Relevant bibliographies by topics / Musicians – History – 19th century

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Academic literature on the topic 'Musicians – History – 19th century'

Author: Grafiati
Published: 10 March 2023

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Journal articles on the topic "Musicians – History – 19th century"

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Vasic, Aleksandar. "The beginnings of Serbian music historiography: Serbian music periodicals between the world wars." Muzikologija, no. 12 (2012): 143–64. http://dx.doi.org/10.2298/muz120227007v.

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The transition of the 19th into the 20th century in Serbian music history was a period of music criticism, journalism and essay writing. At that time, Serbian musicology had not yet been developed as an academic discipline. After WWI there were many more academic writings on this subject; therefore, the interwar period represents the beginning of Serbian music historiography. This paper analyses Serbian interwar music magazines as source material for the history of Serbian musicology. The following music magazines were published in Belgrade at the time: Muzicki glasnik (Music Herald, 1922), Muzika (Music, 1928-1929), Glasnik Muzickog drustva ?Stankovic? (Stankovic Music Society Herald, 1928-1934, 1938-1941; from January 1931. known as Muzicki glasnik /Music Herald/), Zvuk ( Sound, 1932-1936), Vesnik Juznoslovesnkog pevackog saveza (The South Slav Singing Union Courier, 1935-1936, 1938), Slavenska muzika ( Slavonic Music, 1939-1941), and Revija muzike (The Music Review, 1940). A great number of historical studies and writings on Serbian music were published in the interwar periodicals. A significant contribution was made above all to the study of Serbian musicians? biographies and bibliographies of the 19th century. Vladimir R. Djordjevic published several short biographies in Muzicki glasnik (1922) in an article called Ogled biografskog recnika srpskih muzicara (An Introduction to Serbian Musicians? Biographies). Writers on music obviously understood that the starting point in the study of Serbian music history had to be the composers? biographical data. Other magazines (such as Muzicki glasnik in 1928 and 1931, Zvuk, Vesnik Juznoslovenskog pevackog saveza, and Slavenska muzika) published a number of essays on distinguished Serbian and Yugoslav musicians of the 19th and 20th centuries, most of which deal with both composers? biographical data and analysis of their compositions. Their narrative style reflects the habits of 19th-century romanticism and positivism: in some of these writings the language also has an aesthetic function. Serbian interwar music magazines also published some archival documents contributing to the future research of Serbian music history. Interwar period in the then Yugoslavia was a time of rapid development and modernization in various fields of culture. There was a great demand for music writings of general interest. Therefore, Revija muzike (January - June 1940) was totally oriented towards the popularization of music and the arts (such as drama and film). This magazine also published some popular articles on music history. Serbian interwar music periodicals were least active in the field of musicological analysis. However, in 1934, Branko M. Dragutinovic published a detailed analytic study of Josip Slavenski?s composition Religiofonija (Religiophonics) in Zvuk. There were also some interdisciplinary history articles in Serbian interwar music magazines. Being well aware of the fact that music history comprises not only music itself, but also music writing, schools, institutions and music life, our music writers used ?indirect? sources, such as literature and art, as well as music. Serbian interwar music periodicals opened many fields of research, thus blazing a trail in postwar Serbian musicology.
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Tedesco, Anna. "National identity, national music and popular music in the Italian Music Press during the long 19th century." Studia Musicologica 52, no. 1-4 (2011): 259–70. http://dx.doi.org/10.1556/smus.52.2011.1-4.20.

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Discusses the notions of national identity, national music and popular music as they emerged in Italian music periodicals during the years 1840–1890, in relation to the process of Italy’s political unification and the dissemination of foreign operas such as French grands opéras in the years 1840–1870 and Wagner’s Musikdramen from 1871 on. Essays and articles by relevant critics and musicians, such as Abramo Basevi and Francesco D’Arcais are discussed. Articles by lesser known journalists such as Pietro Cominazzi and Mattia Cipollone are also taken into account. The use of words like “national” and “popular” is analysed when referring to Italian opera, to its history and to the operas by foreign composers.
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Ginsborg, Jane. "“The brilliance of perfection” or “pointless finish”? What virtuosity means to musicians." Musicae Scientiae 22, no. 4 (2018): 454–73. http://dx.doi.org/10.1177/1029864918776351.

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The concept of virtuosity has been explored by music historians and theorists from disciplines ranging from aesthetics and anthropology to semiotics. Its history goes back to ancient times, although it is often thought to culminate in the 19th century with Liszt and Paganini. Many historical sources quote well-known performers and composers but little is known as to how music students and professional musicians define virtuosity today, and what it means to them as performers and audiences. The present study was exploratory, employing a mixed methods approach. A total of 102 musicians provided open-ended responses to a short questionnaire. A keyword-in-context analysis of content was undertaken, followed by a more in-depth thematic analysis. Five main themes emerged: characteristics of virtuosity; relationship between virtuosity and (“magical”) music making; aspirations towards virtuosity; how virtuosity is achieved; and communication. Responses from students and professionals were compared and are discussed with reference to historical and current theoretical models.
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Gîscă, Petrea. "7. Franz Joseph Strauss, a Joachim of the Horn." Review of Artistic Education 1, no. 23 (2022): 53–60. http://dx.doi.org/10.2478/rae-2022-0007.

