Academic literature on the topic 'Symphony – 19th century'
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Journal articles on the topic "Symphony – 19th century"
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Diergarten, Felix. "Time out of joint — Time set right: Principles of form in Haydn’s Symphony No. 39." Studia Musicologica 51, no. 1-2 (2010): 109–26. http://dx.doi.org/10.1556/smus.51.2010.1-2.8.
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The opening of Haydn’s Symphony No. 39 in G minor is interrupted by two unusually long grand pauses. These brief suspensions of the time continuum reveal Haydn’s search for new narrative strategies for a genre caught up in the tensions between the boisterous concert opener, courtly representation, the bourgeois concert hall and the demands of “connoisseurs.” This use of the Generalpause points toward a period of upheaval in the development of symphonic forms in the 18th century. A comparative analysis examining the primarily “punctuated” concept of form in the 18th century in relation to the primarily thematic concept of form in the 19th century and the synthesis of both in the writings of Anton Reicha can show that the process of developing formal functions becomes especially acute in Haydn’s Symphony No. 39, with the two grand pauses playing a key role. Such a reading of Haydn, which seeks to reconcile “historically informed” analysis with emphatic interpretation, illustrates how the spectacular grand pauses in the Symphony No. 39 can suggest a brief suspension of not only the work’s own immanent time but the historical time of 18th-century music history.
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Palmer, Peter. "Fritz Brun: a Swiss Symphonist." Tempo, no. 195 (January 1996): 14–18. http://dx.doi.org/10.1017/s0040298200004721.
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Ferruccio Busoni, who saw out the First World War from the neutral haven of Switzerland, maintained that the best Swiss symphony was Rossini's William Tell overture. Not that the country was completely lacking in resident composers of symphonic music during the Classical and Romantic eras. There was, for example, Gaspard Fritz (d.1783), whom Dr Bumey met in Geneva. There was Xaver Schnyder von Wartensee (d.1868), whose works include an amiable ‘Military’ Symphony. But the dominant force in the 19th century was the composer, publisher and pedagogue Hans Georg Nägeli, whose primary achievement was to develop a choral tradition. Instrumental music in Switzerland depended largely on imports. Joachim Raff, who came from the Lake Zurich region, did not begin to find his feet as a symphonist until he settled in Germany. The vocal bias persisted into the 20th century: thus Othmar Schoeck could say that writing a violin sonata was something of a ‘crime’ for him.
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Schumann, Bianca. ""... so merkt man ihr allerdings den achtzehnjährigen, unbeholfenen Komponisten an..."." Die Musikforschung 73, no. 4 (2021): 355–67. http://dx.doi.org/10.52412/mf.2020.h4.4.
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In the course of the aesthetic controversy of the 19th century over programme music, which was particularly intense in Vienna, 'conservative' as well as 'progressive' ciritcs, who wrote for the daily press, endeavoured to appropriate Hector Berlioz for their personal aesthetic convictions. Even for reviews written in the 1860s and 1870s, when Berlioz's large-scale works were first performed by leading Viennese orchestras, Robert Schumann's review of the Symphonie fantastique (1835) played a significant role. Schumann's appreciative assessment of the symphony, which was strongly influenced by his misconception that Berlioz was only eighteen years old at the time of composition of the Symphony fantastique, had a decisive influence on the journalistic discourse on Berlioz in Vienna far beyond the first half of the century, for example on Hugo Wolf and Edmund Schelle. Other critics, such as August Wilhelm Ambros and Eduard Hanslick, took Schumann's ambiguity as their starting point to validate their less positive judgements.
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Dalos, Anna. "Ein symphonisches Selbstbildnis: Über Zoltán Kodálys Symphonie in C (1961)." Studia Musicologica 50, no. 3-4 (2009): 203–20. http://dx.doi.org/10.1556/smus.50.2009.3-4.1.
