Log in

Relevant bibliographies by topics / Music History and criticism19th century / Journal articles

To see the other types of publications on this topic, follow the link: Music History and criticism19th century.

Journal articles on the topic 'Music History and criticism19th century'

Author: Grafiati

Published: 11 December 2022

Last updated: 31 July 2025

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

Select a source type:

Consult the top 50 journal articles for your research on the topic 'Music History and criticism19th century.'

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.

Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.

1

Coleman, Billy, and J. M. Mancini. "Music in American nineteenth-century history." American Nineteenth Century History 24, no. 3 (2023): 253–55. http://dx.doi.org/10.1080/14664658.2023.2303224.

Full text

APA, Harvard, Vancouver, ISO, and other styles

2

Kendall, G. Yvonne, and Ron Byrnside. "Music in Eighteenth-Century Georgia." Journal of Southern History 64, no. 4 (1998): 717. http://dx.doi.org/10.2307/2587521.

Full text

APA, Harvard, Vancouver, ISO, and other styles

3

Marcus, K. H. "Nineteenth Century California Sheet Music." Journal of American History 98, no. 1 (2011): 308. http://dx.doi.org/10.1093/jahist/jar137.

Full text

APA, Harvard, Vancouver, ISO, and other styles

4

Hamilton, A. "The Cambridge History of Nineteenth-century Music." British Journal of Aesthetics 43, no. 1 (2003): 86–89. http://dx.doi.org/10.1093/bjaesthetics/43.1.86.

Full text

APA, Harvard, Vancouver, ISO, and other styles

5

Champion, Matthew S., and Miranda Stanyon. "MUSICALISING HISTORY." Transactions of the Royal Historical Society 29 (November 1, 2019): 79–103. http://dx.doi.org/10.1017/s0080440119000045.

Full text

Abstract:

ABSTRACTWhile there have been growing calls for historians to listen to the past, there are also significant barriers to integrating music in particular into broader historical practice. This article reflects on both the gains and difficulties of this integration, moving from an interrogation of the category of music to three case studies. These concern musical terms, compositional practices and cultures from the fifteenth to eighteenth centuries, revisiting some key debates in musicology: first, the highly charged language of sweetness deployed in the fifteenth century; second, connections di

APA, Harvard, Vancouver, ISO, and other styles

6

Kudiņš, Jānis. "FRAGMENTARY AND MODERATE MODERNISM IN LATVIAN MUSIC HISTORY ." Culture Crossroads 19 (October 11, 2022): 111–25. http://dx.doi.org/10.55877/cc.vol19.31.

Full text

Abstract:

The question of 20th century modernism in the history of Latvian academic genres music is still topical. The prevailing opinion in musicological research (literature) is that representation of modernism in the history of Latvian music has been fragmentary. In various decades of the 20th century (the first and second half of the century), Latvian composers have rarely turned to the most radical expression of modernism, the avant-garde. Much more often possible identified stylistically moderate manifestations of modernism. However, these issues have still been little researched. This article off

APA, Harvard, Vancouver, ISO, and other styles

7

Öner, Onur. "Music in Early Twentieth-Century Istanbul." Archiv orientální 89, no. 1 (2021): 63–84. http://dx.doi.org/10.47979/aror.j.89.1.63-84.

Full text

Abstract:

This study addresses the social history of music in early twentieth-century Ottoman Istanbul. The paper argues that private music schools were at the center of transformations in music and that their history is profoundly related to the political crises the Ottoman state experienced after the turn of the twentieth century. More precisely, by approaching the Ottoman bureaucracy from a musical perspective, the paper tries to link the reorganization of the Ottoman bureaucracy in 1909 with the emergence of private music schools in Istanbul. To explore the process, the paper follows some official f

APA, Harvard, Vancouver, ISO, and other styles

8

Johnson, Bruce. "From Music to Noise: The Decline of Street Music." Nineteenth-Century Music Review 15, no. 1 (2017): 67–78. http://dx.doi.org/10.1017/s147940981700009x.