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Abstract Franz Joseph Strauss was one of the brightest horns of the 19th century. He was born in Germany and worked all his life in Munich, being a first - horn player, composer, conductor and teacher. As a composer he wrote two concerts for horn and orchestra and several pieces for horn and piano, most of them, the author singing them in the first absolute audition. As a teacher, he participated in the creation of a German horn school, and his studies for natural horn are still valid today. Difficult and sometimes misunderstood by musicians of the time, Franz Strauss remains a landmark in the history of the horn and a legend in the art of horn performance.
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Rossikhina, Maryna. "The influence of the Italian vocal school on the professional formation of Ukrainian singers (the end of the XVIII – the beginning of the XIX century)." Collection of scientific works “Notes on Art Criticism”, no. 39 (September 1, 2021): 219–25. http://dx.doi.org/10.32461/2226-2180.39.2021.238727.

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The purpose of the article is to study the influences of the Italian vocal school, the traditions of Italian opera performance on the professional development of Ukrainian singers in this period. Methodology. Analysis was carried out on the basis of such methods as historical and chronological to study trends and patterns of Ukrainian music at the end of the 17th – the beginning of the 19th century, analytical – for a comprehensive consideration of the influence of Italian culture on the emergence of opera in East Slavic areas, source – for elaboration and analysis of sources, bio-bibliographic – for studying creative biographies of artists, the method of systematization – for the reduction of all found facts to a logical unity. Scientific novelty. By studying the creative biographies of prominent Ukrainian musicians (M.Berezovsky, D.Bortnyansky, M.Ivanov, S.Gulak-Artemovsky) for the first time the Italian pages of their creative biography were systematized, new facts were introduced into scientific circulation, which allow to clarify the contribution of Italian vocal culture in the development of the Ukrainian opera school at the initial stage of its formation. Conclusions. The interest of the Russian Empire in Western European, especially Italian, opera led to the rapid development of a new era in the history of musical theater in the East Slavic territories. Internships of Ukrainian musicians in Italy, invitations of Italian artists, composers, vocal teachers to the Russian Empire, joint performances on stage with foreign singers give grounds to assert the influence of the Italian vocal school on the skills of Ukrainian opera singers of the end of the 18th – the beginning of the 19th century and laying of the fundamental foundations for the development of the Ukrainian vocal school.
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Zubarev, Sergei A. "Academic Music in the Practice of Russian Military Bands in the 19th – Early 21st Centuries." Scientific and analytical journal Burganov House. The space of culture 18, no. 4 (2022): 56–65. http://dx.doi.org/10.36340/2071-6818-2022-18-4-56-65.

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The article is devoted to the theoretical and practical aspects of military musicians’ arrangement practice, considered in the context of developing a system of Russian military orchestras. When studying the socio-cultural foundations of the formation and development of the art of arrangement, factors that reveal the role of Russian composers in the history of military musical culture are highlighted (such works as P.Tchaikovsky’s Skobelev March, A.Rubenstein’s Cavalry Trot are noted). The works of A.Ermolenko (The Evolution of Instrumentation in Russian Wind Music Until the 70s of the 19th Century), G.Salnikov (On the Basic Principles of Transcribing Symphonic Works for a Brass Band), D.Braslavsky (Arrangement for Variety Ensembles and Orchestras), B.Kozhevnikov (Instrumentation for a Brass Band), E.Aksenov (Problems of Theoretical Instrumentation), V.Emelyanov (Instrumentation as an Artistic Factor in Music) were used as fundamental ones to explain this issue. In the process of studying the stages of improving the system of military bands, special attention is paid to studying the features of the development of the military band service in the 19th and 20th centuries. It is noted that several works of academic music performed by military bands belong to this time: the choir and aria from the opera La Sonnambula, the duet from the opera Bianca and Fernando by V.Bellini, the overture, march, choir and a drinking song from the opera Undina by P.Tchaikovsky. In this context, the problems of the formation of the arrangement art are touched upon on the example of A.Alyabyev’s work (the use of orchestral means necessary for a full orchestral sound). When considering the features of the development of military musicians’ arrangement practice in the first half of the 20th century as well as during the collapse of the USSR, attention is paid to the processes of oblivion and revival of the traditions of orchestral wind performance, the emergence of new genres such as the drill show. In this perspective, the activities of famous military bands of the specified period are considered, for example, the Alexandrov Russian Army Song and Dance Ensemble. In conclusion, the author notes that unique conditions for the development of military musicians’ arrangement practice have been created in the national culture, making it possible to preserve the traditions of the military band service and form the value principles of academic art.
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HOCAOĞLU ALAGÖZ, Kadriye. "Entertaining Characters in Classical Turkish Literature: Dancers, Musicians and Dancing Boys." Akademik Dil ve Edebiyat Dergisi 6, no. 3 (2022): 146–55. http://dx.doi.org/10.34083/akaded.1160802.

