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

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

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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

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Brie, Mihai. "Gheorghe Dima – Seiten von der wertvollen hermannstädter musikalischen Tätigkeit." Studia Universitatis Babeş-Bolyai Musica 65, no. 2 (2020): 129–42. http://dx.doi.org/10.24193/subbmusica.2020.2.10.

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"An indisputable musical personality of all times, the great musician Gheorghe Dima gave a new breath to Romanian music but also to religious music. Activating in the second half of the 19th century, turbulent times for history and nation and the first half of the 20th century, he established himself through his substantial and rich academic training in famous western schools. It remained in the consciousness of researchers and generations as one who put Romanian music (instrumental or polyphonic) on the research corridor of the late nineteenth and early twentieth centuries. In this sense, the present academic research wants to pay homage to an unforgettable personality from the local space. Keywords: musicology, history, personality, etc."

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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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Kruglova, M. G. "Romantic Style in American Music and Its Place in Courses of Disciplines of Universities of Culture and Art." Uchenye Zapiski RGSU 19, no. 4 (2020): 220–27. http://dx.doi.org/10.17922/2071-5323-2020-19-4-220-227.

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in the development of American music of the 19th century, researchers find stylistic trends in romanticism. During this period, the characteristic features of national musical thinking and the features of the composer’s work of US composers manifest themselves. A similar thing was observed in European music of the same century: the Polish national composer school was formed in Chopin’s works, Liszt embodied the features of Hungarian music, Grieg – Norwegian, etc. Since the beginning of the 19th century, American composers have been passionate about European romantic trends, but at the same time they have gone and developed along their special path. The influence of Schubert, Schumann, Mendelssohn is felt in the works of American composers of the mid-19th century, in the literature of the USA romanticism manifested itself much earlier, and its development was peculiar and special due to the ethnic and historical development of the country. However, all these most important historical pages still remain almost without the attention of scholars, researchers, and are also absent from the courses of music history not only colleges, but also universities of art culture. In this work, an attempt is made to outline ways to master the artistic and creative experience of composers of the USA of the 19th century in the process of studying professional disciplines by students of universities of culture and art and at the same time enriching the scientific experience of musicology with new discoveries in the field of American romantic music.

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Rusu-Persic, Dalia. "Critical reception of late 19th century Iași-based music. Alexandru Flechtenmacher." Artes. Journal of Musicology 18, no. 1 (2018): 190–206. http://dx.doi.org/10.2478/ajm-2018-0012.

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Abstract In late 19th-century periodicals, music criticism captured only a few details on the composition techniques, the structural organization, the rhythmic-melodic or vocal and stage interpretation of various performances. The press shed light on these pieces only at an informative level, mentioning titles, composers, and interpreters and even omitting some details due to, on the one hand, the authorities’ indifference to the musical phenomenon and, on the other hand, the editors’ sheer ignorance of particular stylistic or musical language features. However, the attempts made by the personalities active in the cultural and artistic life were real and unrelenting, their results being guided by the desire to promote music with specific national traits. This study provides an analytical perspective on the current reception of that social-artistic context. Taking into account that new sources have favored a more detailed and profound investigation of the 19th-century critical phenomenon, our analysis supplements the information presented in the music history studies already published in Romania. Consequently, the first section of this paper approaches the extremely dynamic phenomenon represented by the creation of new journals / newspapers in the 19th century. It is our belief that starting from general journalism we can acquire a better understanding of the development of musical criticism. This research aimed to discover new dimensions of Iași-based music, placing special emphasis on the critical reception of the composer Alexandru Flechtenmacher. We have followed its reflection in the Romanian press, starting from the first accounts in this respect, and ending with the subsequent assessments formulated in 20th-century musicology. Although the texts that tackle musical issues are quite few and social aspects prevail in the commentators’ list of interests, by combining the information provided by general literary/historical/social sources with the details included in specialized articles we can create a new perspective on late 19th-century Iași-based compositions.

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Loos, Helmut. "Beethoven — the Zeus of Modernity." Culturology Ideas, no. 18 (2'2020) (2020): 66–84. http://dx.doi.org/10.37627/2311-9489-18-2020-2.66-84.

