Nineteenth-Century Music Review最新文献

IF 0.3 3区艺术学

Nineteenth-Century Music Review Pub Date : 2024-04-17 DOI: 10.1017/s1479409824000065

David Larkin

{"title":"Richard Strauss Online","authors":"David Larkin","doi":"10.1017/s1479409824000065","DOIUrl":"https://doi.org/10.1017/s1479409824000065","url":null,"abstract":"In an era when historical statues can be toppled and reputations smashed, critical editions remain one of the more durable monuments to the significance of a composer. Initiated by the nineteenth-century Bach-Gesellschaft and Händel-Gesellschaft editions, the practice of trying to produce a ‘correct’ text of the complete musical works of a single composer reached its apogee in the decades after World War II, leading to marquee projects like the Neue Bach-Ausgabe (1954–2007) and the Neue Mozart-Ausgabe (1955–91). So pervasive was edition-making in this era that it led Joseph Kerman to complain ‘there is something wrong with a discipline that spends (or spent) so much more of its time establishing texts than thinking about the texts thus established’. But despite such criticisms and amid the proliferation of alternative forms of musicological research in the last 40 years or so, the making of critical editions has continued, with new projects taking in figures such as Janáček (1978–), Verdi (1983–), Donizetti (1989–) and Bartók (2016–), among many others. Even if it may be nowhere near as dominant a part of musicological endeavour as it once was, edition-making has survived, a tacit refutation of the challenges that the canon has met with.","PeriodicalId":41351,"journal":{"name":"Nineteenth-Century Music Review","volume":"29 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2024-04-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140615400","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Nineteenth-Century Women in Music: MuGI, Sophie Drinker, Art Song Augmented and BID 十九世纪音乐中的女性：MuGI、苏菲-德林克、艺术歌曲增强版和 BID

IF 0.3 3区艺术学

Nineteenth-Century Music Review Pub Date : 2024-04-02 DOI: 10.1017/s147940982400003x

Chanda VanderHart

引用次数: 0

Letting the Lark Ascend: Vaughan Williams's ‘Most Popular Work’ and the Limits of Revisionism 让云雀升空沃恩-威廉斯的 "最受欢迎作品 "与修正主义的局限性

IF 0.3 3区艺术学

Nineteenth-Century Music Review Pub Date : 2024-03-05 DOI: 10.1017/s1479409824000028

Ryan Ross

{"title":"Letting the Lark Ascend: Vaughan Williams's ‘Most Popular Work’ and the Limits of Revisionism","authors":"Ryan Ross","doi":"10.1017/s1479409824000028","DOIUrl":"https://doi.org/10.1017/s1479409824000028","url":null,"abstract":"Ralph Vaughan Williams's The Lark Ascending is a perennial favourite in the British classical music radio station Classic FM's ‘Hall of Fame’ poll. In spite of its apparent popularity, however, the work sits uncomfortably with the way revisionist critics and scholars have wanted to portray the composer. As an escapist piece of English musical pastoralism, The Lark undermines their preferred view of Vaughan Williams as a progressive or even ‘modernist’ participant in his artistic milieu. To combat this image, some critics and musicologists have argued for complex, harder-edged interpretations of the work that have little to no basis in the music's primary source materials or the composer's stated priorities in his own writings. Such emphases reflect a problem in recent revisionist literature, wherein traditionalist, nationalist, or Romantic aspects of Vaughan Williams's music are excessively downplayed (or re-situated) in favour of arguments that better support elite sensibilities. As a work consisting of accessible, melody-centric music, and following from a poem excerpt suggesting an idyllic scene, The Lark serves as a bulwark against revisionist overreach and a check against over-emphasis on trendy priorities.","PeriodicalId":41351,"journal":{"name":"Nineteenth-Century Music Review","volume":"84 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2024-03-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140056081","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

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Delphine von Schauroth, Corinna-Sister 德尔菲娜-冯-绍罗特，科琳娜-姐姐

IF 0.3 3区艺术学

Nineteenth-Century Music Review Pub Date : 2024-02-22 DOI: 10.1017/s1479409823000423