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After the revolution in 1956, the cultural policy in Hungary shifted to allow a new openness toward Western-European movements: consequently 1956–1967 became one of the most important transitional periods of Hungarian music history. Composers turned away from the tradition of the foregoing thirty years, determined by the influence of Bartók and Kodály, imitating rather the works of Schoenberg, Berg, Webern, Boulez, Nono, Lutosławski, Penderecki and Stockhausen. In this context the 78-year-old Zoltán Kodály’s Symphony, written in 1960–1961 for the Swiss Festival Orchestra and dedicated to the memory of Arturo Toscanini, was rejected by the young generation of composers and also Hungarian music critics, who turned themselves for the first time against the much-revered figure of authority. The Symphony’s emphasis on C major, its conventional forms, Brahms-allusions, pseudo self-citations and references to the 19th-century symphonic tradition were also received without comprehension in Western Europe. Kodály’s letters and interviews indicate that the composer suffered disappointment in this negative reception. Drawing on manuscript sources, Kodály’s statements and the Symphony itself, my study argues that the three movements can be read as caricature-like self-portraits of different phases of the composer’s life (the young, the mature and the old) and that Kodály identified himself with the symphonic genre and the C-major scale.
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Rovner, Anton А. "Vocal and Choral Symphonies and Considerations on Text Representation in Music." ICONI, no. 2 (2020): 26–37. http://dx.doi.org/10.33779/2658-4824.2020.2.026-037.
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The article examines the genres of the vocal and the choral symphony in connection with the author’s vocal symphony Finland for soprano, tenor and orchestra set to Evgeny Baratynsky’s poem with the same title. It also discusses the issue of expression of the literary text in vocal music, as viewed by a number of influential 19th and 20th century composers, music theorists and artists. Among the greatest examples of the vocal symphony are Gustav Mahler’s Das Lied von der Erde and Alexander von Zemlinsky’s Lyrische Symphonie. These works combine in an organic way the features of the symphony and the song cycle. The genre of the choral symphony started with Beethoven’s Ninth Symphony and includes such works as Mendelssohn’s Second Symphony, Scriabin’s First Symphony and Mahler’s Second, Third and Eighth Symphonies. Both genres exemplify composers’ attempts to combine the most substantial genre of instrumental music embodying the composers’ philosophical worldviews with that of vocal music, which expresses the emotional content of the literary texts set to music. The issue of expressivity in music is further elaborated in examinations of various composers’ approaches to it. Wagner claimed that the purpose of music was to express the composers’ emotional experience and especially the literary texts set to music. Stravinsky expressed the view that music in its very essence is not meant to express emotions. He called for an emotionally detached approach to music and especially to text settings in vocal music. Schoenberg pointed towards a more introversive and abstract approach to musical expression and text setting in vocal music, renouncing outward depiction for the sake of inner expression. Similar attitudes to this position were held by painter Wassily Kandinsky and music theorist Theodor Adorno. The author views Schoenberg’s approach to be the most viable for 20th and early 21st century music.
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Lee, Hyangsu. "German Hegemony in Symphony Genre of the 19th century and Symphony of Nationalist as the Others." 音.樂.學 19, no. 1 (2011): 97–137. http://dx.doi.org/10.34303/mscol.2011.19.1.004.
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Wald, Melanie. "„Ein curios melancholisches Stückchen“: Die düstere Seite von Haydns fis-Moll Sinfonie Hob. I:45 und einige Gedanken zur pantomime in der Instrumentalmusik." Studia Musicologica 51, no. 1-2 (2010): 79–90. http://dx.doi.org/10.1556/smus.51.2010.1-2.6.
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Haydn’s symphony no. 45, especially the final Farewell -Andante, has been looked at puzzlingly twofold: More recent understandings emphasize the wit and humour of the finale, while reports of the late 18th and early 19th century tend to notice a gloomier, even melancholic tint. This perception here is taken as a starting point for an interpretation of that symphony in terms of the 18th-century notion of melancholy as noble suffering of princes, intellectuals, and artists. Since musical works of melancholy are normally for piano or a soloist to allow for an identification of the player and the melancholic, a symphony leads us to ask anew for the melancholy persona of that orchestral piece. Answers are tried that highlight the respective roles of the orchestra, Haydn, and his most eminent listener, Prince Esterházy, within that game of deciphering melancholy. In addition, the different anecdotes concerning the Farewell -finale are analysed as tokens of an aesthetic irritation that try to tame the bewildering musical language of that symphony by linking it with extra-musical narratives. Finally, the often mentioned pantomimic aspect of the finale is taken into account and is interpreted as an important aspect of Haydn’s effort to produce meaning in the instrumental genres.
