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Beyond Reason
Beyond Reason relates Wagner's works to the philosophical and cultural ideas of his time, centering on the four music dramas he created in the second half of his career: Der Ring des Nibelungen, Tristan und Isolde, Die Meistersinger von Nürnberg, and Parsifal. Karol Berger seeks to penetrate the "secret" of large-scale form in Wagner's music dramas and to answer those critics, most prominently Nietzsche, who condemned Wagner for his putative inability to weld small expressive gestures into larger wholes. Organized by individual opera, this is essential reading for both musicologists and Wagner experts.
The Cambridge Companion to Women in Music since 1900
An overview of women's work in classical and popular music since 1900 as performers, composers, educators and music technologists.
The Cambridge Companion to Music and Romanticism
A stimulating new approach to understanding the relationship between music and culture in the long nineteenth century.
Literary Capitals in the Long Nineteenth Century
This book develops our understanding of the global literary field in the long nineteenth century by discussing nine different places outside the established metropoles. It shows how different economic, geographical and political factors combined to give each place its own distinctive literary culture and symbolic capital. Taking a geocritical approach, the book shows how its different case studies can be seen as ‘literary capitals’ in terms of their role within the wider nation, region or empire. The volume is divided into three parts. Part One discusses Kolkata, Hong Kong and Buenos Aires. Part Two considers ‘semi-peripheral’ European cities: Pest-Buda (Budapest), Helsinki and Dublin. Part Three focuses on cities within Italy: Trieste, Florence and Rome. Drawing on a wide range of literary texts and different genres, the book reads the nineteenth-century literary field as a constellation where different connections can be plotted across various points on the map at different times.
Wagner's Melodies
Since the 1840s, critics have lambasted Wagner for lacking the ability to compose melody. But for him, melody was fundamental - 'music's only form'. This incongruity testifies to the surprising difficulties during the nineteenth century of conceptualizing melody. Despite its indispensable place in opera, contemporary theorists were unable even to agree on a definition for it. In Wagner's Melodies, David Trippett re-examines Wagner's central aesthetic claims, placing the composer's ideas about melody in the context of the scientific discourse of his age: from the emergence of the natural sciences and historical linguistics to sources about music's stimulation of the body and inventions for 'automatic' composition. Interweaving a rich variety of material from the history of science, music theory, music criticism, private correspondence and court reports, Trippett uncovers a new and controversial discourse that placed melody at the apex of artistic self-consciousness and generated problems of urgent dimensions for German music aesthetics.
Fanfare for a City
Fanfare for a City invites us to listen to the sounds of Paris during the Second Empire (1852–1870), a regime that oversaw dramatic social change in the French capital. By exploring the sonic worlds of exhibitions, cafés, streets, and markets, Jacek Blaszkiewicz shows how the city's musical life shaped urban narratives about le nouveau Paris: a metropolis at a crossroads between its classical, Roman past and its capitalist, imperial future. At the heart of the narrative is "Baron" Haussmann, the engineer of imperial urbanism and the inspiration for a range of musical responses to modernity, from the enthusiastic to the nostalgic. Drawing on theoretical approaches from historical musicology, urban sociology, and sound studies to shed light on newly surfaced archival material, Fanfare for a City argues that urbanism was a driving force in how nineteenth-century music was produced, performed, and policed.
Robert Schumann and Richard Wagner as Music Critics
The music reviews of Robert Schumann and Richard Wagner are central documents of 19th-century German musical culture. This book takes a closer look at the way these texts were written and explores the significant contributions Schumann and Wagner made to the discourse of musical appraisal. To that effect, the author raises fundamental questions that have thus far remained unaddressed: What textual features characterize the critical writings? How do Schumann and Wagner understand their roles as critics of music? And in what way do they reach out to the reader? Rather than understanding these critical writings exclusively as a gateway to the compositions and musical aesthetics of Schumann and ...
Opera in a Multicultural World
Through historical and contemporary examples, this book critically explores the relevance and expressions of multicultural representation in western European operatic genres in the modern world. It reveals their approaches to reflecting identity, transmitting meaning, and inspiring creation, as well as the ambiguities and contradictions that occur across the time and place(s) of their performance. This collection brings academic researchers in opera studies into conversation with previously unheard voices of performers, critics, and creators to speak to issues of race, ethnicity, and culture in the genre. Together, they deliver a powerful critique of the perpetuation of the values and practi...
Seeking Meaning for Goethe's Faust
Goethe's Faust Parts I and II (1808, 1832) is one of the most important texts in German, and World Literature - this monograph offers a new, original analysis of the text and its significance today
Herder and Enlightenment Politics
Offers a new interpretation of Johann Gottfried Herder's political thought, situating his ideas in pan-European Enlightenment debates.