Amanda Lalonde

{"title":"Delphine von Schauroth, Corinna-Sister","authors":"Amanda Lalonde","doi":"10.1017/s1479409823000423","DOIUrl":"https://doi.org/10.1017/s1479409823000423","url":null,"abstract":"Despite her current marginal position, the nineteenth-century pianist and composer Delphine von Schauroth (1813–1887) once ranked among the most prominent virtuosos of the nineteenth century and had connections with Fanny Hensel, Ferdinand Hiller, Josephine Lang, Franz Liszt, Felix Mendelssohn, Robert Schumann and others. Drawing on large body of music criticism, as well as compositions, letters, images and literary works, this article presents a portrait of Schauroth as an artist, with an emphasis on the role of improvisation and the improvisatory in her pianism. In particular, the article fleshes out Robert Schumann's characterization of Schauroth as a ‘Corinna-sister’, a reference to the improvising poetess of Madame de Stäel's novel Corinne, or Italy. The article suggests that Schumann's comparison highlights key facets of Schauroth's status and character as a pianist and composer. Firstly, like Corinne, Schauroth was widely renowned as an eminent performer and was celebrated as a genius by critics, which was particularly notable for a woman musician in the early nineteenth century. Secondly, Schauroth was received as a creator, not only for her compositions, but also for her performances: in the late 1820s and early 1830s, in particular, critics responded to these performances with images of magical creation and an emphasis on the newness of her performance over the composer's work. Thirdly, Schauroth displayed a varied practice of improvisation, and her compositions were understood as having an improvisatory character.","PeriodicalId":41351,"journal":{"name":"Nineteenth-Century Music Review","volume":"103 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2024-02-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139919888","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

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From Musical Writings To Writing Music: Book-Writing Leading to Music School in Nineteenth-Century Calcutta 从音乐著作到音乐写作：十九世纪加尔各答音乐学校的图书写作之路

IF 0.3 3区艺术学

Nineteenth-Century Music Review Pub Date : 2024-02-16 DOI: 10.1017/s1479409823000411

Anirban Bhattacharyya

{"title":"From Musical Writings To Writing Music: Book-Writing Leading to Music School in Nineteenth-Century Calcutta","authors":"Anirban Bhattacharyya","doi":"10.1017/s1479409823000411","DOIUrl":"https://doi.org/10.1017/s1479409823000411","url":null,"abstract":"Print created the urge to innovate new modalities of musical knowledge production and dissemination in nineteenth-century Bengal. Publication of music books made the bifurcation between music theory and practice clearer, but only as a textual category. As the literature suggests, these were two categories for organizing musical knowledge, intimately entwined, where one produces the other and also doesn't exist without each other. The technology of ‘swaralipi’ (musical notation) used in the modern printed books materialized the project of disseminating music to the reader who could now ‘read’ the music from the book. For some book writers, music books were meant to be a replacement for the oral tutelage, published as ‘self-instructors’. But, on the contrary, the most prolific book-writers of the time used their books as the basis of oral tutelage in the music school. In the modern setting of the music school, the person of the ‘guru’ or ‘ustad’ was replaced by the formalized, systematic teaching of the ‘professors’ of music. Music books, as the medium of modern music pedagogy, thus changed not only the way students learned – making it possible to learn from the book with no instructor – but also the role of teachers, whose teaching was validated by the book. The music books came to function as the ‘modern shastras’ – to exercise regulatory authority over music practice, and how music is learned and taught. The ‘orality’ of music emerges as a liminal space in the gap between the writings on music and the writing of music. What emerges is an unlikely milieu where a new form of musical education is devised, the possibility of an education without a guru is conceived, and the schema of musical notation brings the entire process to life.","PeriodicalId":41351,"journal":{"name":"Nineteenth-Century Music Review","volume":"26 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2024-02-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139765946","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

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Digitized Publications of Spirituals from the Nineteenth Century 19世纪灵歌的数字化出版物

3区艺术学

Nineteenth-Century Music Review Pub Date : 2023-11-03 DOI: 10.1017/s147940982300037x

Chris Fenner

{"title":"Digitized Publications of Spirituals from the Nineteenth Century","authors":"Chris Fenner","doi":"10.1017/s147940982300037x","DOIUrl":"https://doi.org/10.1017/s147940982300037x","url":null,"abstract":"Compilers and editors of hymnals and scholars of hymnology have often lacked suitable tools for identifying the earliest sources of spirituals, or even key sources that serve as models for later arrangements. In the twenty-first century, the development of internet-based repositories of digital books has enabled the ability to search for publications of spirituals using strings of lyrics or keywords, but more importantly, these repositories allow researchers to examine the relevant sources and glean contextual information about those spirituals beyond what might exist in any list or index. Although African slaves had been present in North America since 1619, this unique musical artform was not considered a national treasure worth preserving and publishing until the onset of the Civil War, thus any study of sources of antebellum plantation spirituals really begins at the end of that era and moves forward from there. In order to understand the problem and the digital solution to tracing these songs, a brief overview of the longstanding publishing standard will be presented, followed by an overview of older research materials, then a detailed examination of three existing repositories (HathiTrust, Google, Internet Archive), and one forthcoming repository (Sounding Spirit). The publications located in these repositories have been tied together through a pair of web-based bibliographies at Hymnology Archive, covering the years 1862–1900 and 1901–1942.","PeriodicalId":41351,"journal":{"name":"Nineteenth-Century Music Review","volume":"35 5","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-11-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135819746","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