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Péteri, Lóránt. "Scherzo and the unheimlich: the construct of genre and feeling in the long 19th century." Studia Musicologica 48, no. 3-4 (2007): 319–33. http://dx.doi.org/10.1556/smus.48.2007.3-4.4.
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The psychological concept of the uncanny (“das Unheimliche”) has been established in studies by E. Jentsch (1906) and S. Freud (1919). On the grounds of cultural and textual references, which can be found in these studies, one might regard the uncanny as a discourse construct contained in various literary, evaluative, and visual texts stretching from the late 18th century to the First World War. In my paper, I wish to discuss the assumption that the scherzo genre, commonly seen as founded on Haydn’s opus 33 string quartets and coming to a first fruition in various Beethoven cycles shows a particular propensity to act as the musical vehicle for an uncanny quality. The closer scrutiny of two “programmatic” scherzi (those are the 3rd movement of Mahler’s 2nd Symphony and L’Apprenti sorcier by Dukas) might shed light on the advantages of a genre-oriented approach when musical meaning is concerned.
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Bottez, Alina. "Religion and Cultural Identity in Shakespeare’s Romeo and Juliet and the Musical Works it Inspired." Messages, Sages and Ages 3, no. 1 (2016): 46–59. http://dx.doi.org/10.1515/msas-2016-0005.
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Abstract Protean Shakespeare thrives not only in the theatre, but also through what Bolter and Grusin call remediation. This article analyses the religious stances in the play and then shows how opera, symphony and musical have been adapting the veteran Elizabethan drama since the 18th century. Its main approach is comparative and relies on the history of mentalities. Adaptation is dictated by cultural context, the conventions of the lyrical theatre, social and political factors, and reception. The confusing religious configuration of Shakespeare’s England is reinterpreted kaleidoscopically. The article demonstrates, for instance, that Berlioz and Gounod reread it according to staunch Catholicism in 19th century France, while Bernstein’s West Side Story moves the action to New York in the mid- 50’s, the Capulets and Montagues are replaced with rival Polish and Puerto Rican gangs and religion with cultural identity.
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Rovner, Anton А. "Finland, a Vocal Symphony for Soprano, Tenor and Large Orchestra." ICONI, no. 4 (2020): 100–111. http://dx.doi.org/10.33779/2658-4824.2020.4.100-111.
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My composition Finland is a vocal symphony for soprano, tenor and large orchestra set to the text of the early 19th century Russian Romantic poet Evgeny Baratynsky. The main idea behind this composition involves the combination of two contrasting approaches to musical composition: composing an abstract, independent musical work built on purely musical laws of structure and development and, on the other hand, writing a dramatic, programmatic work, the aim of which is to express emotions, to interpret and depict the subject matter of the literary text. The musical composition consists of six movements, following the poem’s six unequallength stanzas. Each movement is divided into a purely orchestral section and a vocalorchestral section, the latter featuring alternately the solo soprano and tenor. The work is written in the twelve-tone technique and involves references to a late Romantic musical language, emphasis on new textures and sonorities for the orchestra, occasional implications of tonality, and incorporation of serial rhythm in several of the work’s sections. The article gives a short account of Baratynsky’s biography and poetic writings and then proceeds to analyze the composition Finland in terms of both the large-scale structure and the details within the individual movements.
Dissertations / Theses on the topic "Symphony – 19th century"
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Deruchie, Andrew. "The French symphony at the fin de siècle style, culture, and the symphonic tradition /." Thesis, McGill University, 2008. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=115596.