Full text

Abstract:

The history of live street music is the history of an endangered species, either suppressed or trivialized as little more than ‘local colour’. Five hundred years ago the streets of Elizabethan London were rich with the sounds of street vendors, ballad-makers and musicians, and in general the worst that might be said of the music was that the same songs were too often repeated – what we would now call ‘on high rotation’. By the beginning of the nineteenth century, the poet Wordsworth and advocate of the ‘common man’ was describing street music as ‘monstrous’, and throughout that century vigorou

APA, Harvard, Vancouver, ISO, and other styles

9

Chelaru, Carmen. "History – Culture – Music in the Romanian Eighteenth Century." Artes. Journal of Musicology 23, no. 1 (2021): 1–40. http://dx.doi.org/10.2478/ajm-2021-0001.

Full text

Abstract:

Abstract Recently, I made a few forays in the history of the society, culture and music of the people in the Carpathian-Danubian space, without the intention and claim of unlocking doors thrown widely open before me by established researchers such as Lucian Boia, Theodor T. Burada, Gheorghe Ciobanu, Octavian Lazăr Cosma, Neagu Djuvara, Costin Moisil and many others. I did it especially in order to try to tear myself away from the old spread-eagle patterns, from prejudice. Thus, I ascertained that, in the flow of time, of events, of facts, the European eighteenth century constitutes a page abou

APA, Harvard, Vancouver, ISO, and other styles

10

Rosendorf, Neal M. "Music and International History in the Twentieth Century." Journal of American History 104, no. 1 (2017): 218–19. http://dx.doi.org/10.1093/jahist/jax074.

Full text

APA, Harvard, Vancouver, ISO, and other styles

11

Bailey, Candace Lea. "The Cambridge History of Seventeenth-Century Music (review)." Notes 63, no. 3 (2007): 597–600. http://dx.doi.org/10.1353/not.2007.0002.

Full text

APA, Harvard, Vancouver, ISO, and other styles

12

Burkholder, J. Peter (James Peter). "The Cambridge History of Twentieth-Century Music (review)." Notes 63, no. 4 (2007): 844–48. http://dx.doi.org/10.1353/not.2007.0058.

Full text

APA, Harvard, Vancouver, ISO, and other styles

13

Lee Cooper, B., and Donald E. Walker. "Baseball, Popular Music, and Twentieth-Century American History." Social Studies 81, no. 3 (1990): 120–24. http://dx.doi.org/10.1080/00377996.1990.9957507.

Full text

APA, Harvard, Vancouver, ISO, and other styles

14

Nan, Wang. "The characteristics of Russian vocal music teaching in the 20th century from the perspective of music history." OOO "Zhurnal "Voprosy Istorii" 2023, no. 3-2 (2023): 158–65. http://dx.doi.org/10.31166/voprosyistorii202303statyi44.

Full text

Abstract:

Russian vocal music teaching in the 20th century is full of characteristics, which can provide inspiration for vocal music teaching in other countries from teaching methods. The characteristics of Russian vocal music teaching are inseparablefrom its own strong music culture. This article aims to explore Russian national specific music features and the characteristics of Russian vocal music teaching in the 20th century from the perspective of music history.

APA, Harvard, Vancouver, ISO, and other styles

15

Rice, Timothy, and Dave Wilson. "Creating a Global Music History." ASIAN-EUROPEAN MUSIC RESEARCH JOURNAL 10 (December 7, 2022): 1–6. http://dx.doi.org/10.30819/aemr.10-1.

Full text

Abstract:

The authors use the mission statement of the ICTM Study Group on Global Music History to present issues they faced in writing a global music history intended for use in schools of music (conservatories) in the United States. They argue that all global music histories will of necessity be written from some position on the globe, not from “outer space”; explain how they constructed a chronology going back thousands of years from sound recordings all made in the twentieth century; and outline their pedagogical goal of introducing music students to the full range of human music making today.