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A large part of German musicology sees itself as a science of art in the emphatic sense and is committed to quite different principles than historical-critical approaches in the discipline. The latter seek to gain a realistic picture of the history of music, including contemporary ways of thinking, and allow for historical actors to make meaningful, free will decisions within anthropologically determined circumstances. The emphatic science of art, on the other hand, claims to be able to prove and scientifically determine the objects of great art music and their nature. It originated during the Enlightenment, when philosophy took the place of religion and created ever new theoretical constructs of thought presented as scientifically proven and binding. In music, Beethoven rose to the ideal of the ingenious creator, who embodied the progress and achievements of mankind on the path toward perfection. Thus, in the course of the 19th century, a Beethoven cult developed using philosophy as its guide in selecting and evaluating historical sources, gladly accepting literary testimonies as historical fact. Historical criticism, which revealed this construction of a romantic image of Beethoven, was suppressed for a long time. Society’s broad acceptance of the notion of the evolutionary progress of mankind, one to which modernity adhered, proved too powerful, and belief in it took the form of an art religion. Beethoven as Zeus of the Third Reich, as the god of modernity, was the program and message of the 14th Secession Exhibition in Vienna in 1902. This image was destructed in the late 20th century.

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Vasic, Aleksandar. "'The Music Herald' 1922: A esthetical and ideological aspects." Muzikologija, no. 9 (2009): 97–111. http://dx.doi.org/10.2298/muz0909097v.

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The Music Herald was the first music magazine to appear in Belgrade after WWI. It was published monthly, for a year (January - December 1922). Its editor-in-chief was Petar Krstic, a composer. Other members of the editorial staff were Bozidar Joksimovic, Stevan Hristic, Kosta Manojlovic (composers) Vladimir R. Djordjevic (an ethnomusicologist) and Jovan Zorko (a violinist). Over 200 articles were published in the magazine. It dealt with different genres of music writings, such as articles, treatises, documents on the history of Serbian / Yugoslav music, music criticism, polemics, necrologies and bibliographies. Twenty-four compositions by native composers were published in the musical supplement of The Music Herald, among them the works of its editors as well as those of other Yugoslav musicians. The Music Herald dealt with three fields of interest: music historiography, ethnomusicology and the current topics of its epoch. When the magazine started, Serbian musicology was in its initial stage so the editors were trying to foster its development. They published numerous biographies of Serbian 19th century musicians, as well as documents on Serbian music culture during the reign of Prince Milos Obrenovic. Music folklore was also very often the subject of interest in the magazine. The Music Herald was interested in current topics and covered the Yugoslav music school system, opera houses, military music music associations, etc. It was especially interested in choral societies which in the course of the 19th century took up not only an artistic, but also a political and patriotic role in the liberation movement. After WWI choral societies entered a period of crisis. Their political raison d'?tre was lost, so they were faced with the challenge of achieving higher professional standards. This study deals with two aspects of 'The Music Herald': aesthetic and ideological aspects. In terms of ideology, the magazine was strongly in favor of the Yugoslav idea. Its correspondents (more then 40 of them) came from all parts of the Kingdom of Serbs, Croats and Slovenes, as well as from abroad (Poland). The music culture of the Serbs, Croats and Slovenes was treated with equal enthusiasm. The articles were published in both Cyrillic and Latin script, and in two languages (Serbo-Croatian and Slovenian). The editors of The Music Herald were also Slavophiles. They wrote about Czechoslovakian and Polish music, and also covered the works of Russian musicians who had emigrated to Yugoslavia after the October Revolution in 1917. The so-called 'national style' was fostered in The Music Herald, because it was believed by the editors to be the future of Serbian and Yugoslav music. Avant-garde music was treated with suspicion although on one occasion a defense of contemporary music by Stanislav Vinaver, a writer and a music critic, was published. On the other hand fostering the 'national style' did not mean that moderate means of expression sufficed for the positive evaluation of a certain music piece. That is why the compositions of Petar Stojanovic were judged as 'drawing-room music'. Although it lasted for just one year, The Music Herald has an important place in the history of Serbian music periodicals. Its orientation towards music historiography is, in this respect, especially important. It blazed the trail for the Serbian musicology in its dealings with unknown music data in the past.

