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Articoli di riviste sul tema "Music Germany History and criticism"

Autore: Grafiati

Pubblicato: 4 giugno 2021

Ultima modifica: 19 febbraio 2022

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1

Fay, Brendan. "Conservative Music Criticism, the Inflation, and Concert Life in Weimar Germany, 1919–1924." Cultural History 6, no. 2 (October 2017): 141–63. http://dx.doi.org/10.3366/cult.2017.0147.

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In surveying the thirteen crisis-ridden years that Weimar democracy endured from its founding in 1919, perhaps none loom as large as the hyperinflation years spanning 1922–1923. According to many historians, the ‘Great Disorder’ not only destroyed the bonds between different social classes but also shattered Germans’ faith in and commitment to Weimar democracy. At the same time, Germany's cultural conservatives found themselves weathering a ‘cultural crisis’ brought on by the combined forces of artistic and technological innovation. In this article, I argue that our sense of Weimar's crises ha

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2

Majer-Bobetko, Sanja. "Between music and ideologies: Croatian music criticism from the beginning to World War II." Muzyka 63, no. 4 (December 31, 2018): 55–64. http://dx.doi.org/10.36744/m.344.

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As the Croatian lands were exposed to often aggressive Austrian, Hungarian, and Italian politics until WWI and in some regions even later, so Croatian music criticism was written in the Croatian, German and Italian languages. To the best of our knowledge, the history of Croatian music criticism began in 1826 in the literary and entertainment journal Luna, and was written by an anonymous author in the German language.A forum for Croatian language music criticism was opened in Novine Horvatzke, i.e. in its literary supplement Danica horvatska, slavonska i dalmatinska in 1835, which officially st

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3

Gordon, Bonnie. "The Secret of the Secret Chromatic Art." Journal of Musicology 28, no. 3 (2011): 325–67. http://dx.doi.org/10.1525/jm.2011.28.3.325.

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In 1946, just after emigrating from Nazi Germany via the Netherlands and Cuba to the United States, Edward Lowinsky published The Secret Chromatic Art in the Netherlands Motet. He posited a system of chromatic modulations through musica ficta in sixteenth-century Netherlandish polyphony circulated by clandestine heretic societies during the period of religious struggle in the Low Countries. According to Lowinsky, in the second half of the century a small contingent of northern musicians with radical Protestant sympathies wrote pieces that appeared on the surface to set texts and use diatonic m

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4

Carrasco, Clare. "The Unlike Pair." Journal of Musicology 37, no. 2 (2020): 158–96. http://dx.doi.org/10.1525/jm.2020.37.2.158.

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Between 1919 and 1923 Arnold Schoenberg’s Chamber Symphony, op. 9 (1906) and Franz Schreker’s Chamber Symphony (1916) were repeatedly programmed together on public concerts in Germany. Critics reviewing these and other postwar performances often framed the two works in a distinctive and, by today’s standards, surprising way: they aligned Schoenberg’s Chamber Symphony with an “expressionist” and Schreker’s Chamber Symphony with an “impressionist” musical aesthetic. With roots in prewar German critical and historical writing, impressionism and expressionism functioned as multifaceted, contextual

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5

Milne, Drew. "Cheerful History: the Political Theatre of John McGrath." New Theatre Quarterly 18, no. 4 (November 2002): 313–24. http://dx.doi.org/10.1017/s0266464x02000428.

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In this essay, Drew Milne suggests affinities between the dramatization of history in the work of John McGrath and Karl Marx. He shows how both Marx and McGrath refused to mourn the histories of Germany and Scotland as tragedies, but that differences emerge in the politics of McGrath's radical populism – differences apparent in McGrath's use of music, historical quotation, and direct address. McGrath's layered theatricality engages audience sympathies in ways that emphasize awkward parallels between modern and pre-modern Scotland, and this can lead to unreconciled tensions between nationalism

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6

Vasic, Aleksandar. "Engagement in musical criticism: Pavle Stefanovic’s texts in The Music Herald (1938-1940)." Muzikologija, no. 27 (2019): 203–20. http://dx.doi.org/10.2298/muz1927203v.