APA, Harvard, Vancouver, ISO, and other styles

16

Мurtozova, S. B. "From the history of music education in Uzbekistan." International Journal on Integrated Education 2, no. 4 (2019): 32–38. http://dx.doi.org/10.31149/ijie.v2i4.108.

Full text

Abstract:

This article is devoted to the study of the history of music education in Uzbekistan. Generalized questions about the changes in the field of music that occurred after the establishment of Soviet power in Uzbekistan, the subordination of music education to the ideas of communist ideology, the organization of local music, choral schools, schools of folk music, which focused on the promotion of European music. Analyzed information about the first institutions of music education organized in the region at the beginning of the 20th century, the representatives who carried out their activitie

APA, Harvard, Vancouver, ISO, and other styles

17

Kater, Michael H. "Music: Performance and Politics in Twentieth-Century Germany." Central European History 29, no. 1 (1996): 93–106. http://dx.doi.org/10.1017/s0008938900012802.

Full text

APA, Harvard, Vancouver, ISO, and other styles

18

Kudiņš, Jānis. "Latvian Music History in the Context of 20th-century Modernism and Postmodernism. Some Specific Issues of Local Historiography." Musicological Annual 54, no. 2 (2018): 97–139. http://dx.doi.org/10.4312/mz.54.2.97-139.

Full text

Abstract:

Do the terms “modernism” and “postmodernism” objectively characterize the trends in the music history of the 20th century or are they merely theoretical abstractions? How can they be applied to the music history of specific countries, for example, when analysing a local historical experience? The article will consider these questions primarily to focus on the representation of the modernist and postmodernist aesthetics in the stylistic developments of the 20th-century Latvian music history.

APA, Harvard, Vancouver, ISO, and other styles

19

Barclay, Katie. "The Sound of Politics in Early Nineteenth-Century Ireland." Journal of British Studies 60, no. 2 (2021): 389–402. http://dx.doi.org/10.1017/jbr.2020.248.

Full text

Abstract:

AbstractIn the early 1800s, Jonah Barrington, an Irish judge, bemoaned that the air chosen as the march for the Irish Volunteer Movement had “no merit whatever, being neither grand, nor martial, nor animating,” contrasting it with the zeal of French revolutionary music. The emotional impact of music might be a matter of taste, but such a statement is suggestive of an aesthetics, where political music, or music used for political purposes, should have specific qualities that could be identified and judged by listeners. This article explores how people in late eighteenth- and early nineteenth-ce

APA, Harvard, Vancouver, ISO, and other styles

20

Eberhart, Marlene L. ":The Cambridge History of Sixteenth-Century Music." Sixteenth Century Journal 51, no. 3 (2020): 830–32. http://dx.doi.org/10.1086/scj5103117.

Full text

APA, Harvard, Vancouver, ISO, and other styles

21

Paczkowski, Szymon. "Research on 18th Century Music in Poland. An Introduction." Musicology Today 13, no. 1 (2016): 41–52. http://dx.doi.org/10.1515/muso-2016-0008.

Full text

Abstract:

Abstract Research on 18th-century music has been one of the key areas of interest for musicologists ever since the beginnings of musicological studies in Poland. It initially developed along two distinct lines: general music history (with publications mostly in foreign languages) and local history (mostly in Polish). In the last three decades the dominant tendency among Polish researchers has been, however, to relate problems of 18th-century Polish musical culture to the political history of the Polish-Lithuanian Commonwealth and more generally – to the political history of Central Europe at l

APA, Harvard, Vancouver, ISO, and other styles

22

Ferreirа, Manuel. "Beyond nations: A thematic history." Muzikologija, no. 27 (2019): 163–86. http://dx.doi.org/10.2298/muz1927163f.