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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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Rizaieva, Ganna. "100th Anniversary of the Salzburg Festival: Historical and Cultural Phenomenon of the 20th and Early 21st Centuries." Scientific herald of Tchaikovsky National Music Academy of Ukraine, no. 130 (March 18, 2021): 160–82. http://dx.doi.org/10.31318/2522-4190.2021.130.231228.

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Relevance of the study. The evolution and the very phenomenon of the Salzburg Festival go hand in hand with the history of music and theatre, the philosophy of art, and the global musical infrastructure of the 20th and early 21st centuries. On the one hand, it is their fair reflection; while on the other hand, it is an integral part of their development. That is why studying and understanding the role and place of the Salzburg Festival is essential for understanding contemporary musical culture in a current historical perspective.Relevance of the study is attributable to the fact that, for the first time in Ukrainian historical musicology, the development and implementation of the idea of holding the Salzburg Festival are considered, indirect relations between the festival ideologists and the Ukrainian cultural space at the turn of the 19th and 20th centuries are discovered, and the century-old history of the main European music and theatre forum is systematized.Main objective of the study is to introduce the phenomenon of the Salzburg Festival as a historical and cultural integrity in the space of the Ukrainian musicological discourse, as well as to outline and systematize a one hundred-year path of the main music and theatre forum in Europe.Methodology of the study includes the use of historical, culturological, and systemic approaches.Results and conclusions. The study revealed that at the stage of shaping the idea of the festival in Salzburg at the beginning of the twentieth century, there were two fundamental visions of its implementation, namely, “Mozart-oriented” and “general theatrical”. They both entered the gene code of the Salzburg Music and Theatre Forum with varying interpretations of its concept and repertoire policy at each phase of its existence. The change of priorities in its fundamental triad, that is, drama — opera — concert, during forum varying periods is also traced.The hundred-year journey of the Salzburg Festival may be divided into three main stages: 1) the development and search of self-identity (1920–1954); 2) “stabilization” and formation of international prestige (1955–1990); and 3) “modernization” and expansion of cultural horizons (from 1991 until today). Each of them is well integrated into history of Western European music and culture of the 20th and early 21st centuries.

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Krivtsova, Anna S. "“V.V. Bessel” Collection in the Russian National Museum of Music." Observatory of Culture 17, no. 2 (2020): 152–63. http://dx.doi.org/10.25281/2072-3156-2020-17-2-152-163.

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Vasily Vasilyevich Bessel (1843—1907) entered the history of Russian and world music culture as one of the largest music publishers. His company was occupying one of the leading positions in terms of production volume in the Russian music printing market in the late 19th — early 20th century. It was the company that first published many of works by Russian classical composers — A.G. Rubinstein, A.P. Borodin, P.I. Tchaikovsky, M.P. Mussorgsky, N.A. Rimsky-Korsakov, and A.K. Lyadov. V.V. Bessel’s music publishing activities were connected with his works on the history of music printing in Russia and copyright. He left an extensive legacy in the form of numerous handwritten materials, now dispersed in various archives (mainly in Moscow and Saint Petersburg). The Russian National Museum of Music, Collection 42, holds one of the largest archives associated with V.V. Bessel. Major part of it makes up a separate collection called “V.V. Bessel”, which includes unofficial documents, responding mail, as well as literary manuscripts and photographic materials. Due to lack of comprehensive research of that documentary collection, this article provides a brief overview of its content, and the history of formation of V.V. Bessel’s collection. The main purpose of the research is to characterize both published and unknown sources. The article meets the relevant task of modern musicology: disclosure of Moscow and St. Petersburg archival collections. Many of the documents reviewed by the author are an important addition to the only monograph on V.V. Bessel, which belongs to the pen of N.F. Findzein. The article discusses, in more detail, the documents related to the literary weekly “Muzykal’nyi Listok [Musical Sheet]” (1872—1877), the first periodical published by “V. Bessel and Co.”, as well as the correspondence of December 1886 between V.V. Bessel and P.I. Tchaikovsky, which, at the latter’s initiative, ended all the composer’s personal and business contacts with his Petersburg publisher. This study expands the researchers’ understanding of the body of documents stored in the collection under consideration, the problems associated with them, and their prospects.