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Pavle Stefanovic (1901-1985) is one of the most prominent Serbian music critics and essayists. He created extensive musicographic work, largely scattered in periodicals. A philosopher by education, he had an excellent knowledge of music and its history. His style was marked by eloquence, associativity and plasticity of expression. Between 1938 and 1940 he published eighteen music reviews in The Music Herald, the longest-running Belgrade music magazine in the interwar period (1928-1941, with interruption from 1934 to 1938). Stefanovic wrote about concerts, opera and ballet performances in Belgr

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7

Saloman, Ora Frishberg. "Continental and English Foundations of J. S. Dwight's Early American Criticism of Beethoven's Ninth Symphony." Journal of the Royal Musical Association 119, no. 2 (1994): 251–67. http://dx.doi.org/10.1093/jrma/119.2.251.

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The reception history of Ludwig van Beethoven's symphonies in America offers striking evidence of multiple, previously unidentified, Continental and English connections to the musical thought of John Sullivan Dwight (1813–93), the first American-born critic of art music, and therefore to early American conceptions of the symphony in the 1840s. These direct links illuminate the history and criticism of the first performance in America of Beethoven's Symphony no. 9 in D minor, op. 125, which took place in New York in 1846. From the many sources associated with Dwight's musical learning and aesth

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8

BERNSTEIN, LAWRENCE F. "““Singende Seele”” or ““unsingbar””? Forkel, Ambros, and the Forces behind the Ockeghem Reception during the Late 18th and 19th Centuries." Journal of Musicology 23, no. 1 (January 1, 2006): 3–61. http://dx.doi.org/10.1525/jm.2006.23.1.3.

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ABSTRACT In 1868, Wilhelm Ambros lauded a number of compositions by Johannes Ockeghem, including the triple canon Prenez sur moy. Emphasizing the expressive qualities of this music, he suggested that its composer had breathed into it a ““singing soul.”” Some decades earlier, Johann Forkel also focused on Prenez sur moy, dismissing it, however, as ““unsingable.”” The present study examines the cultural and intellectual forces that gave rise to these strikingly contradictory assessments. Enlightenment historians are generally thought to have charted the flow of history according to a progressive

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9

Weitz, Shaena B. "Propaganda and Reception in Nineteenth-Century Music Criticism: Maurice Schlesinger, Henri Herz, and the Gazette musicale." 19th-Century Music 43, no. 1 (2019): 38–60. http://dx.doi.org/10.1525/ncm.2019.43.1.38.

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In the mid-1830s, Henri Herz (1803–88) was an internationally renowned pianist, but his reputation today, for the most part, is that of a second-rate musician who wrote trivial variations on opera themes. This enduring picture of Herz was painted first in France in 1834 by the Gazette musicale. The Gazette’s campaign has been understood by modern scholars as a conspicuous moment in a broad aesthetic shift away from French salon music and toward high German Romanticism, and the Gazette has garnered praise for its prescience. But a closer examination of the Gazette’s articles, the events surroun

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10

Watkins, Holly. "From the Mine to the Shrine: The Critical Origins of Musical Depth." 19th-Century Music 27, no. 3 (2004): 179–207. http://dx.doi.org/10.1525/ncm.2004.27.3.179.

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In recent years, the analytical concept of structural depth has been subjected to intense critical scrutiny. But amid debates over the relative merit of depth- and surface-oriented modes of listening and analysis, surprisingly little attention has been devoted to the history of the two terms in music journalism. Focusing on the period around 1800, this article examines the entry of the term "depth" into German literature on music and explores the metaphorÕs diverse, even contradictory, meanings. Writers like Wilhelm Heinrich Wackenroder and E. T. A. Hoffmann endorsed the idea, prominent in Ger

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11

Farkas, Márton. "Lukács in Self-Translation: The Necessity of Contingency in The Soul and the Forms." October 161 (August 2017): 23–41. http://dx.doi.org/10.1162/octo_a_00302.