Full text

Abstract:

This paper describes an on-going project, the collaborative Thematic History of Music in Portugal and Brazil; it details its context, rationale, concept, structure and the process that led to its public presentation and preliminary development at CESEM/FCSH, Universidade Nova de Lisboa. The importance of Africa in the understanding of some facets not only of modern popular music, but also of 16th- 18th century genres in Portugal and Brazil is particularly stressed; examples of both polyphonic and instrumental music are given to illustrate this early influence.

APA, Harvard, Vancouver, ISO, and other styles

23

Clarke, David. "Editorial: Twentieth-Century Music – Plural." Twentieth-Century Music 1, no. 2 (2004): 155–59. http://dx.doi.org/10.1017/s1478572205000010.

Full text

Abstract:

Difference is among the twentieth century’s most volatile legacies to the twenty-first. Over this period it has increasingly lodged itself in our cultural consciousness, as both theoretical concept and lived experience. Its workings are refracted through culture (through phenomena such as music) and the way we contemplate and study it (through a journal such as this). A Brief History of Difference, at least the chapter relevant to the present story, might start in the early part of the last century with Ferdinand de Saussure’s courses on linguistics. Not only language, but potentially all sign

APA, Harvard, Vancouver, ISO, and other styles

24

Levaux, Christophe. "The Forgotten History of Repetitive Audio Technologies." Organised Sound 22, no. 2 (2017): 187–94. http://dx.doi.org/10.1017/s1355771817000097.

Full text

Abstract:

In the literature dedicated to twentieth-century music, the early history of electronic music is regularly presented hand in hand with the development of technical repetitive devices such as closed grooves and magnetic tape loops. Consequently, the idea that such devices were ‘invented’ in the studios of the first great representatives of electronic music tends to appear as an implicit consequence. However, re-examination of the long history of musical technology, from the ninth-century Banu Musa automatic flute to the Hammond organ of the 1930s, reveals that repetitive devices not only go rig

APA, Harvard, Vancouver, ISO, and other styles

25

Eisen, Cliff, and W. Dean Sutcliffe. "EDITORIAL." Eighteenth Century Music 1, no. 1 (2004): 3. http://dx.doi.org/10.1017/s1478570604000090.

Full text

Abstract:

Why Eighteenth-Century Music? Thirty years ago, eighteenth-century music research represented a scholarly vanguard: the field was at the forefront in source studies, in performance practice, in investigating local music history and even in its willingness to think critically about the ways it had defined itself historically. These successes were in no small part responsible for a fundamental shift in musicological studies, even if this shift, fed by methodologies derived from literary and critical theory, was more apparent in writings on nineteenth-century music. Perhaps the field of eighteent

APA, Harvard, Vancouver, ISO, and other styles

26

Carpenter, Alexander. "Towards a History of Operatic Psychoanalysis." Psychoanalysis and History 12, no. 2 (2010): 173–94. http://dx.doi.org/10.3366/pah.2010.0004.

Full text

Abstract:

This paper examines the history of the trope of psychoanalytic therapy in musical dramas, from Richard Wagner to Kurt Weill, concluding that psychoanalysis and the musical drama are, in some ways, companions and take cues from each other, beginning in the mid-19th century. In Wagner's music dramas, psychoanalytic themes and situations – specifically concerning the meaning and analysis of dreams – are presaged. In early modernist music dramas by Richard Strauss and Arnold Schoenberg (contemporaries of Freud), tacit representations of the drama of hysteria, its aetiology and ‘treatment’ comprise

APA, Harvard, Vancouver, ISO, and other styles

27

Romero, Yolanda G., and Guadalupe San Miguel,. "Tejano Proud: Tex-Mex Music in the Twentieth Century." Western Historical Quarterly 35, no. 3 (2004): 399. http://dx.doi.org/10.2307/25443040.

Full text

APA, Harvard, Vancouver, ISO, and other styles

28

Whaley, J. "Sovereign Feminine: Music and Gender in Eighteenth-Century Germany." German History 32, no. 1 (2013): 135–36. http://dx.doi.org/10.1093/gerhis/ght087.