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Vaughan Williams: On Wenlock Edge & other songs Nicky Spence, ten, Julius Drake, pf Timothy Ridout, vla Piatti Quartet: Michael Trainor, vln, Zara Benyounes, vln,Tetsuumi Nagata, vla, Jessie Ann Richardson, vnc Hyperion CDA68378, 2022 (1 CD: 69’50”) £8.99 沃恩-威廉斯On Wenlock Edge & other songs Nicky Spence, ten, Julius Drake, pf Timothy Ridout, vla Piatti Quartet：迈克尔-特雷纳（Michael Trainor），五线谱；扎拉-本尤尼斯（Zara Benyounes），五线谱；长田哲美（Tetsuumi Nagata），五线谱；杰西-安-理查森（Jessie Ann Richardson），五线谱 Hyperion CDA68378, 2022 (1 CD: 69'50") £8.99

3区艺术学

Nineteenth-Century Music Review Pub Date : 2023-10-06 DOI: 10.1017/s1479409823000368

Ryan Ross

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Moniuszko and the Revival of the Noble Traditions: The Countess and The Haunted Manor 莫纽斯科和贵族传统的复兴:伯爵夫人和闹鬼的庄园

3区艺术学

Nineteenth-Century Music Review Pub Date : 2023-09-29 DOI: 10.1017/s1479409823000332

Anne Swartz

{"title":"Moniuszko and the Revival of the Noble Traditions: The Countess and The Haunted Manor","authors":"Anne Swartz","doi":"10.1017/s1479409823000332","DOIUrl":"https://doi.org/10.1017/s1479409823000332","url":null,"abstract":"The two recently recorded CD sets of Hrabina (The Countess) and Straszny dwór (The Haunted Manor) in complete concert versions with eighteenth-century instruments add enormously to the Polish operatic repertoire in the nineteenth century, and offer a fresh listening experience for those who have long wished for first-rate recordings of lesser-known, yet brilliantly executed, works of the hitherto neglected composer, Stanisław Moniuszko (1819–1872). Born in the Minsk district of modern Belarus, Monisuzko was gentry, and his nostalgia for the customs, the fields and forest, and the rural community that shaped his childhood years, fuelled his enthusiasm for modern operas set in the eighteenth century. These stellar concert versions of The Countess and The Haunted Manor provide a fascinating glimpse into the provocative and glittering salons of the eighteenth-century Warsaw nobility, whose inhabitants stand firmly in contrast to the more modest and self-effacing life of the peasants and the country gentry. In both operas Moniuszko successfully provides a romanticized portrayal of pre-Partition courtly life in Poland. While these two operas were highly regarded as national treasures in Poland, they were not particularly well known outside of the country. Polish opera at that time was largely overshadowed by Italian, French, and German composers, and the nation's subjugation to the Hapsburgs, Prussians, and Russians throughout the nineteenth century contributed mightily to the neglect of staged works by Polish composers. Additionally, singers needed to be trained in the nuances and inflections of the language. Prior recordings were either incomplete or were not available with English translations of the librettos. With the Biondi and Nowak recordings, Moniuszko's vision of expanding his art to a global audience has finally been achieved. These recordings are accessible to all opera enthusiasts on an international playing field.","PeriodicalId":41351,"journal":{"name":"Nineteenth-Century Music Review","volume":"57 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135199304","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

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Candace Bailey, Unbinding Gentility: Women Making Music in the Nineteenth-Century South (Urbana: University of Illinois Press, 2021). xviii + 292 pp. $30 坎迪斯贝利，Unbinding Gentility:女性在十九世纪的南方制作音乐(厄巴纳:伊利诺伊大学出版社，2021年)。Xviii + 292页，30美元

3区艺术学

Nineteenth-Century Music Review Pub Date : 2023-09-28 DOI: 10.1017/s1479409823000356

Evangeline Athanasiou

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Jessica Gabriel Peritz, The Lyric Myth of Voice: Civilizing Song in Enlightenment Italy (Oakland: University of California Press, 2022). xi + 282 pp. $65.00, £55.00 杰西卡·加布里埃尔·佩里茨，《声音的抒情神话:启蒙意大利的文明化歌曲》(奥克兰:加州大学出版社，2022年)。

3区艺术学

Nineteenth-Century Music Review Pub Date : 2023-09-26 DOI: 10.1017/s1479409823000344

Danielle L Herrington

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