook takes seriously the fact that the Bible is both a physical object that has exercised considerable totemic power, as well as a text with a powerful intellectual design that has inspired a wide range of cultural rituals, social policies, and artistic expression. This Handbook brings together a number of established scholars, as well as younger scholars on the rise, to provide insightful overviews and rich bibliographic resources to those interested in the Bible’s role in the history of American cultural formation. Topics addressed in the Handbook include—but are not limited to—the Bible’s production, translation, distribution, and interpretation in the United States, the Bible’s usage and relationship to a host of American religious traditions and social movements, as well the Bible’s linkage to such things as American cinema, literature, art, music, amusement parks, environmentalism, theories of gender and race, education, and politics.

APA, Harvard, Vancouver, ISO, and other styles

9

Wicks, Robert L., ed. The Oxford Handbook of Schopenhauer. Oxford University Press, 2020. http://dx.doi.org/10.1093/oxfordhb/9780190660055.001.0001.

Full text

Abstract:

This collection of thirty-one essays written by contemporary Schopenhauer scholars has six sections: (1) Influences on Schopenhauer, (2) Schopenhauer’s Metaphysics of Will and Empirical Knowledge, (3) Aesthetic Experience, Music, and the Sublime, (4) Human Meaning, Politics, and Morality, (5) Religion and Schopenhauer’s Philosophy, and (6) Schopenhauer’s Influence. Some of the issues addressed concern the extent to which Schopenhauer adopted ideas from his predecessors versus how much was original and visionary in his central claim that reality is a blind, senseless “will,” the effectiveness of his philosophy in the field of scientific explanation and extrasensory phenomena, the role of beauty and sublimity in his outlook, the fundamental role of compassion in his moral theory, the Hindu, Christian, and Buddhistic aspects of his philosophy, the importance of asceticism in his views on how best to live, how pessimism and optimism should be understood, and his impact on psychoanalysis, as well as upon music, the visual arts, and literature. The collection is an internationally constituted work that reflects upon Schopenhauer’s philosophy with authors from a variety of backgrounds, presently working in Australia, Belgium, Brazil, Canada, Ecuador, England, France, Germany, Israel, the Netherlands, New Zealand, Scotland, Spain, and the United States.

APA, Harvard, Vancouver, ISO, and other styles

Book chapters on the topic "Music and literature. Transcendentalism (New England) Music"

1

Kalich, Natalie. "Sketching Out America’s Jazz Age in British Vogue." In Women's Periodicals and Print Culture in Britain, 1918-1939. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474412537.003.0005.

Full text

Abstract:

This chapter investigates the contributions to modernism of Dorothy Todd’s British Vogue (1922-1926) as the magazine traced the evolution of Bloomsbury in England and the Jazz Age in America. While scholarship on this periodical has traditionally focused on the publication of Bloomsbury artists in the magazine, this chapter examines Todd’s displacement of the high/popular cultural binary through her unflagging support of jazz music and avant-garde literature. Furthermore, in examining Anne Harriet Fish’s and Miguel Covarrubias’s cartoons and illustrations, the chapter reveals the era’s use of visual humour as a means of coping with deeper anxieties regarding women’s increasing independence and the emergence of African-American culture as a fixture in mainstream, American culture. Analysing the construction of the Modern Woman and the New Negro in a commercial magazine demonstrates readers’ initial introduction to Bloomsbury and the Harlem Renaissance, broadening our understanding of modernism’s function in commercial settings.

APA, Harvard, Vancouver, ISO, and other styles

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!