Full text

APA, Harvard, Vancouver, ISO, and other styles

29

Șabac, Karina. "The Forgotten Sounds of a Century. Romanian Music and Lithographies From the 19th Century: Reflections on Half a Century of Censorship." Musicology Today: Journal of the National University of Music Bucharest XIV, no. 55 (2025): 207–35. https://doi.org/10.69608/mt.55.05.

Full text

Abstract:

Towards 1850, a fully developed industry of editors, lithographers, instrument-manufacturers from UK, Germany, France, and Austria arrived with its 400 years old legacy to a region deeply steeped in folklore and Byzantine traditions: the Romanian Principalities. At this point we see arguably one of the fastest cultural transformations of a nation, the process of assimilation of occidental standards being greatly catalyzed by the instauration of a new constitutional monarchy in Romania with King Carol I (1866-1914) and the innovative Queen Elisabeth (1869-1916). As my research revealed, she has

APA, Harvard, Vancouver, ISO, and other styles

30

Barlow, Helen, and Trevor Herbert. "Introduction Listeners in Music History: Studying the Evidence." Nineteenth-Century Music Review 17, no. 3 (2020): 343–57. http://dx.doi.org/10.1017/s1479409819000582.

Full text

Abstract:

This themed issue focuses on the study of listeners in history. The articles address the personal responses to music of ‘ordinary listeners’ – that is, people whose experiences of music are recorded in personal documents and third-party descriptions (as opposed, say, to music critics who wrote about music in order to influence the ideas and tastes of a public readership). This overview essay proposes that the testimony of ordinary listeners can cast new light on musical practices, the way music has been heard and its role in past societies. It points to a perceived gap in historical musicology

APA, Harvard, Vancouver, ISO, and other styles

31

Eden, Bradford Lee. ":Reforming Music: Music and the Religious Reformations of the Sixteenth Century." Sixteenth Century Journal 49, no. 1 (2018): 316–18. http://dx.doi.org/10.1086/scj4901189.

Full text

APA, Harvard, Vancouver, ISO, and other styles

32

Slavíková, Marie. "History of Czech music education in the 19th and 20th centuries in the context of European music pedagogical trends." Paedagogia Musica 6 (2024): 5–18. https://doi.org/10.24132/zcu.musica.2024.01.5-18.

Full text

Abstract:

The current conception of music education in the Czech Republic draws on the excellent traditions of Czech music education in the past few centuries and on important European music pedagogical trends that have also significantly influenced it. In this article, we would like to recall the progressive ideas of the founders of modern music education in the 19th century, which should not be forgotten even today. We will then build on these to consider the new pedagogical thinking of 20th-century Europe, whose most important music education systems will be examined in terms of the demands of contem

APA, Harvard, Vancouver, ISO, and other styles

33

Freeman-Attwood, Jonathan, and Ian Spink. "The Blackwell History of Music in Britain: The Seventeenth Century." Musical Times 134, no. 1803 (1993): 268. http://dx.doi.org/10.2307/1002442.

Full text

APA, Harvard, Vancouver, ISO, and other styles

34

Freeman‐Attwood, Jonathan. "Review: A Century of Recorded Music: Listening to Musical History." Music and Letters 84, no. 1 (2003): 121–24. http://dx.doi.org/10.1093/ml/84.1.121.

Full text

APA, Harvard, Vancouver, ISO, and other styles

35

Botstein, L. "Musings on the History of Performance in the Twentieth Century." Musical Quarterly 83, no. 1 (1999): 1–5. http://dx.doi.org/10.1093/mq/83.1.1.

Full text

APA, Harvard, Vancouver, ISO, and other styles

36

Yaxun, Li. "Chinese musical art in the early 20th century (1900s – 1930s)." OOO "Zhurnal "Voprosy Istorii" 2022, no. 10-1 (2022): 138–49. http://dx.doi.org/10.31166/voprosyistorii202210statyi20.