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Tsiuliupa, S. D. "Doctoral dissertations of wind instruments musicians in Ukraine (the end of XX – early XXI century)." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 54, no. 54 (2019): 24–39. http://dx.doi.org/10.34064/khnum1-54.02.

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This paper is the first attempt to lay out the major scientific achievements of teachers of faculties of wind and percussion instruments of Ukrainian universities with 3-4 accreditation levels, for the period from second half of XX – to beg. of XXI century. This article systematizes and precisely analyzes the content of obtained PhD dissertations on musical art, theory and methodic of professional education, musical art, theory, the methodic and organization of cultural and educational activities. In the period of Ukraine’s integration into the European entities, scientific work becomes the leitmotif of the activity of a teacher of a higher art educational institution. The works of the leading scientists of Ukraine became the fundamental scientific researches of the evolution of spiritual musical performance. V. Apatsky in the doctoral dissertation “Theoretical foundations of playing the wind instruments (on the example of bassoon)” examines the acoustic nature of the instrument and the specificity of sound formation on it, the structure and functioning of the executive apparatus and methods of its formation, the basic means of expressiveness of the bassoonist and methods of development of performing skill. I. Yakustidi in the dissertation “The value of horn tone in the learning process” and by the method of numerical laboratory measurements explored the work of the sound-forming apparatus of the horn performer. Along with the experimental experiments, the dissertation covers the issues of performance history, theory and practice, methods of teaching horn performance. P. Krul in his study “Genesis of Wind and Percussion Instrumental Performance of Ukraine” traces the genesis of wind and percussion music in Ukraine. V. Posvaluk in the dissertation “Ways of Formation and Problems of Development of the Ukrainian Trumpet Performance School: Historical, Professional-Performing, Theoretical and Methodological Aspects” for the first time reveals the peculiarity of the historical way of formation and development of the national trumpet performance school and its regional peculiarities. V. Bohdanov dedicates his dissertation “Ways of Development of the Wind Musical Art in Ukraine (from the Origins to the Beginning of the XX Century) to the Study of the Wind Musical Art of Ukraine. Based on the systematization of actual data, the main directions of its evolution are highlighted. V. Kachmarchyk. The priority areas of the dissertation research “German flute art of the 18th – 19th centuries” were the creation of the historical periodization of the German flute art of the 18th – 19th centuries, and defining the role of J. J. Kwanz, J. G. Tromlits, A. B. Furstenau and T. Bohm in the formation of the German flute school. Y. Sverlyuk in his work “Theoretical and methodological bases of vocational training of conductor of an orchestra collective in higher art establishments” he explored methodological, theoretical and methodical bases of vocational training of conductor taking into account the specifics of future professional activity. A. Karpyak. In his Doctoral dissertation “Flutist’s Artistic Thesaurus as the Basis of Performing Skills” and for the first time in Ukrainian musicology, he provided a reasoned critical analysis of the key issues and problems in the development of contemporary flute art.

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Dissertations / Theses on the topic "Musicology – 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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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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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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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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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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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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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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Nover, Stephen Michael. "History of language planning in deaf education: The 19th century." Diss., The University of Arizona, 2000. http://hdl.handle.net/10150/284155.

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This dissertation documents historical patterns of language planning activities in American deaf education during the 19th century from a sociolinguistic perspective. This comprehensive study begins in the early 1800s, prior to the opening of the first public school for the deaf in Connecticut, tracing and categorizing available literature related to the language of signs and English as the languages of instruction for the deaf through 1900. Borg and Gall's (1989) historical research methodology was employed to ensure that a consistent historical approach was maintained based upon adequate and/or primary references whenever possible. Utilizing Cooper's (1989) language planning framework, each article in this extensive historical collection was categorized according to one of three major types of language planning activities: status planning (SP), acquisition planning (AP), or corpus planning (CP). Until this time, a comprehensive study of this nature has never been pursued in the field of deaf education. As a result, language planning patterns were discovered and a number of myths based upon inaccurate historical evidence that have long misguided educators of the deaf as well as the Deaf community were revealed. More specifically, these myths are related to the belief that 19th century linguistic analysis and scientific descriptions of the language of signs were nonexistent, and that 19th century literature related to the role, use and structure of the language of signs in education was extremely limited. Additionally this study discovered myths related to the status and use of sign language in this country, the history of deaf education programs, the growth and development of oralism and its impact upon existing programs for the deaf and the employment of deaf teachers. It was also revealed that several terms used in the 19th century have been misinterpreted by educational practitioners today who mistakenly believe they are using strategies that were developed long ago. Therefore, this study attempts to 'correct the record' by using primary sources to bring to light a new understanding of the history of deaf education from a language planning perspective.