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A series of meditations on history and criticism, György Lukács's The Soul and the Forms appeared first in Hungarian in 1910 and then in German in 1911—arguably having been translated by the author himself, as a work of mourning. Despite renewed interest in the work, English-language editions have been taken from the German translation and barely consider the Hungarian version. This essay argues that an exemplary skirmish takes place in translation between the Hungarian and the German texts, as Lukács shifts from an Epicurean-Lucretian to a Stoicist view of causality. Not unlike in the early n

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12

Lee, Deborah. "Hornbostel-Sachs Classification of Musical Instruments." KNOWLEDGE ORGANIZATION 47, no. 1 (2020): 72. http://dx.doi.org/10.5771/0943-7444-2020-1-72.

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This paper discusses the Hornbostel-Sachs Classification of Musical Instruments. This classification system was originally designed for musical instruments and books about instruments, and was first published in German in 1914. Hornbostel-Sachs has dominated organological discourse and practice since its creation, and this article analyses the scheme’s context, background, versions and impact. The position of Hornbostel-Sachs in the history and development of instrument classification is explored. This is followed by a detailed analysis of the mechanics of the scheme, including its decimal not

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13

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

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14

Krabbe, Niels. "Paul von Klenau og hans niende symfoni. Kilderne, værket, receptionen." Fund og Forskning i Det Kongelige Biblioteks Samlinger 53 (March 2, 2014): 229. http://dx.doi.org/10.7146/fof.v53i0.118851.

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Niels Krabbe: Paul von Klenau and his ninth Symphony – the sources, the work, the reception In 2001, the Royal Library learned about a comprehensive private collection in Vienna that contained music, letters and lecture manuscripts, photographs and other archive materials of the Danish composer Paul von Klenau (1883–1946). A preliminary survey of the collection revealed that the contents included a number of music manuscripts (symphonies, chamber music concerts and more), which were not known from the rest of the library’s major collection of Klenau works. The collection’s greatest and m

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15

Manuwald, Gesine. "Nero and Octavia in Baroque Opera: Their Fate in Monteverdi's Poppea and Keiser's Octavia." Ramus 34, no. 2 (2005): 152–66. http://dx.doi.org/10.1017/s0048671x00000990.

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The imperial history playOctavia, transmitted among the corpus of Senecan drama, has suffered from uncertainty about its date, author, literary genre and intended audience as regards its appreciation in modern criticism. Although the majority of scholars will agree nowadays that the play was not written by Seneca himself, there is still a certain degree of disagreement about its literary genre and date. Anyway, such scholarly quibbles seem not to have affected poets and composers in the early modern era: they recognised the high dramatic potential of the story of Nero and his love relationship

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16

Macenka, S. Р. "Literary Portrait of Fanny HenselMendelssohn (in Peter Härtling’s novel “Dearest Fenchel! The Life of Fanny Hensel‑Mendelssohn in Etudes and Intermezzi”)." Aspects of Historical Musicology 17, no. 17 (September 15, 2019): 195–212. http://dx.doi.org/10.34064/khnum2-17.13.

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Background. Numerous research conferences and scholarly papers show increased interest in the creativity of German composer, pianist and singer of the 19th century Fanny Hensel-Mendelssohn. What is particularly noticeable is that her life and creativity are subject of non-scholarly discussion. Writers of biographical works are profoundly interested in the personality of this talented artist, as it gives them material for the discussion of a whole range of issues, in particular those pertaining to the phenomena of female creativity, new concepts of music and history of music with emphasis on it

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17

Ignatova, Irina, and Elena Zubarkina. "Media Criticism in Germany: History and Theory." Theoretical and Practical Issues of Journalism 8, no. 3 (July 16, 2019): 512–23. http://dx.doi.org/10.17150/2308-6203.2019.8(3).512-523.

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The article is dedicated to the study of the history and theory of media criticism in Germany and the importance of the phenomenon of media criticism for the development and successful functioning of the mass media in German-speaking countries. The theoretical preconditions for the development of media criticism in Germany and its historical stages play an important role in understanding the modern institution of media criticism and the mechanisms of its impact on the recipient. Media criticism has existed since the media themselves appeared, and the existence and emergence of new media is alw

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18

Botstein, Leon. "On Criticism and History." Musical Quarterly 79, no. 1 (1995): 1–5. http://dx.doi.org/10.1093/mq/79.1.1.