Full text

Abstract:

The 20th century has become a turning point in terms of genres, styles, and musical language. Wars, the openness of borders, Chinese trips abroad of their homeland influenced the penetration of Western influences and new technologies into the country, from industry to the musical art of education. The article reveals the formation of new genres and formats - music and song school, piano music, instrumental music, romantic song, symphonic work. Each of the works that gave rise to these genres has its own prerequisites for creation and historical and cultural reality, which allows us to trace th

APA, Harvard, Vancouver, ISO, and other styles

37

Collins, John. "The early history of West African highlife music." Popular Music 8, no. 3 (1989): 221–30. http://dx.doi.org/10.1017/s0261143000003524.

Full text

Abstract:

Highlife is one of the myriad varieties of acculturated popular dance-music styles that have been emerging from Africa this century and which fuse African with Western (i.e. European and American) and islamic influences. Besides highlife, other examples include kwela, township jive and mbaqanga from South Africa, chimurenga from Zimbabwe, the benga beat from Kenya, taraab music from the East African coast, Congo jazz (soukous) from Central Africa, rai music from North Africa, juju and apala music from western Nigeria, makossa from the Cameroons and mbalax from Senegal.

APA, Harvard, Vancouver, ISO, and other styles

38

Powers, Katherine, and Jane A. Bernstein. "Print Culture and Music in Sixteenth-Century Venice." Sixteenth Century Journal 34, no. 2 (2003): 545. http://dx.doi.org/10.2307/20061471.

Full text

APA, Harvard, Vancouver, ISO, and other styles

39

Mike, Ádám. "The Reform of Leo Kestenberg – Kodály Parallels in the German Music Education of the 20th Century." Studia Universitatis Babeş-Bolyai Musica 68, no. 1 (2023): 101–10. http://dx.doi.org/10.24193/subbmusica.2023.1.07.

Full text

Abstract:

"Music education in Hungary has proven German roots. German textbooks and terminology were used in Hungary until the first decade of the 20th century, and German was the official language of music education. In this dissertation, we shall attempt to present the work and philosophy of Leo Kestenberg (1882-1962), and hereby an analogy with Kodály principles can appear. The two prominent music pedagogical reformers of the 20th century formulated essentially similar goals on several points. This proves that not only the common roots, but also the reform measures of the 20th century form a strong b

APA, Harvard, Vancouver, ISO, and other styles

40

Friedberg, Josh. "“This Music Begins on the Auction Block”." James Baldwin Review 8, no. 1 (2022): 147–63. http://dx.doi.org/10.7227/jbr.8.8.

Full text

Abstract:

One theme in James Baldwin’s work that has gained increasing attention in the last quarter-century is music. What has been missing from this discussion, however, has been a thematic survey of Baldwin’s writing on music and its implications for the twenty-first century. This article focuses on select music-centered texts to examine what Baldwin’s ideas about music reveal about history in our own times. Multiple themes in his writing show how racial slavery creates—in the present tense—differences in experiences and musical expression between people constructed as Black and as white. Baldwin’s w

APA, Harvard, Vancouver, ISO, and other styles

41

Watt, Paul. "Street Music in the Nineteenth Century: Histories and Historiographies." Nineteenth-Century Music Review 15, no. 1 (2017): 3–8. http://dx.doi.org/10.1017/s1479409817000039.

Full text

Abstract:

This article highlights the paucity of musicological scholarship on street music in the nineteenth century but examines narratives of noise, music and morality that are situated in studies of street music in related literature. The article argues that a new history of street music in the nineteenth century is overdue and charts ways in which such studies may be undertaken given the substantial primary source material to work with and the proliferation and usefulness of theoretical studies in related disciplines.