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This dissertation examines the symphony in late nineteenth- and early twentieth-century France by way of individual chapters on the period's seven most influential and frequently performed works: Camille Saint-Saens's Third Symphony (1885-86), Cesar Franck's Symphony in D minor (1887-88), Edouard Lalo's Symphony in G minor (1886), Vincent d'Indy's Symphonie sur un chant montagnard franrcais (1886) and Second Symphony (1902-03), Ernest Chausson's Symphony in B-flat (1890), and Paul Dukas's Symphony in C (1896). Beethoven established the primary paradigm for these works in his Third, Fifth; and Ninth Symphonies, and the principal historical issue I address is how French composers reconciled this paradigm with their own aesthetic priorities within the musical and cultural climate of fin-de-siecle France.<br>Previous critics have viewed this repertoire primarily with limited structuralist methodologies. The results have often been unhappy: all of these symphonies are in some ways formally idiosyncratic and individual, and their non-conforming aspects have tended to puzzle or disappoint. My study draws on recent methods developed by Warren Darcy, Scott Burnham, and others that emphasize the dynamic and teleological qualities of musical form. This more supple approach allows a fuller appreciation of the subtle and sophisticated ways in which individual works unfold formally, and the spectrum of procedures French composers employed.<br>My study demonstrates that the factors shaping the French symphony in this period included imperatives of progress as well as the popularity of the symphonic poem. Some of the earlier symphonists covered in this study also felt the need to confront Wagner's influential theoretical writings: mid -century he had famously proclaimed the death of the symphony. As many writers have argued, the archetypal heroic "plot" that Beethoven's symphonies express embodies the subject-laden values---notions of individual freedom and faith in the self---that prevailed in his time. Different inflections of this plot by French symphonists, I argue, reflect the variegated ways fin-de-siec1e French culture had received these values.
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Cooper, Amy Nicole. "Criticism of Beethoven's Pastoral Symphony in London and Boston, 1819-1874: A Forum for Public Discussion of Musical Topics." Thesis, University of North Texas, 2011. https://digital.library.unt.edu/ark:/67531/metadc103304/.
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Critics who discuss Beethoven’s Pastoral Symphony often write about aspects that run counter to their conception of what a symphony should be, such as this symphony’s static nature and its programmatic elements. In nineteenth-century Boston and London, criticism of the Pastoral Symphony reflects the opinions of a wide range of listeners, as critics variably adopted the views of the intellectual elite and general audience members. As a group, these critics acted as intermediaries between various realms of opinion regarding this piece. Their writing serves as a lens through which we can observe audiences’ acceptance of ideas common in contemporaneous musical thought, including the integrity of the artwork, the glorification of genius, and ideas about meaning in music.
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Callison, Hugh A. "Nineteenth-century orchestral trombone playing in the United States." Virtual Press, 1986. http://liblink.bsu.edu/uhtbin/catkey/474196.
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The nineteenth century was a time of musical and cultural growth in the United States. Six of the major orchestras which exist today were established during this time. From the birth of the New York Philharmonic in 1842 through the founding of the Philadelphia Orchestra in 1900, audiences that valued orchestral music provided an impetus for professional orchestral development.A comprehensive review of the events leading up to the establishment of the New York Philharmonic, Boston Symphony, Chicago Symphony, Cincinnati Symphony, and Philadelphia Orchestras provides a basis for understanding the nature of professional orchestral trombone playing in the United States before 1900. It was found that orchestras were established in a common manner though growth was often retarded by social and economic factors. The Civil War, especially, was an event which momentarily hindered the growth of American symphony orchestras.Biographical data about the orchestral trombone players of the nineteenth century is very incomplete in the standard texts for American music history. A registry of orchestral trombonists in the United States during this period identifies 65 trombone players who were active in major symphony orchestras. An examination of the lives of some of the better-known orchestral trombonists shows that most of these musicians immigrated from Germany. The largest number of these musicians seem to have immigrated during a period from about 1870 to 1900. These capable musicians were leaders in the development of orchestras whose personal performance was reported to be of high quality. Especially influential was Frederick Lesch, a trombonist in the Theodore Thomas Orchestra and the New Philharmonic, who served as a principal player, bass trombonist, and soloist. His performance of Ferdinand David's Concertino for Trombone and orchestra is a landmark in the growth of orchestral trombone playing.A review of literature which includes a listing of all pieces performed by major orchestras during the nineteenth century establishes the repertoire of the orchestral trombonist of the period. Through analysis of this repertoire, the technical requirements for orchestral trombone playing are established. Technique, pitch range, and dynamic range were areas where the greatest demands were made upon the players. The orchestral trombonists of the nineteenth century were indeed pioneers who set the stage for today's orchestral trombone players.
