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Books on the topic 'Nineteenth-century performance practice'

Author: Grafiati

Published: 4 June 2021

Last updated: 5 February 2022

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1

Orchestral performance practices in the nineteenth century: Size, proportions, and seating. UMI Research Press, 1986.

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2

Nineteenth-century piano music: Essays in performance and analysis. Garland Publishing, 1996.

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3

Milsom, David. Theory and Practice in Late Nineteenth-Century Violin Performance: An Examination of Style in Performance, 1850-1900. Ashgate Publishing, 2003.

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4

Witten, David. Nineteenth-Century Piano Music: Essays in Performance and Analysis (Garland Reference Library of the Humanities). Routledge, 1996.

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5

Koury, Daniel J. Orchestral Performance Practices in the Nineteenth Century: Size, Proportions, and Seating (Studies in Musicology). University of Rochester Press, 1989.

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6

Bailey, John Robert. Maximilian Schwedler's Flute and flute-playing: Translation and study of late nineteenth-century German performance practice. 1990.

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7

Reckson, Lindsay V. Realist Ecstasy. NYU Press, 2020. http://dx.doi.org/10.18574/nyu/9781479803323.001.0001.

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Realist Ecstasy: Religion, Race, and Performance in American Literature recovers a series of ecstatic performances in late nineteenth- and early twentieth-century American realism. From camp meetings to Native American ghost dances to storefront church revivals, Realist Ecstasy explores how realism represents ecstatic bodies as objects of fascination, transforming spiritual experience into the very material of realist description. In an era of “separate but equal” religious pluralism and systematic racial terror, realism mobilized the gestural and performative idioms of religious ecstasy to co

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8

Yunhwa Rao, Nancy. The Chinese Exclusion Act and Chinatown Theaters. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252040566.003.0003.

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This chapter focuses on immigration policies in the United States and how they impacted Chinatown opera theaters from their burgeoning in the nineteenth century through the passage of the Chinese Exclusion Act of 1882 and into the early twentieth century. Whereas Chinese theaters rose to prominent entertainment in the 1870s, with four concurrent theaters in San Francisco, late nineteenth century exclusionary regulations severely curtailed previously vibrant Chinatown opera theaters. It eventually cut off the flow of performers and limiting companies’ performance opportunities by early 20th cen

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9

Gooley, Dana. Fantasies of Improvisation. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190633585.001.0001.

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This book is the first history of keyboard improvisation in European music in the postclassical and romantic periods (c. 1815–1870). Grounded in primary sources, it documents practices of improvisation on the piano and the organ, with a particular emphasis on free fantasies and other forms of free playing. Case studies of performers such as Abbé Vogler, J. N. Hummel, Ignaz Moscheles, Robert Schumann, Carl Loewe, and Franz Liszt describe in detail the motives, intentions, and musical styles of the nineteenth century’s leading improvisers. The book further discusses the reception and valuation o

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10

Goertzen, Chris. George P. Knauff's Virginia Reels and the History of American Fiddling. University Press of Mississippi, 2017. http://dx.doi.org/10.14325/mississippi/9781496814272.001.0001.

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George P. Knauff's Virginia Reels (1839) was the first collection of southern fiddle tunes and the only substantial one published in the nineteenth century. Knauff's activity could not anticipate our modern contest-driven fiddle subcultures. But the fate of the Virginia Reels pointed in that direction, suggesting that southern fiddling, after his time, would happen outside of commercial popular culture even though it would sporadically engage that culture. This book uses this seminal collection as the springboard for a fresh exploration of fiddling in America, past and present. It first discus

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11

Parr, Sean M. Vocal Virtuosity. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197542644.001.0001.

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Vocal Virtuosity is a book about the apex of operatic vocalism. Nothing strikes the ear quite like a soprano singing in the sonic stratosphere. Whether thrilling, chilling, or repellent to the listener, the reaction to cascades of coloratura with climaxing high notes is strong. Coloratura—agile, rapid-fire singing—was originally essential for all singers, but its function changed greatly when it became the specialty of particular sopranos over the course of the nineteenth century. The central argument of Vocal Virtuosity runs counter to the historical commonplace that coloratura became an anac

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12

Blain, Keisha N., and Tiffany M. Gill, eds. To Turn the Whole World Over. University of Illinois Press, 2019. http://dx.doi.org/10.5622/illinois/9780252042317.001.0001.