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19

McManus, Laurie. "Feminist Revolutionary Music Criticism and Wagner Reception." 19th-Century Music 37, no. 3 (2014): 161–87. http://dx.doi.org/10.1525/ncm.2014.37.3.161.

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Abstract Histories of progressive musical politics in mid-nineteenth-century Germany often center on the writings of Richard Wagner and Franz Brendel, relegating contributors such as the feminist and author Louise Otto (1819–95) to the periphery. However, Otto's lifelong engagement with music, including her two librettos, two essay collections on the arts, and numerous articles and feuilletons, demonstrates how one contemporary woman considered the progressive movements in music and in women's rights to be interrelated. A staunch advocate of Wagner, Otto contributed to numerous music journals,

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20

Kok, Roe-Min. "Schumann's Virtuosity: Criticism, Composition, and Performance in Nineteenth-Century Germany, by Alexander Stefaniak." Journal of the American Musicological Society 73, no. 1 (2020): 183–87. http://dx.doi.org/10.1525/jams.2020.73.1.183.

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21

Botstein, L. "Witnessing Music: The Consequences of History and Criticism." Musical Quarterly 94, no. 1-2 (March 1, 2011): 1–8. http://dx.doi.org/10.1093/musqtl/gdr001.

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22

Radice, Mark A. "Reader's Guide to Music: History, Theory, Criticism (review)." Notes 58, no. 1 (2001): 66. http://dx.doi.org/10.1353/not.2001.0165.

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23

Reinhart, M. "Editing Music in Early Modern Germany." German History 27, no. 4 (October 1, 2009): 603–4. http://dx.doi.org/10.1093/gerhis/ghp072.

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24

Hurley, Andrew Wright. "Soundtracking Germany: Popular Music and National Identity." German History 37, no. 3 (May 20, 2019): 449–50. http://dx.doi.org/10.1093/gerhis/ghz030.

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25

Parakilas, James. "The Afterlife of Don Giovanni: Turning Production History into Criticism." Journal of Musicology 8, no. 2 (1990): 251–65. http://dx.doi.org/10.2307/763570.

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26

Parakilas, James. "The Afterlife of Don Giovanni: Turning Production History into Criticism." Journal of Musicology 8, no. 2 (April 1990): 251–65. http://dx.doi.org/10.1525/jm.1990.8.2.03a00040.

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27

Pritchard, Matthew. "The Cambridge History of Music Criticism. Ed. by Christopher Dingle." Music and Letters 101, no. 4 (November 1, 2020): 785–88. http://dx.doi.org/10.1093/ml/gcaa068.

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van Elferen, Isabella. "East German Goth and the Spectres of Marx." Popular Music 30, no. 1 (January 2011): 89–103. http://dx.doi.org/10.1017/s0261143010000693.

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AbstractThe East of Germany, the Bundesländer of the former GDR, is an important centre of Goth activity. The Goth scene is remarkably large in this part of Germany, and one of the most important yearly Goth festivals, the Wave-Gotik-Treffen, takes place in Leipzig. This article investigates the specific characteristics and internal dynamics of East German Goth subcultures after German reunification. Combining subcultural theory and Gothic criticism with Derrida's notions of spectrality and hauntology, the potentials of Gothic as a form of cultural criticism are explored in an investigation of

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29

Flynn, W. "Music Scholasticism and Reform: Salian Germany, 1024-1125." German History 28, no. 4 (June 17, 2010): 572–73. http://dx.doi.org/10.1093/gerhis/ghq049.

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30

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

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31

Knyt, Erinn. "Schumann's Virtuosity: Criticism, Composition, and Performance in Nineteenth-Century Germany by Alexander Stefaniak." Notes 75, no. 1 (2018): 86–89. http://dx.doi.org/10.1353/not.2018.0073.