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It is a known that all societies have had a relationship with dance throughout history. In Turkish society, the origin of the dance dates back to the Shamans, independent of gender. In the Ottoman era, non-religious dancers were called çengi, köçek, tavşan/tavşanoğlanı, kasebâz, curcunabâz, cin askeri, beççegân, çeganebâz and çârpârezen. Among these nomenclatures, the most common literary terms were çengi (dancer/musician) and köçek (dancing boy). People who dance extravagantly to music were called çengi or köçek. While all dancers were called çengi, regardless of their gender in the old texts, later on, women were called çengi and men were called köçek. There is no clear date for this transformation on record. Information on dancers in general, and çengi and köçek in particular, could be found in travel books, surnâmes or the works of the authors of the period. The current paper aims to discuss the terms köçek and çengi, theatrical plays that became common with the encouragement and support of the Ottoman palace, including the reflections of these performing arts in classical Turkish poetry. Furthermore, “Köçek Süleyman”, mentioned in the Divan of Rodoscuklu Kömürkayâzâde Fennî, a poet of the 19th century, and a new name in the history of köçek at the time, was addressed. Thus, the study aims to emphasize to the poet's employment of the social approach to entertainment in his poetry and classical Turkish literature.
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Vasic, Aleksandar. "Music critic Gustav Michel." Muzikologija, no. 4 (2004): 167–95. http://dx.doi.org/10.2298/muz0404167v.

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The writers whose real vocation was not music left significant traces in the history of Serbian music critics and essayism of the late 19th century and the first half of the 20th century. Numerous authors, literary historians theoreticians and critics, jurists and theatre historians, wrote successfully on music in Serbian daily newspapers, literary and other magazines, until the Second World War. This study is devoted to Gustav Michel (1868 - 1926), one of the music amateurs who ought to be remembered in the history of Serbian music critics. Gustav Michel was a pharmacist by vocation. He ran a private pharmacy in Belgrade all his life. But he was a musician as well. He played the viola in the second (in chronological order of foundation) Serbian String Quartet. The ensemble mostly consisted of amateurs, and it performed standard pieces of chamber music (W. A. Mozart L. v. Beethoven, F. Schubert, F. Mendelsohn-Bartholdy, A. Dvo?zak). These musicians had performed public concerts in Belgrade since 1900 up until Michel?s death. Belgrade music critics prised the performances of this string ensemble highly. Gustav Michel was also a music critic. Until now only seven articles, published by this author between 1894 and 1903, in Order (Red), Folk Newspaper (Narodne novine) and Serbian Literary Magazine (Srpski knjizevni glasnik) have been found. Michel?s preserved articles unambiguously prove that their author had a solid knowledge of music theory and history, the knowledge that exceeded amateurism. Nevertheless, Michel did not burden his first critics with expert language of musicology. Later on, in Serbian Literary Magazine, the magazine which left enough room for music, Michel penetrated more into musical terminology, thus educating slowly forming Serbian concert-going public. The analysis of Michel?s texts showed that he was not, in contrast to the majority of professional music critics, an opponent of virtuosity. Gentle and liberal, he did not oppose the National Theatre administrations when they decided to add operettas to its repertoire. Here he also differs from expert critics, for example Miloje Milojevic or Petar Krstic - who led a real crusade against operetta. Michel paid scrupulous attention to correct diction, as an important part of the vocal technique. As a critic, Gustav Michel was inclined to relatively modern music. He was not strict in his judgments of Serbian performers? and composers? achievements; he always took account of very difficult conditions under which the Serbian people, after many centuries of the Turkish occupation, started its cultural and musical emancipation in the 19th century. (He was especially considerate towards novice musicians) However his critical assessment of the genre status of the overture to the first Serbian opera, "Na uranku" ("At Dawn") by Stanislav Binicki, revealed an incisive critic. The weak side of his critic lies in too general language not exact enough for characteristics of musical interpretations. However Gustav Michel was a witty and ironic writer, and his few articles marked the beginning of an expert and modern music critic in Serbia.
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Wu, Di. "A Study of Clara Schumann's Piano Music Performance, Composition and Teaching under the Feminist Movement." Journal of Education, Humanities and Social Sciences 5 (November 23, 2022): 22–27. http://dx.doi.org/10.54097/ehss.v5i.2878.