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Black women in the United States and across the African diaspora have historically linked national concerns to global ones. This interdisciplinary collection explores the varied ways black women have engaged in internationalism since the late nineteenth century through political agitation, consumption activities and economic pursuits, leisure and religious practices, as well as performance and artistic expression. The essays in this collection employ diverse and innovative methodological approaches and explore new sites of internationalism, including Australia, Germany, and Spain. By highlight

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13

Kasfir, Sidney. Visual Cultures. Edited by John Parker and Richard Reid. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199572472.013.0023.

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The first collectors of African art and artefacts were nineteenth-century explorers. The second were modern art collectors and dealers, fascinated by an art, primarily sculpture, which was in every way opposite to academic European teaching. As fieldwork expanded the knowledge base of African art and performance, masquerades became a major research subject and vehicle for both African history and social theory. However, African visual culture encompasses not only these aesthetic practices but also the visual environment reproduced in print and electronic media. This wider array of imagery has

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14

Davis, Jim. Writing for Actors. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198812425.003.0013.

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Dibdin’s younger son Thomas’ work as a dramatist reveals both change and continuity in expectations of dramatic authorship and theatrical practice in the early nineteenth century. This chapter explores the collaborative nature of Dibdin’s writing: his scripts were not finished literary texts, but raw materials designed to be fully realized only in performance, as celebrated actors brought their own contributions to their roles. While the results were immensely popular with audiences, these methods came under increasing fire from critics such as Leigh Hunt, who damned Dibdin for failing to live

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15

Lester, Joel. Brahms's Violin Sonatas. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190087036.001.0001.

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Brahms’s Violin Sonatas: Style, Structure, and Performance is a companion volume to Joel Lester’s award-winning 1999 study Bach’s Works for Solo Violin: Style, Structure, and Performance. Using a minimum of technical language and with annotated musical examples illustrating almost every point, Brahms’s Violin Sonatas explores three masterpieces of the concert repertoire in a book designed for performers and music scholars alike. A major focus is how much can be learned by carefully reading Brahms’s artistically nuanced musical notation and by understanding Brahms’s style—especially his music’s

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16

Hofer-Robinson, Joanna, and Beth Palmer, eds. Sensation Drama, 1860–1880. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474439534.001.0001.

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Featuring previously unpublished material alongside famous plays,this pioneering edition provides access to some of the most popular plays of the nineteenth century. Characterised by exhilarating plots, large-scale special effects and often transgressive characterisation, these dramas are still exciting for modern readers. This anthology lays the foundation for further scholarly work on sensation drama and focuses public attention on to this influential and immensely popular genre.It features five plays from writers including Dion Boucicault and Mary Elizabeth Braddon. These are supported by a

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17

Melamed, Daniel R. The Christmas Oratorio in the Shadow of Bach’s Passions. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190881054.003.0006.

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The Christmas Oratorio has consistently been in the shadow of Johann Sebastian Bach’s Passion settings. This was ordained by the context of the work’s revival after the St. Matthew and St. John Passions and by Bach’s image established by nineteenth-century performance and understanding of those works. Commentators apologized for the Oratorio’s lighter tone and addressed its problematic parody origin in secular music. Almost all of the Oratorio’s arias and choruses were adapted from older music, and commentators claimed in the early and mid-twentieth century that some gospel choruses were also

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18

Russell, David. Tact. Princeton University Press, 2019. http://dx.doi.org/10.23943/princeton/9780691196923.001.0001.

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The social practice of tact was an invention of the nineteenth century, a period when Britain was witnessing unprecedented urbanization, industrialization, and population growth. In an era when more and more people lived more closely than ever before with people they knew less and less about, tact was a new mode of feeling one's way with others in complex modern conditions. This book traces how the essay genre came to exemplify this sensuous new ethic and aesthetic. It argues that the essay form provided the resources for the performance of tact in this period and analyzes its techniques in th

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19

Smith, Christopher J. Recovering the Creole Synthesis. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037764.003.0001.

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This book traces the roots of blackface minstrelsy—and the creole sounds, practices, and procedures that made minstrelsy possible—by analyzing the artworks, letters, sketchbooks, music collection, ephemera, and biography of William Sidney Mount, together with similar materials from some of his predecessors and contemporaries. It argues that nineteenth-century blackface is not a radical new invention, but rather the codification and theatricalization of a cluster of working-class performance idioms that were already familiar from the boundary zones of streets, wharves, decks, and fairgrounds. I

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20

Guesnet, François, Benjamin Matis, and Antony Polonsky, eds. Polin: Studies in Polish Jewry Volume 32. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781906764739.001.0001.