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Venegas, Carro Gabriel Ignacio, and Carro Gabriel Ignacio Venegas. "The Slow Movements of Anton Bruckner's Symphonies: Dialogical Perspectives." Diss., The University of Arizona, 2017. http://hdl.handle.net/10150/626364.
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This study presents a detailed analytical examination of formal organization in Anton Bruckner’s early instrumental slow movements: from the String Quartet, WAB 111, to the Third Symphony, WAB 103. It proposes an analytical methodology and conception of the formative process of musical works that seeks to 1) reappraise the development and idiosyncrasies of his slow movements’ form, and 2) turn the textual multiplicity often associated with Bruckner’s large-scale works (a scholarly issue often referred to as the “Bruckner Problem”) into a Bruckner Potential.
In addressing traditional and innovative formal aspects of Bruckner’s music, critics have tended to overemphasize one side or the other, consequentially portraying his handling of form as either whimsical or excessively schematic. By way of a reconstruction of Bruckner’s early experiments with slow-movement form (1862–1873), this study argues that influential lines of criticism in the reception history of Bruckner’s large-scale forms find little substantiation in the acoustical surface of Bruckner’s music and its dialogic engagement with mid- and late-19th-century generic expectations.
Because the textual multiplicity often associated with Bruckner’s works does not sit comfortably with traditional notions of authenticity and authorship, Bruckner scholarship has operated under aesthetic premises that fail to acknowledge textual multiplicity as a basic trait of his oeuvre. The present study circumvents this shortcoming by conceiving formal-expressive meaning in Bruckner’s symphonies as growing out of a dual-dimensional dialogue comprising 1) an outward dialogue, characterized by the interplay between a given version of a Bruckner symphony and its implied genre (in this case, sonata form); and 2) an inward dialogue, characterized by the interplay among the various individualized realizations of a single Bruckner symphony. The analytical method is exemplified through a detailed consideration of each of the surviving realizations of the slow movement of Bruckner’s Third Symphony, WAB 103.
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Li, Chao (Conductor). "Liszt's Portrayal of Goethe's Faust Using Flat 6th Scale Degree as Harmonic Organizing Principle in the Faust Movement from His Faust Symphony." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1505162/.
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Franz Liszt's Faust Symphony has suffered neglect since its premiere in 1857. The analysis in this study aims to clarify some of the misunderstandings which have led to this neglect, particularly concerning Liszt's formal structure and character portrayal. In the Faust movement, the flat 6th scale degree (♭6) plays a prominent role in harmonic organization. Nineteenth-century composers sometimes used the distinct sonic color of chromatic-third progressions, as Liszt does here between C and E rather than diatonic movement by fifth to evoke a distant dream-world state. Liszt's conspicuous and form-defining use of ♭6 in the Faust movement suggests fantasy and mysterious elements ripe for programmatic interpretation. In this dissertation, I will attempt to clarify how Liszt portrayed the character of Faust by using the flat 6th scale degree as a crucial harmonic organizing principle in the Faust movement.
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White, Jonathan Paul. "The symphonies of Charles Villiers Stanford : constructing a national identity?" Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:6d16fac7-bb70-4ba9-bf0e-17c0a9f26ce5.