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32

van den BERG, JAN. "English Deism and Germany: The Thomas Morgan controversy." Journal of Ecclesiastical History 59, no. 1 (January 2008): 48–61. http://dx.doi.org/10.1017/s0022046907002278.

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The work of the English Deist Thomas Morgan (d. 1743), a Marcion in his time, received much negative criticism in England and abroad, especially in Germany. His views aroused comments in books, dissertations and journals. Only in the first half of the twentieth century was he to be praised by theologians such as Adolf von Harnack and Emanuel Hirsch, who likewise disparaged the Old Testament.

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33

Klessmann, Christoph, and Martin Sabrow. "Contemporary History in Germany after 1989." Contemporary European History 6, no. 2 (July 1997): 219–43. http://dx.doi.org/10.1017/s0960777300004549.

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In 1953 Hans Rothfels gave a definition of what he understood as contemporary history which rapidly became a classic: ‘the era of those living and its treatment by academics’. In so doing he opened up a field of enquiry to historical scholarship in Germany which had had a long tradition, but which had been almost completely excluded from the discipline since the nineteenth century. In 1821 Wilhelm von Humboldt had declared that ‘chronicling the present’ furnished the ‘necessary basis of history’, but was not ‘history itself’. This paved the way for criticism which, with Leopold von Ranke, incr

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Kramer, Elizabeth. "The Beethoven Violin Sonatas: History, Criticism, Performance (review)." Notes 62, no. 1 (2005): 114–16. http://dx.doi.org/10.1353/not.2005.0098.

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Reith, Louis J., and Roger Kuin. "Chamber Music: Elizabethan Sonnet-Sequences and the Pleasure of Criticism." Sixteenth Century Journal 32, no. 1 (2001): 305. http://dx.doi.org/10.2307/2671499.

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Whaley, J. "Sovereign Feminine: Music and Gender in Eighteenth-Century Germany." German History 32, no. 1 (October 24, 2013): 135–36. http://dx.doi.org/10.1093/gerhis/ght087.

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Wipplinger, Jonathan. "A People’s Music: Jazz in East Germany, 1945–1990." German History 39, no. 2 (April 19, 2021): 325–27. http://dx.doi.org/10.1093/gerhis/ghab018.

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Dickinson, Peter. "Review: Maestros of the Pen: A History of Classical Music Criticism in America." Music and Letters 83, no. 4 (November 1, 2002): 631–34. http://dx.doi.org/10.1093/ml/83.4.631.

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Thacker, T. "New Music, New Allies: American Experimental Music in West Germany from Zero Hour to Reunification." German History 27, no. 4 (October 1, 2009): 627–28. http://dx.doi.org/10.1093/gerhis/ghp065.

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Heller, George N., and Mark N. Grant. "Maestros of the Pen: A History of Classical Music Criticism in America." History of Education Quarterly 39, no. 2 (1999): 212. http://dx.doi.org/10.2307/370046.

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Harrán, Don. "Elegance as a Concept in Sixteenth-Century Music Criticism*." Renaissance Quarterly 41, no. 3 (1988): 413–38. http://dx.doi.org/10.2307/2861755.

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”… et vere sciunt cantilenas ornare, in ipsis omnes omnium affectus exprimere, et quod in Musico summum est, et elegantissimum vident … “Adrian Coclico, Compendium musices (1552)The notion of music as a form of speech is a commonplace. Without arguing the difficult questions whether music is patterned after speech or itself constitutes its own language, it should be remembered that the main vocabulary for describing the structure and content of music has been drawn from the artes dicendi. The present report deals with a small, but significant part of this vocabulary: the term elegance along wi

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Frost, Charlotte. "Digital Critics: The Early History of Online Art Criticism." Leonardo 52, no. 1 (February 2019): 37–43. http://dx.doi.org/10.1162/leon_a_01379.

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Art critic Jerry Saltz is regarded as a pioneer of online art criticism by the mainstream press, yet the Internet has been used as a platform for art discussion for over 30 years. There have been studies of independent print-based arts publishing, online art production and electronic literature, but there have been no histories of online art criticism. In this article, the author provides an account of the first wave of online art criticism (1980–1995) to document this history and prepare the way for thorough evaluations of the changing form of art criticism after the Internet.