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The music of female composers has long been little studied, and the importance attached to female composers is far less than that of male composers. However, there are many excellent female composers in the history of music development, such as Clara Schumann. The 19th century, when Clara lived in the West, was a time of great talent, and poetry, literature, and music all developed tremendously, and some of the great works that have been passed down to the next generation were basically written in that era, and their authors are also remembered. This is another reflection of how difficult it was for a woman to occupy a place under male domination. In contrast, female musicians were somewhat underappreciated, due to the gender inequalities that society had given them, and their talents were buried. Clara's achievements as a multi-tasker, performer, composer, and educator have led the music world to reexamine the role of women in music history.
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Bajic-Stojiljkovic, Vesna. "The process of shaping stage folk music through the prism of the development of folk dance choreography." Muzikologija, no. 33 (2022): 209–29. http://dx.doi.org/10.2298/muz2233209b.

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Understanding the historical processes in the shaping of stage folk music raises an important question about the application of traditional music in stage choreographic works. Since the 1930s in Serbia, the history of music and dance was cre?ated by prominent individuals, musicians and composers, initiated by the work of choreographers such as Maga Magazinovic, Russian artists, and later by many domestic performing artists gathered around cultural and artistic societies and the National ensemble ?Kolo?. In this article, all available data relevant for the consideration of stage folk music as a specific genre will be presented along with the stage folk dance, precisely through the form of folk dance choreography (FDC), whose developmental path was hinted at since the end of the 19th century. Defining and understanding dance music, that is, music for FDC, opens new horizons in re-examining the process of forming stage folk music in our region.
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Dissertations / Theses on the topic "Musicians – History – 19th century"

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Mayo-Bobee, Dinah. "Shaping the Nation: Early 19th Century America." Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/etsu-works/731.

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Bloom, Kelly. "Orientalism in French 19th Century Art." Thesis, Boston College, 2004. http://hdl.handle.net/2345/477.

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Thesis advisor: Jeffery Howe<br>The Orient has been a mythical, looming presence since the foundation of Islam in the 7th century. It has always been the “Other” that Edward Said wrote about in his 1979 book Orientalism. The gulf of misunderstanding between the myth and the reality of the Near East still exists today in the 21st century. Napoleon's invasion of Egypt in 1798 and the subsequent colonization of the Near East is perhaps the defining moment in the Western perception of the Near East. At the beginning of modern colonization, Napoleon and his companions arrived in the Near East convinced of their own superiority and authority; they were Orientalists. The supposed superiority of Europeans justified the colonization of Islamic lands. Said never specifically wrote about art; however, his theories on colonialism and Orientalism still apply. Linda Nochlin first made use of them in her article “The Imaginary Orient” from 1983. Artists such as Jean-Auguste-Dominique Ingres, Eugène Delacroix and Jean-Léon Gérôme demonstrate Said's idea of representing the Islamic “Other” as a culturally inferior and backward people, especially in their portrayal of women. The development of photography in the late 19th century added another dimension to this view of the Orient, with its seemingly objective viewpoint<br>Thesis (BA) — Boston College, 2004<br>Submitted to: Boston College. College of Arts and Sciences<br>Discipline: Fine Arts<br>Discipline: College Honors Program
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Schulz, Carsten-Andreas. "On the standing of states : Latin America in nineteenth-century international society." Thesis, University of Oxford, 2015. http://ora.ox.ac.uk/objects/uuid:05459d05-0dfa-4220-bbdc-42e3df63d71a.

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The present dissertation offers a critical examination of the place accorded to Latin American states in the English School account of the expansion of international society. It pursues two aims. First, the study contributes to understanding the nature and scope of international order, and its historical transformation over the course of the 'long nineteenth century'. Because of the profound impact that European colonization had on the region, the English School has conventionally treated the entry of Latin American states into international society as an unproblematic historical fact achieved with diplomatic recognition in the 1820s. The crucial cases of Argentina, Brazil, and Mexico, however, indicate that more attention needs to the paid to the hierarchical nature of the international order. The central argument of this historical-comparative study posits that the three Latin American states were recognized diplomatically, but they were not regarded as fully-fledged members of the community of 'civilized' states. Second, the dissertation examines the implications of hierarchy in international politics. Building on a critique of the legal-formalist conception of 'standing' in English School theorizing, three ideal-typical dimensions of international stratification are identified: the distribution of material capabilities (stature), the function states perform in international society (role), and estimations of honour and prestige (status) among states. The interpretative framework sheds light on how agents understand international society, and the way in which they deal with its hierarchical nature. The study analyzes how Latin American elites perceived the standing of their state, and how these perceptions shaped politics through their corresponding 'logics of social action'. The study finds that nineteenth-century elites in Argentina, Mexico, and Brazil conceived of the standing of their states predominantly in terms of status, and demonstrates how these perceptions informed politics.
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Schneider, Ulrich Johannes. "Teaching the history of philosophy in 19th-century Germany." Universitätsbibliothek Leipzig, 2015. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-161196.

