The Cambridge history of nineteenth-century music / edited by Jim Samson.

AUTOR: Jim Samson
ISBN: 0521590175
EDITOR: Cambridge University Press
IDIOMA: eng
PÁGINAS: XV, 772
AÑO: 2001

 
 
RESUMEN

This comprehensive overview of music in the nineteenth century draws on the most recent scholarship in the field. It avoids mere repertory surveys, focusing instead on issues which illuminate the subject in novel and interesting ways. The book is divided into two parts (1800-1850 and 1850-1900), each of which approaches the major repertory of the period by way of essays investigating the intellectual and socio-political history of the time. The music itself - including popular repertories - is discussed in five central chapters within each part, amplified by essays on topics such as nationalism, genius, and the emergent concept of an avant garde. The book concludes with an examination of musical styles and languages around the turn of the century. The addition of a detailed chronology and extensive glossaries makes this the most informed reference book on nineteenth-century music currently available.
 
INDICE

PART ONE 1800 ... 1850 -- 1 The musical work and nineteenth-century history -- Compositional and contextual histories -- Then and now -- The structures of history -- Bibliography -- 2 Music and the rise of aesthetics -- Music, rhetoric and representation -- Music and the sources of Romantic aesthetics -- Music in German Idealist philosophy: feeling' and mediation' (1) -- Music in German Romantic philosophy: feeling' and mediation' (2) -- Music, theology and the will -- Bibliography -- 3 The profession of music -- PART I CONTEXTS -- PART II THE PROFESSIONS -- 4 The opera industry -- Introduction -- Imperial opera (1800...1814) -- Rossini fever (1814...1830) -- Cross-currents (1830...1850) -- Bibliography -- 5 The construction of Beethoven -- Beethoven vs. Beethoven' -- Beethoven 1770...1802: pianist-composer -- Beethoven 1802...1827: composer -- Discussions of Beethoven's style, 1810...1852 -- Bibliography -- 6 Music and the poetic -- Sacred vocal music -- Song -- German song; ballads; Schubert and Loewe -- Song cycles: Schubert and Schumann -- French song -- Poetic instrumental music -- Use of dance measures -- Piano cycles -- Instrumental narrative: ballade, symphony and overture -- Bibliography -- 7 The invention of tradition -- An imagined past -- Envisioning a present -- Bibliography -- 8 Choral music -- The decline of traditional choral foundations -- Towards a new choral culture -- Social developments and their relation to choral practice -- Revolution, restoration and continuity -- The role of the composer and the special case of Mendelssohn -- The St Matthew Passion revival -- New conceptions of religion -- Bibliography -- 9 The consumption of music -- Social background -- Musical taste -- Folk music -- Music in private -- The dissemination of music -- Dance -- A note on community music -- Bibliography -- 10 The great composer -- On canons and spearheads -- Models of greatness -- The culture industry -- Bibliography -- PART TWO 1850 ... 1900 -- 11 Progress, modernity and the concept of an avant-garde -- Progress: theories and discontents -- Liszt as forerunner of the avant-garde -- The French models of Liszt's early writings -- Liszt, Idealism and reform -- Franz Brendel and progress -- Liszt's Weimar aesthetic -- Symphony and symphonic poem: programmes and prefaces -- The New German chool': goals and divisions -- Liszt and Wagner: avant-garde and modernism -- Bibliography -- 12 Music as ideal: the aesthetics of autonomy -- Autonomy, expression and the decline of Romanticism -- 1848: revolution, disenchantment and the retreat into inwardness -- The aesthetics of feeling: chopenhauer and Nietzsche -- The aesthetics of form: Hanslick and Nietzsche -- Symbolism, l'art pour l'art, and the triumph of the aesthetics of autonomy -- Bibliography -- 13 The structures of musical life -- The rhythms of urban musical life -- Repertory and canon -- Elitism and exclusion