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Writing in 2001, musicologist Axel Klein concluded that Stanford’s reception history has been significantly impacted by the complicated national identities surrounding both the composer and his music. A lifelong devotee of the nineteenth-century Austro-Germanic tradition, Stanford’s status as an Irish-born leading figure of the ‘English’ Musical Renaissance has compromised the place that the composer and his musical output occupy within the history of Western music. Stanford is well-known for being an outspoken critic on matters musical and Irish. Although his views seldom appear ambiguous, there is still a sense that the real Stanford remains partially obscured by his opinions. Through an examination of his symphonic works, this thesis seeks to readdress our understanding of Stanford and his relationship with Ireland and the musical community of his time. Although A. Peter Brown has stated that the symphony was not a central genre for the composer, it is my argument that, on the contrary, the symphony was a pivotal form for him. Considering these works within the broader history of the symphony in Europe in the nineteenth century, and through a critical examination of Stanford’s relationship with Ireland, this thesis seeks to demonstrate that these seven works can be read as an allegory for the composer’s relationship both with his homeland and with the musical community of his time. His struggle to combine the universality of symphonic expression with a need to articulate his Irish identity parallels Stanford’s own attempts to integrate himself within both British and European musical communities, and further demonstrates, in his eventual rejection of it, that it was only when he attempted to forge a more individualistic path through his music that he found a way of expressing his individual Irish identity.
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Boulan, Muriel. "La Symphonie française entre 1830 et 1870." Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040107.
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Lorsque l’on évoque la symphonie en France au milieu du XIXe siècle, on ne retient généralement que le nom de Berlioz et l’on insiste sur une désaffection du genre tant de la part des compositeurs que du public. Pourtant, malgré un recul des créations, malgré le défi posé par l’héritage beethovénien et alors même que le contexte musical favorise principalement la scène lyrique, une soixantaine de compositeurs continuent à s’intéresser au domaine exclusivement instrumental de la symphonie et assurent le maintien d’un genre entre 1830 et la génération franckiste. Au-delà de son aspect historique, cette thèse vise à cerner les caractéristiques stylistiques de tout un ensemble d’œuvres, à les situer dans l’évolution d’un genre en les analysant à la fois par rapport aux normes viennoises, aux productions contemporaines germaniques et aux avancées plus générales du langage. Après une première partie centrée sur le contexte musical qui a vu naître ces symphonies, les enjeux pédagogiques qu’elles suscitent et le rôle décisif des sociétés orchestrales, l’analyse entre au cœur des partitions dans une démarche comparative à la fois quantitative et qualitative, depuis l’agencement interne des plus petits éléments musicaux jusqu’à la réalisation de la grande forme. À travers l’observation des pratiques globales et individuelles qui concourent à une réévaluation des normes, à la refonte ponctuelle mais progressive des cadres, se dégagent l’autonomie d’un genre par rapport à son modèle germanique et la permanence d’une école symphonique française tout au long du XIXe siècle<br>When one deals with the symphony in mid-19th century France only the name of Berlioz comes to mind and one emphasizes a disaffection for the genre among composers as well as audiences. However, despite fewer creations, despite the awe-inspiring Beethovenian legacy and despite the overwhelming place held by the operatic scene during those decades, some sixty composers around Hector Berlioz still devoted themselves to the purely instrumental genre and achieved the development of the symphony between 1830 and the Franckist generation. Beyond its historical relevance, this doctoral dissertation aims at defining the stylistic features of a corpus of symphonic works and at placing them in the evolution of the genre by analyzing them in relation to Viennese standards, to contemporary Germanic productions and to the more general innovations in the musical language. After first focusing on the musical context in which these symphonies were composed, on the pedagogic stakes entailed and on the decisive role of orchestral societies, the analysis will then closely examine the scores in a quantitative and qualitative comparative approach moving from the internal construction of the smallest musical elements to the completion of the large form. The autonomy of a genre distinct from its Germanic model and the permanence of a French symphonic school throughout the 19th century will emerge thanks to the observation of collective and individual practices which contributed to a reassessment of norms, to a selective but gradual revision of musical forms
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Mulvey, Margaret N. "The School Fugue: Its Place in the Organ Repertoire of the French Symphonic School, a Lecture Recital, Together with Three Recitals of Selected Works of J.S. Bach, D. Buxtehude, C. Franck, P. Eben, F. Mendelssohn, R. Schumann, M. Reger and Others." Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc278639/.