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What does it mean to do philosophy historically, and when does the legend of philosophy begin? When Hegel tried to give a logical explanation of philosophy's history, was he doing the same thing as Eduard Zeller in his account of Creek thought, or Kuno Fischer in his narrative of modern philosophy? l do not believe so, and I shall sugges t in the following that we should carefully differentiate between the different activities commonly referred to as the history of philosophy. I will point out the enormous productivity of the 19th century in terms of printed books devoted to the history of philosophy. I will also point to the context in which these were produced and used rather than examining individual works or authors. There is an entirely new context in the 19th century, which is the study of philosophy. A proper culture developed around the historical interest in philosophy, and it is this culture I want to sketch here.
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Schneider, Ulrich Johannes. "Teaching the history of philosophy in 19th-century Germany." Teaching new histories of philosophy / ed. by J. B. Schneewind. Princeton 2004, S. 275 - 295 ISBN 0-9763726-0-6, 2004. https://ul.qucosa.de/id/qucosa%3A12120.

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What does it mean to do philosophy historically, and when does the legend of philosophy begin? When Hegel tried to give a logical explanation of philosophy''s history, was he doing the same thing as Eduard Zeller in his account of Creek thought, or Kuno Fischer in his narrative of modern philosophy? l do not believe so, and I shall sugges t in the following that we should carefully differentiate between the different activities commonly referred to as the history of philosophy. I will point out the enormous productivity of the 19th century in terms of printed books devoted to the history of philosophy. I will also point to the context in which these were produced and used rather than examining individual works or authors. There is an entirely new context in the 19th century, which is the study of philosophy. A proper culture developed around the historical interest in philosophy, and it is this culture I want to sketch here.
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Bennett, Joshua Maxwell Redford. "Doctrine, progress and history : British religious debate, 1845-1914." Thesis, University of Oxford, 2015. http://ora.ox.ac.uk/objects/uuid:299ba472-2a9c-488c-a8de-12ac55acc4ea.

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Religion and history became closely related in new ways in the Victorian imagination. This thesis asks why this was so, by focusing on arguments within British Protestant culture over progress and development in the history of Christianity. In an intellectual movement approximately beginning with the 1845 publication of John Henry Newman's 'Essay on the Development of Christian Doctrine', and powerfully spreading and developing until the earlier years of the twentieth century, British intellectuals came to treat the history of religion - both as a past and present process, and as a didactic genre - as a vital element of broader attempts to stabilise or reconstruct religious belief and social order. Religious revivalists, determined to use church history as a raw material for the inculcation of exclusive confessional identities and dogmatic theology, were highly successful in pressing it on the attention of early Victorian audiences. But they proved unable to control its meaning. Historians rose to prominence who instead interpreted the history of Christianity as a guide to how religious culture, which many treated as indistinguishable from society as a whole, might eventually supersede denominational and dogmatic divisions. Humanity's spiritual development in time, which numerous British critics assessed with the aid of German Idealist thought, also became an attractive apologetic resource as the epistemological basis of Christian belief came under unprecedented public challenge. A major part of that danger was perceived to come from rival, avowedly secularising interpretations of human social progress. Such accounts - the ancestors of twentieth-century secularisation theory - were vigorously opposed by historians who understood modernity as involving not the decline, but the purification of Christianity. By exploring the ways in which Victorian critics - clerical and lay, religious and secular - approached religious history as a resource for solving the problems of their own age, this thesis offers a new way of understanding the importance of history, claims to knowledge, and the nature and ends of 'liberalism' in the long nineteenth century.
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Milewicz, Przemysław. "Visions of nation in Poland, 1815-1831." Thesis, University of Cambridge, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.609456.

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Ng, Kin-yuen. "Constitutional developments in China and Japan from the mid 19th century to the early 20th century." [Hong Kong : University of Hong Kong], 1992. http://sunzi.lib.hku.hk/hkuto/record.jsp?B13280181.

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Tucker, Emily K. "Extant gas boom industrial buildings in East Central Indiana, 1890-1910 : a case study of five cities : Anderson, Elwood, Kokomo, Marion, and Muncie." Virtual Press, 2003. http://liblink.bsu.edu/uhtbin/catkey/1273163.

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The industrial era in East Central Indiana began largely due to the discovery of gas, which in turn brought in many of the industries that would sustain the area during the gas boom and those years following the end of gas supplies. This thesis documents several surviving industrial buildings from the gas boom, including their history, the industrial processes that occurred in these buildings, the general factory layout, and finally the current status of the factories. Studying the industrial buildings from this period in Indiana history helps to shed light on the important role that these industries play in the development of the cities and towns in the gas belt. In addition to this, the thesis gives a documentation of one of Indiana’s rapidly disappearing resources.<br>Department of Architecture
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Davis, Lydia. "British travellers and the rediscovery of Sicily, 16th-19th century." Thesis, Southampton Solent University, 2006. http://ssudl.solent.ac.uk/579/.