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With its five thematic sections covering genres from cantorial to classical to klezmer, this pioneering multi-disciplinary volume presents rich coverage of the work of musicians of Jewish origin in the Polish lands. It opens with the musical consequences of developments in Jewish religious practice: the spread of hasidism in the eighteenth century meant that popular melodies replaced traditional cantorial music, while the greater acculturation of Jews in the nineteenth century brought with it synagogue choirs. Jewish involvement in popular culture included performances for the wider public, Yi

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21

Davis, William L. Visions in a Seer Stone. University of North Carolina Press, 2020. http://dx.doi.org/10.5149/northcarolina/9781469655666.001.0001.

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In this interdisciplinary work, William L. Davis examines Joseph Smith's 1829 creation of the Book of Mormon, the foundational text of the Latter Day Saint movement. Positioning the text within the history of early American oratorical techniques, sermon culture, educational practices, and the passion for self-improvement, Davis elucidates both the fascinating cultural contexts for the creation of the Book of Mormon and the central role of oral culture in early nineteenth-century America. Drawing on performance studies, religious studies, literary culture, and the history of early American educ

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22

Burstein, L. Poundie. Journeys Through Galant Expositions. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190083991.001.0001.

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Through much of the eighteenth century, commentators often described musical form in relation to a type of journey leading toward a set of specific tonal/harmonic/melodic/rhythmic goals, punctuated along the path by a standard series of resting points. Partly in reaction to developments witnessed in music composed during the high Classical era onward, since around the nineteenth century descriptions of musical form have tended to combine or even replace these “journey” metaphors with those that rely more heavily on architectonic analogies. When dealing with works composed around the middle of

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23

Smith, Christopher J. Akimbo Culture. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037764.003.0006.

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This chapter examines the physical and participatory implications of blackface dance, and the dance cultures more generally, depicted by William Sidney Mount. It also uses the evidence drawn from Mount's visual depictions to locate prototypical blackface dance vocabularies and rhythmic practices in vernacular art works of the earlier nineteenth century. The chapter first considers the resources for recovering the kinesics of minstrelsy, along with visible evidence of Afro-Caribbean influence on bodily kinesics, before turning to juba and the aesthetics of African movement. It then analyzes Mou

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24

André, Naomi. Black Opera. University of Illinois Press, 2018. http://dx.doi.org/10.5622/illinois/9780252041921.001.0001.

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This is a book about thinking, interpreting, and writing about music in performance that incorporates how race, gender, sexuality, and nation help shape the analysis of opera today. Case-study operas are chosen within the diaspora of the United States and South Africa. Both countries had segregation policies that kept black performers and musicians out of opera. During the civil rights movement and after apartheid, black performers in both countries not only excelled in opera, they also began writing their own stories into the genre. Featured operas in this study span the Atlantic and bring to

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25

Macleod, Beth Abelson. On Tour before Domestic Audiences. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039348.003.0006.

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This chapter focuses on Fannie Bloomfield-Zeisler's piano recitals in the United States. It begins with a discussion of the development of an almost sacred canon of composers and the elevation of classical music to a virtual religious status as articulated by critic and transcendentalist John Sullivan Dwight and others. It then considers the bifurcation of various U.S. cultural activities into separate spheres—popular and elite—as described by historian Lawrence Levine, and how recent scholars have modified Levine's position with regard to the evolution of music in nineteenth-century America.

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26

Perry, Seth. Bible Culture and Authority in the Early United States. Princeton University Press, 2018. http://dx.doi.org/10.23943/princeton/9780691179131.001.0001.

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This book is a wide-ranging exploration of the place of the Christian Bible in America in the decades after the Revolution. Attending to both theoretical concerns about the nature of scriptures and to the precise historical circumstances of a formative period in American history, the book argues that the Bible was not a “source” of authority in early America, as is often said, but rather a site of authority: a cultural space for editors, commentators, publishers, preachers, and readers to cultivate authoritative relationships. While paying careful attention to early national bibles as material

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27

Shay, Anthony, and Barbara Sellers-Young, eds. The Oxford Handbook of Dance and Ethnicity. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199754281.001.0001.

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Dance intersects with ethnicity in a powerful variety of ways and in a broad set of venues. Dance practices and attitudes about ethnicity have sometimes been the source of outright discord, such as when African Americans were—and sometimes still are—told that their bodies are “not right” for ballet, when Anglo Americans painted their faces black to perform in minstrel shows, when nineteenth-century Christian missionaries banned the performance of particular native dance traditions throughout much of Polynesia, and when the Spanish conquistadors and church officials banned sacred Aztec dance ri

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