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Books on the topic "Musicology – History – 19th century"

1

Music, criticism, and the challenge of history: Shaping modern musical thought in late nineteenth-century Vienna. Oxford University Press, 2008.

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Zon, Bennett. Music and metaphor in nineteenth-century British musicology. Ashgate, 2000.

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Macdonald, Fiona. 19th century Europe: Women in History. Chrysalis, 2003.

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Phyllis, Freeman, and McKee Bob, eds. 19th-century sculpture. Abrams, 1985.

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Michael, Gibson. 19th century lustreware. Antique Collectors' Club, 1999.

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Hawkins, J. B. 19th century Australian silver. Antique Collectors' Club, 1990.

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Kalman, Bobbie. 19th century clothing. Crabtree Pub. Co., 1993.

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Kalman, Bobbie. 19th century clothing. Crabtree Pub. Co., 1993.

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Christopher, Payne, ed. 19th century European furniture. 2nd ed. Antique Collector's Club, 1989.

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Payne, Christopher. 19th century European furniture. 2nd ed. Antique Collectors' Club, 1985.

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Book chapters on the topic "Musicology – 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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Sawaie, Mohammed. "An Aspect of 19th-Century Arabic Lexicography." In History and Historiography of Linguistics. John Benjamins Publishing Company, 1990. http://dx.doi.org/10.1075/sihols.51.1.20saw.

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Conference papers on the topic "Musicology – 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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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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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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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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FONSECA, Letícia Pedruzzi. "Graphic innovations implemented in the Brazilian press by Julião Machado in the end of the 19th Century." In Design frontiers: territories, concepts, technologies [=ICDHS 2012 - 8th Conference of the International Committee for Design History & Design Studies]. Editora Edgard Blücher, 2014. http://dx.doi.org/10.5151/design-icdhs-075.

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Tsydene, Shirap. "Pre-Revolutionary Historiography of the History of Local Self-Government in Buryat." In Irkutsk Historical and Economic Yearbook 2020. Baikal State University, 2020. http://dx.doi.org/10.17150/978-5-7253-3017-5.53.

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With the inclusion of Buryats in the Russian state, the need arose to create management mechanisms and inclusion are of the Buryats in Russian culture. This need became the subject of research by theoreticians of scientific thought and state building, which formed over the 19th century, the historiographic foundation. The article highlights the issues formed and the development of historiography on the history of local self-government.

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Carr, Matthew A. "The Impact of Steam Innovations on Ship Design: An Abbreviated History of Marine Engineering." In ASME 2003 International Mechanical Engineering Congress and Exposition. ASMEDC, 2003. http://dx.doi.org/10.1115/imece2003-43767.

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The adaptation of steam engines for marine propulsion caused a dramatic shift in naval and commericial ship design during the 19th Century. The transition from sail to steam hastened the demise of several classes of ships and altered shippings routes from the trade winds to great circle routing. The conduct of naval warfare was always influenced by the limits of available propulsion technology. Throughout maritime history, innovative naval commanders sought ways to overrun, outmaneuver, and outlast their opponents. Coincident developments in armaments and armor, facilitated by this “new” propulsion technology, rendered the world’s sailing navies largely obsolete within a relatively brief period of the 19th Century. This presentation highlights the major technological advances in steam propulsion from the early combination of low-speed single-acting reciprocating engines driving paddle wheels through high-speed turbines and reduction gears driving multiple-blade variable-pitch propellers; and, boilers heated by hand-fed wood and coal through nuclear fission.

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