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This project deals with the early period of what could be termed the 'Grand Tour' in Sicily, a subject which has previously been covered only in a small number of academic works. In particular, it looks at the history of British travel and travellers to Sicily, placing particular emphasis on the way in which classical considerations prompted, guided and inspired visitors to the island. Whilst covering a wide time span which ranges from the 8th until the 20th centuriy AD, the main body of the work focuses on the period between 1550 and 1770 and provides a study of the major British travellers to Sicily during this period - most particularly the journeys of Thomas Hoby in the 16th century, George Sandys and Isaac Basire in the 17th and John Breval in the early 18th century. It also looks at the cultural construction of Sicily itself during this period, and the major Latin and Italian historical sources which influenced, and in some cases were influenced by, travellers and writers from Britain. Much of this work involves the in-depth analysis of several of the major geographical and antiquarian texts from the 16th, 17th and early 18th centuries both in English and Italiaan. The results suggest that rather than the more traditional view of Sicily as a late addition to the Grand Tour, relatively undiscovered until the 1770s, the island had in fact generated a significant amount of interest from numerous erudite British travellers and antiquarians, who made a small but nevertheless important contribution to the body of work written upon the island and its culture and antiquities
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Books on the topic "Musicians – History – 19th century"

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Music, musicians, and the Saint-Simonians. University of Chicago Press, 1986.

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Music and musicians in early nineteenth-century Cornwall: The world of Joseph Emidy-- slave, violinist, and composer. University of Exeter Press, 1991.

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Camille Saint-Saëns on music and musicians. Oxford University Press, 2008.

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Concert life in nineteenth-century New Orleans: A comprehensive reference. Louisiana State University Press, 2013.

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The decline of the English musician, 1788-1888: A family of English musicians in Ireland, England, Mauritius, and Australia. Clarendon Press, 1992.

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Štolfa, Franc. Zdravnik in skladatelj dr. Anton Schwab. Inštitut za zgodovino medicine Medicinske fakultete v Ljubljana, 1999.

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1820-1875, Strong George Templeton, ed. Resonances, 1836-1850. Oxford University Press, 1988.

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1820-1875, Strong George Templeton, ed. Strong on music: The New York music scene in the days of George Templeton Strong. University of Chicago Press, 1995.

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Lawrence, Vera Brodsky. Strong on music: The New York music scene in the days of George Templeton Strong, 1836-1875. Oxford University Press, 1988.

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A critical history of new music in China. Chinese University Press, 2010.

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Book chapters on the topic "Musicians – History – 19th century"

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Hall, Robert A. "19th-Century Italian." In The History of Linguistics in Italy. John Benjamins Publishing Company, 1986. http://dx.doi.org/10.1075/sihols.33.11jal.

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Driel, Lodewijk van. "19th-Century Linguistics." In The History of Linguistics in the Low Countries. John Benjamins Publishing Company, 1992. http://dx.doi.org/10.1075/sihols.64.10dri.

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Roberts, Adam. "Early 19th-Century SF." In The History of Science Fiction. Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-56957-8_6.

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Vannatta, Seth. "The 19th Century and History." In Conservatism and Pragmatism. Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137466839_4.

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Gallarotti, Giulio M. "The 19th century conferences." In A History of International Monetary Diplomacy, 1867 to the Present. Routledge, 2021. http://dx.doi.org/10.4324/9781315732435-3.

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Green, Michael D., and Theda Perdue. "Native-American History." In A Companion to 19th-Century America. Blackwell Publishers Inc., 2007. http://dx.doi.org/10.1002/9780470998472.ch16.

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Kay, A. Barry. "Landmarks in Allergy during the 19th Century." In History of Allergy. S. KARGER AG, 2014. http://dx.doi.org/10.1159/000358477.

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Franco, Raquel Campos, Lili Wang, Pauric O’Rourke, et al. "Civil Society History V: 19th Century." In International Encyclopedia of Civil Society. Springer US, 2010. http://dx.doi.org/10.1007/978-0-387-93996-4_529.

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DiCristina, Bruce. "Criminology in 19th-Century France." In The Handbook of the History and Philosophy of Criminology. John Wiley & Sons, Inc., 2017. http://dx.doi.org/10.1002/9781119011385.ch4.

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Poettinger, Monika. "Economic crises in 19th-century Italy." In Metaphors in the History of Economic Thought. Routledge, 2022. http://dx.doi.org/10.4324/9781003144601-3.

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Conference papers on the topic "Musicians – History – 19th century"

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Ismail, Amnah Saay, B. Jalal, M. Md Saman, and Wan Kamal Mujani. "19th Century Pahang Islamic Scholars in 'A History of Pahang'." In 2017 International Conference on Education, Economics and Management Research (ICEEMR 2017). Atlantis Press, 2017. http://dx.doi.org/10.2991/iceemr-17.2017.49.