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This study focuses on the central role which fugue d'ecole, as defined and taught by the post-revolutionary Conservatoire de Paris, played in re-establishing standards of excellence in organ composition and aiding the development of the French Symphonic Organ School. An examination of counterpoint and fugue treatises by Cherubini, Dubois, and Gedalge reveals the emergence of a specific school fugue form, intended for academic purposes only, as a means to instilling discipline and honing the technical skills required in all forms of musical composition.
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St, Pierre Kelly M. "Revolutionizing Czechness: Smetana and Propaganda in the Umělecká Beseda." Case Western Reserve University School of Graduate Studies / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=case1333472822.
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Buck, Allison. "An investigation of the influence of central Italian folk music on composers' use of bassoon in select symphonic and large chamber works of the nineteenth century." 2013. http://liblink.bsu.edu/uhtbin/catkey/1738074.
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This study has investigated the influence of Central Italian folk music in select
compositions of Ottorino Respighi, Peter Tchaikovsky, Felix Mendelssohn, and Jean
Sibelius. Through the titles of these pieces, one can infer that they were influenced by the
composer living in Italy, or visiting, on holiday. This study also includes a brief history of
the serenade, from the traditional Italian folk practice to Antonín Dvořák’s treatment of
the more modern 19th-century genre. A review of the evolution of the state of
ethnomusicology in Italy, including discussion of art and folk-music instruments, poetry,
carnevale, and processions within the region of Italy is included. Further, I provide
information on tonal and instrumental characteristics and specific folk dances to aid in
the investigation of the treatment of folk melodies within 19th-century pieces. The result
of this research not only provides a more accurate interpretation of stylistic issues when
19th-century works containing Italian folk-music attributes are performed, but also the
knowledge that the title of a piece does not necessarily indicate a musical significance.
Some works exhibit a direct musical influence while others are “Italian” in name only.<br>School of Music
Books on the topic "Symphony – 19th century"
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Bonds, Mark Evan. After Beethoven: Imperatives of originality in the symphony. Harvard University Press, 1996.
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Symphonic and Chamber Music Score and Parts Bank (City University of New York). Symphonic and Chamber Music Score and Parts Bank thematic catalogue of the Barry S. Brook Facsimile Archive of 18th and early 19th Century Autographs, Manuscripts, and Printed Copies at the Ph.D. Program in Music of the Graduate School of the City University of New York. Pendragon Press, 1996.
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Stedman. Symphony 19th Century: A Research and Information Guide. Taylor & Francis, 1996.
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Floros, Constantin. Gustav Mahler and the Symphony of the 19th Century. Lang Publishing, Incorporated, Peter, 2014.
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Bonds, Mark Evan. After Beethoven: The Imperative of Originality in the Symphony. Harvard University Press, 1996.
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After Beethoven: The Imperative of Originality in the Symphony. Harvard University Press, 1997.
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Bonds, Mark Evan. After Beethoven: The Imperative of Originality in the Symphony. Harvard University Press, 2013.
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Gustav Mahler and the Symphony of the 19th Century: Translated by Neil K. Moran. Lang GmbH, Internationaler Verlag der Wissenschaften, Peter, 2014.
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The Symphonic Repertoire: Volume 2. The First Golden Age of the Viennese Symphony: Haydn, Mozart, Beethoven, and Schubert. Indiana University Press, 2002.
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Smith, Steven C. "Elegant Revolutions." In Music by Max Steiner. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190623272.003.0001.
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This chapter focuses on the theatrical and musical dynasty into which Steiner was born. It begins by introducing his father, Gabor, a visionary entrepreneur honored by Emperor Franz Joseph. Gabor created one of Austria’s most popular attractions of the late 19th century: Venice in Vienna, an amusement emporium a third the size of Buckingham Palace. Its centerpiece, the Riesenrad (Ferris Wheel), remains one of Vienna’s most iconic attractions. Gabor’s father, Maximilian, was an influential theater manager who did much to launch the era of Viennese operetta. It was Maximilian who convinced Johann Strauss Jr. to write for the stage, leading to such enduring works as Die Fledermaus. In this chapter, we see how the Steiner family’s championing of both “high” and “low” culture profoundly shaped Max, who later combined symphonic forms with accessible melodies in his own musical language.