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Kater, Michael H. "New Music, New Allies: American Experimental Music in West Germany from the Zero Hour to Reunification." Central European History 40, no. 3 (August 20, 2007): 579–80. http://dx.doi.org/10.1017/s0008938907001008.

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Neu, Tim. "Rhetoric and Representation: Reassessing Territorial Diets in Early Modern Germany." Central European History 43, no. 1 (March 2010): 1–24. http://dx.doi.org/10.1017/s0008938909991312.

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The representative form of government is in a somewhat difficult situation today. Ever since Jean-Jacques Rousseau judged in 1762 that “à l'instant qu'un Peuple se donne des Réprésentans, il n'est plus libre, il n'est plus,” representative government has been exposed to a steady stream of harsh criticism. The number of critics eventually increased to include Marxists, communitarians, and radical democrats. On the other hand, it is a matter of fact that over the last decades, representative systems were developed in, or at least formally adopted by, the vast majority of nations. For example, mo

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Cohen, A. S. "Music, Scholasticism and Reform: Salian Germany, 1024-1125, by T.J.H. McCarthy." English Historical Review CXXVI, no. 518 (January 29, 2011): 122–24. http://dx.doi.org/10.1093/ehr/ceq414.

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Branscombe, P. "E. T. A. Hoffmann's Musical Writings: 'Kreisleriana', 'The Poet and the Composer', Music Criticism." German History 10, no. 2 (January 1, 1992): 248–50. http://dx.doi.org/10.1093/gh/10.2.248.

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Van Nes, Jermo. "On the Origin of the Pastorals' Authenticity Criticism: A ‘New’ Perspective." New Testament Studies 62, no. 2 (February 29, 2016): 315–20. http://dx.doi.org/10.1017/s002868851500051x.

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It is generally agreed among contemporary scholars that the modern critique of the authorship claim of the New Testament letters addressed to Timothy and Titus originated in early nineteenth-century Germany with the studies of Schmidt and Schleiermacher on 1 Timothy. However, a late eighteenth-century study by the British clergyman Edward Evanson challenges this consensus as it proves Titus to have been suspect of pseudonymity before. This ‘new’ perspective found in Evanson's neglected source also nuances the common assumption that from its very beginnings the critical campaign against the let

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Zuk, Patrick. "Words for music perhaps? Irishness, criticism and the art tradition." Irish Studies Review 12, no. 1 (April 2004): 11–29. http://dx.doi.org/10.1080/0967088042000192086.

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Bukvic, Rajko. "Criticism of traditional chronology: How long will Scaliger survive?" Zbornik Matice srpske za drustvene nauke, no. 118-119 (2005): 257–312. http://dx.doi.org/10.2298/zmsdn0519257b.

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The paper considers the problems of current state and survival of traditional chronology and history based upon the Scaliger and Petavius books from XVI and XVII centuries. Among many approaches that insist on the need of examination of that chronology, developed at first in Russia, but also in Germany, England, USA and other countries, author focuses to the investigation of Fomenko and his collaborators, but also the Khronotron group. Both these groups, like many others critics of current chronology, as their inspirators and predecessors mark Newton and Morozov, two great scientists who durin

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Unger-Alvi, Simon. "Public Criticism and Private Consent: Protestant Journalism between Theology and Nazism, 1920–1960." Central European History 53, no. 1 (March 2020): 94–119. http://dx.doi.org/10.1017/s000893891900092x.

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AbstractBy retracing the history of the Protestant journal Eckart, this article examines a theological forum in which supporters and opponents of the Nazi movement came into direct contact. Specifically, the article evaluates political ambiguities among religious authors, who had openly rejected Nazism from the 1920s onward but would feel compelled by theological considerations to remain loyal to the regime after 1933. Analyzing contemporary discussions of the Protestant Two Kingdoms Doctrine, for example, puts historiographical distinctions between “resistance” and “collaboration” into questi

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