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NECHITA, Constantin. "DECLINE HISTORY OF OAKS IN 20TH CENTURY FOR ROMANIAN EXTRA-CARPATHIAN REGIONS." In 19th SGEM International Multidisciplinary Scientific GeoConference EXPO Proceedings. STEF92 Technology, 2019. http://dx.doi.org/10.5593/sgem2019/3.2/s14.087.

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Badaeva, Larisa Alaudinovna, Iman Salmirzaevna Batsaeva, and Fatima Getagashevna Kunacheva. "On History Of Idea Of Federal Union With Highlanders In 19Th Century." In International Conference on Social and Cultural Transformations in the Context of Modern Globalism. European Publisher, 2021. http://dx.doi.org/10.15405/epsbs.2021.11.245.

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Tleubekova, G. "Late 19th – early 20th century European travelers account of the nomadic people of Central Asia." In Scientific dialogue: Questions of philosophy, sociology, history, political science. ЦНК МОАН, 2020. http://dx.doi.org/10.18411/spc-01-07-2020-05.

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Hartatik, Hartatik, Eko Herwanto, and Bambang S. W. Atmojo. "The Industry and Iron Trade on Barito Watershed in 17th-19th Century AD." In 9th Asbam International Conference (Archeology, History, & Culture In The Nature of Malay) (ASBAM 2021). Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.220408.007.

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Stansfield, Billy, and William B. Ouimet. "HISTORY, MAPPING, AND PHYSICAL PROPERTIES OF 18TH – 19TH CENTURY RELICT CHARCOAL HEARTHS IN EASTERN CONNECTICUT." In 54th Annual GSA Northeastern Section Meeting - 2019. Geological Society of America, 2019. http://dx.doi.org/10.1130/abs/2019ne-328410.

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Korjova, Elena Yu, and Alexander S. Stebenev. "The late 19th-early 20th century history of psychological education: Training psychology teachers in theological academies." In The Herzen University Conference on Psychology in Education. Herzen State Pedagogical University of Russia, 2021. http://dx.doi.org/10.33910/herzenpsyconf-2021-4-32.

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Shaidurov, Vladimir. "MIGRATIONS AND THEIR INFLUENCE ON THE ETHNIC COMPOSITION OF THE NORTHERN ASIAN POPULATION IN THE SECOND HALF OF THE 19TH CENTURY." In SGEM 2014 Scientific SubConference on ANTHROPOLOGY, ARCHAEOLOGY, HISTORY AND PHILOSOPHY. Stef92 Technology, 2014. http://dx.doi.org/10.5593/sgemsocial2014/b31/s10.068.

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Mitina, Rimma. "STAGES OF FORMATION AND DEVELOPMENT OF OFFICIAL PERIODICALS IN RUSSIAN PROVINCES IN THE 19TH CENTURY (FOR EXAMPLE NEWSPAPERS PERM PROVINCIAL GAZETTE)." In SGEM 2014 Scientific SubConference on ANTHROPOLOGY, ARCHAEOLOGY, HISTORY AND PHILOSOPHY. Stef92 Technology, 2014. http://dx.doi.org/10.5593/sgemsocial2014/b31/s10.076.

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Wozniakowski, Arkadiusz. "THE EASTERN BATTERY IN SWINOUJSCIE, POLAND � HISTORY AND ARCHITECTURE OF A PRUSSIAN COASTAL FORT FROM THE 19th CENTURY." In 5th SGEM International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS SGEM2018. STEF92 Technology, 2018. http://dx.doi.org/10.5593/sgemsocial2018/5.3/s21.077.

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Reports on the topic "Musicians – History – 19th century"

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Flandreau, Marc, Stefano Pietrosanti, and Carlotta Schuster. Why do Sovereign Borrowers Post Collateral? Evidence from the 19th Century. Institute for New Economic Thinking Working Paper Series, 2021. http://dx.doi.org/10.36687/inetwp167.

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This paper explores the reasons why sovereign borrowers post collateral. Such behavior is paradoxical because conventional interpretations of collateral stress repossession of the assets pledged as the key to securing lenders against information asymmetries and moral hazard. However, repossession is generally difficult in the case of sovereign debt and in some cases impossible. Nevertheless, such sovereign “hypothecations” have a long history and are again becoming very popular today in developing countries. To explain sovereign collateralization, we emphasize an informational channel. Posting collateral produces information on opaque borrowers by displaying borrowers’ behavior and resources. We support this interpretation by examining the hypothecation “mania” of 1849-1875, when sovereigns borrowing in the London Stock Exchange pledged all kinds of intangible revenues. Yet, at that time, sovereign immunity fully protected both sovereigns and their assets and possessions. Still, we show that hypothecations significantly decreased the cost of sovereign debt. To explain how, we stress the pledges’ role in documenting sovereigns’ wealth and the management of revenue streams. Based on an exhaustive library of bond prospectuses collected from primary sources, matched with a panel of sovereign bond yields and an innovative measure of sovereign fiscal transparency, we show that collateral minutely described in debt covenants served to document and monitor sovereign resources and development prospects. Encasing this information in contracts written by lawyers served to certify the quality of the resulting data disclosure process, explaining investors’ readiness to pay a premium.
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Blaxter, Tamsin, and Tara Garnett. Primed for power: a short cultural history of protein. TABLE, 2022. http://dx.doi.org/10.56661/ba271ef5.