APA, Harvard, Vancouver, ISO, and other styles

42

Kartomi, Margaret J. "Music in Nineteenth Century Java: A Precursor to the Twentieth Century." Journal of Southeast Asian Studies 21, no. 1 (1990): 1–34. http://dx.doi.org/10.1017/s0022463400001946.

Full text

Abstract:

Only recently has it become possible to attempt to reconstruct a history of Javanese music in the nineteenth century. The relevant primary and secondary sources, including Javanese poems and treatises, colonial writings and scattered references in various historical tracts are only now beginning to emerge from cold storage to be published, translated, and made more widely available. This article is a preliminary attempt to draw together from them an overview of Javanese music in the nineteenth century, adopting a musicological, cultural and historical approach which is based partly on my own f

APA, Harvard, Vancouver, ISO, and other styles

43

Bertoglio (book author), Chiara, and Pascale Duhamel (review author). "Reforming Music. Music in the Religious Reformations of the Sixteenth Century." Renaissance and Reformation 41, no. 4 (2019): 208–12. http://dx.doi.org/10.33137/rr.v41i4.32466.

Full text

APA, Harvard, Vancouver, ISO, and other styles

44

Katz, Mark. "A Century of Recorded Music: Listening to Musical History (review)." Notes 58, no. 2 (2001): 383–85. http://dx.doi.org/10.1353/not.2001.0204.

Full text

APA, Harvard, Vancouver, ISO, and other styles

45

Potter, Dorothy T. "The Blackwell History of Music in Britain: The Seventeenth Century." History: Reviews of New Books 22, no. 3 (1994): 123. http://dx.doi.org/10.1080/03612759.1994.9948988.

Full text

APA, Harvard, Vancouver, ISO, and other styles

46

Rasmussen, Chris. "A Century of Recorded Music: Listening to Musical History (review)." Technology and Culture 42, no. 4 (2001): 803–5. http://dx.doi.org/10.1353/tech.2001.0183.

Full text

APA, Harvard, Vancouver, ISO, and other styles

47

Sutcliffe, W. Dean. "The Cambridge History of Eighteenth-Century Music (review)." Eighteenth-Century Studies 44, no. 3 (2011): 419–21. http://dx.doi.org/10.1353/ecs.2011.0000.

Full text

APA, Harvard, Vancouver, ISO, and other styles

48

WEBSTER, JAMES. "THE EIGHTEENTH CENTURY AS A MUSIC-HISTORICAL PERIOD?" Eighteenth Century Music 1, no. 1 (2004): 47–60. http://dx.doi.org/10.1017/s147857060400003x.

Full text

Abstract:

Period concepts and periodizations are constructions, or readings, and hence always subject to reinterpretation. Many recent scholars have privileged institutional and reception history over style and compositional history, and periodized European music according to the ‘centuries’; but these constructions are no less partial or tendentious than older ones. Recent historiographical writings addressing these issues are evaluated.If we wish to construe the eighteenth century as a music-historical period, we must abandon the traditional notion that it was bifurcated in the middle. Not only did th

APA, Harvard, Vancouver, ISO, and other styles

49

Mehl, Margaret. "Japan's Early Twentieth-Century Violin Boom." Nineteenth-Century Music Review 7, no. 1 (2010): 23–43. http://dx.doi.org/10.1017/s1479409800001130.

Full text

Abstract:

‘Invasion from the Orient’; ‘Young Violinists from Asia Gain Major Place on American Musical Scene’; ‘Suzuki's Pupils Learn Music First’: in the 1960s, headlines such as these drew attention to how successfully Asians had made Western art music their own; violinists from Japan were among the first. Observers have speculated on the reasons, but few know enough about Japanese history to realize that the phenomenon had its roots in developments during the Meiji period (1868–1912).

APA, Harvard, Vancouver, ISO, and other styles

50

Rose, Stephen. "Music, Print and Presentation in Saxony During the Seventeenth Century." German History 23, no. 1 (2005): 1–19. http://dx.doi.org/10.1191/0266355405gh333oa.

Full text

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!