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Protein has a singularly prominent place in discussions about food. It symbolises fitness, strength and masculinity, motherhood and care. It is the preferred macronutrient of affluence and education, the mark of a conscientious diet in wealthy countries and of wealth and success elsewhere. Through its association with livestock it stands for pastoral beauty and tradition. It is the high-tech food of science fiction, and in discussions of changing agricultural systems it is the pivotal nutrient around which good and bad futures revolve. There is no denying that we need protein and that engaging with how we produce and consume it is a crucial part of our response to the environmental crises. But discussions of these issues are affected by their cultural context—shaped by the power of protein. Given this, we argue that it is vital to map that cultural power and understand its origins. This paper explores the history of nutritional science and international development in the Global North with a focus on describing how protein gained its cultural meanings. Starting in the first half of the 19th century and running until the mid-1970s, it covers two previous periods when protein rose to singular prominence in food discourse: in the nutritional science of the late-19th century, and in international development in the post-war era. Many parallels emerge, both between these two eras and in comparison with the present day. We hope that this will help to illuminate where and why the symbolism and story of protein outpace the science—and so feed more nuanced dialogue about the future of food.
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Tyson, Paul. Sovereignty and Biosecurity: Can we prevent ius from disappearing into dominium? Mέta | Centre for Postcapitalist Civilisation, 2021. http://dx.doi.org/10.55405/mwp3en.

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Drawing on Milbank and Agamben, a politico-juridical anthropology matrix can be drawn describing the relations between ius and bios (justice and political life) on the one hand and dominium and zoe (private power and ‘bare life’) on the other hand. Mapping movements in the basic configurations of this matrix over the long sweep of Western cultural history enable us to see where we are currently situated in relation to the nexus between politico-juridical authority (sovereignty) and the emergency use of executive State powers in the context of biosecurity. The argument presented is that pre-19th century understandings of ius and bios presupposed transcendent categories of Justice and the Common Good that were not naturalistically defined. The very recent idea of a purely naturalistic naturalism has made distinctions between bios and zoe un-locatable and civic ius is now disappearing into a strangely ‘private’ total power (dominium) over the bodies of citizens, as exercised by the State. The very meaning of politico-juridical authority and the sovereignty of the State is undergoing radical change when viewed from a long perspective. This paper suggests that the ancient distinction between power and authority is becoming meaningless, and that this loss erodes the ideas of justice and political life in the Western tradition. Early modern capitalism still retained at least the theory of a Providential moral order, but since the late 19th century, morality has become fully naturalized and secularized, such that what moral categories Classical economics had have been radically instrumentalized since. In the postcapitalist neoliberal world order, no high horizon of just power –no spiritual conception of sovereignty– remains. The paper argues that the reduction of authority to power, which flows from the absence of any traditional conception of sovereignty, is happening with particular ease in Australia, and that in Australia it is only the Indigenous attempt to have their prior sovereignty –as a spiritual reality– recognized that is pushing back against the collapse of political authority into mere executive power.
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Flandreau, Marc. Pari Passu Lost and Found: The Origins of Sovereign Bankruptcy 1798-1873. Institute for New Economic Thinking Working Paper Series, 2022. http://dx.doi.org/10.36687/inetwp186.

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Verdicts returned by modern courts of justice in the context of sovereign debt lawsuits have upheld a ratable (proportional) interpretation of so-called “pari passu” clauses in debt contracts which, literally, promise creditors they will be dealt with equitably. Such verdicts have given individual creditors the right to interfere with payments to others, in situation where the sovereign had failed to make proportional payments. Contract originalists argue that this interpretation of pari passu clauses has no historical foundation. Historically, they claim, pari passu clauses never granted individual creditors a unilateral right to block payments to other bondholders assenting to a government debt restructuring proposal. This article shows this claim is incorrect. Drawing on novel archival research, it argues that pari passu clauses find one potent historical origin in the operation of a now forgotten sovereign bankruptcy tribunal, the London stock exchange. Under the law of the stock exchange, departure from ratable payments did create a unilateral right for individual creditors to interfere with sovereign debt discharges. In fact, ratable distributions provided the touchstone for the stock exchange sanctioned sovereign debt discharge system. What is more, sophisticated contract drafters availed themselves of the logic. The result was a weaponization of pari passu clauses, and their inscription into sovereign debt covenants in the 19th century. The article concludes that the modern debate on the role of clauses in sovereign debt contracts cannot be held without thorough reconsideration of the history of sovereign bankruptcy.
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