Music Criticism in Vienna, 1896-1897

Music Criticism in Vienna, 1896-1897

Author: Sandra McColl

Publisher: Oxford University Press

Published: 1996

Total Pages: 276

ISBN-13: 9780198165644

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Music Criticism in Vienna records a culture in which musical criticism had achieved the status of a minor art form. The period covered - October 1896 to December 1897 - was an eventful time in Vienna. Bruckner died, then Brahms; Mahler arrived; premieres of works by Czech composers coincidedwith increasing tension in the Empire between Czechs and Germans; Puccini's La Boheme reached Vienna on its sensational progress around the world; and the great programme music debate continued. These events and issues were recorded and debated by some two dozen critics ranging from Eduard Hanslick,widely credited with (and blamed for) raising music criticism to an art, to Heinrich Schenker. The focus of Sandra McColl's monograph is unashamedly on the critics themselves, and her reconstruction of the climate of debate about whatever music or musicians came to their notice. She illuminates theintellectual climate in which the music was created, performed and received, and provides a foundation for the study of musical criticism in the post-Hanslick generation.


Book Synopsis Music Criticism in Vienna, 1896-1897 by : Sandra McColl

Download or read book Music Criticism in Vienna, 1896-1897 written by Sandra McColl and published by Oxford University Press. This book was released on 1996 with total page 276 pages. Available in PDF, EPUB and Kindle. Book excerpt: Music Criticism in Vienna records a culture in which musical criticism had achieved the status of a minor art form. The period covered - October 1896 to December 1897 - was an eventful time in Vienna. Bruckner died, then Brahms; Mahler arrived; premieres of works by Czech composers coincidedwith increasing tension in the Empire between Czechs and Germans; Puccini's La Boheme reached Vienna on its sensational progress around the world; and the great programme music debate continued. These events and issues were recorded and debated by some two dozen critics ranging from Eduard Hanslick,widely credited with (and blamed for) raising music criticism to an art, to Heinrich Schenker. The focus of Sandra McColl's monograph is unashamedly on the critics themselves, and her reconstruction of the climate of debate about whatever music or musicians came to their notice. She illuminates theintellectual climate in which the music was created, performed and received, and provides a foundation for the study of musical criticism in the post-Hanslick generation.

Music, Criticism, and the Challenge of History

Music, Criticism, and the Challenge of History

Author: Kevin Karnes

Publisher: Oxford University Press

Published: 2008-08-22

Total Pages: 240

ISBN-13: 9780199709403

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More than a century after Guido Adler's appointment to the first chair in musicology at the University of Vienna, Music, Criticism, and the Challenge of History provides a first look at the discipline in this earliest period, and at the ideological dilemmas and methodological anxieties that characterized it upon its institutionalization. Author Kevin Karnes contends that some of the most vital questions surrounding musicology's disciplinary identities today-the relationship between musicology and criticism, the role of the subject in analysis and the narration of history, and the responsibilities of the scholar to the listening public-originate in these conflicted and largely forgotten beginnings. Karnes lays bare the nature of music study in the late nineteenth century through insightful readings of long-overlooked contributions by three of musicology's foremost pioneers-Adler, Eduard Hanslick, and Heinrich Schenker. Shaped as much by the skeptical pronouncements of the likes of Nietzsche and Wagner as it was by progressivist ideologies of scientific positivism, the new discipline comprised an array of oft-contested and intensely personal visions of music study, its value, and its future. Karnes introduces readers to a Hanslick who rejected the call of positivist scholarship and dedicated himself to penning an avowedly subjective history of Viennese musical life. He argues that Schenker's analytical experiments had roots in a Wagner-inspired search for a critical alternative to Adler's style-obsessed scholarship. And he illuminates Adler's determined response to Nietzsche's warnings about the vitality of artistic and cultural life in an increasingly scientific age. Through sophisticated and meticulous presentation, Music, Criticism, and the Challenge of History demonstrates that the new discipline of musicology was inextricably tied in with the cultural discourse of its time.


Book Synopsis Music, Criticism, and the Challenge of History by : Kevin Karnes

Download or read book Music, Criticism, and the Challenge of History written by Kevin Karnes and published by Oxford University Press. This book was released on 2008-08-22 with total page 240 pages. Available in PDF, EPUB and Kindle. Book excerpt: More than a century after Guido Adler's appointment to the first chair in musicology at the University of Vienna, Music, Criticism, and the Challenge of History provides a first look at the discipline in this earliest period, and at the ideological dilemmas and methodological anxieties that characterized it upon its institutionalization. Author Kevin Karnes contends that some of the most vital questions surrounding musicology's disciplinary identities today-the relationship between musicology and criticism, the role of the subject in analysis and the narration of history, and the responsibilities of the scholar to the listening public-originate in these conflicted and largely forgotten beginnings. Karnes lays bare the nature of music study in the late nineteenth century through insightful readings of long-overlooked contributions by three of musicology's foremost pioneers-Adler, Eduard Hanslick, and Heinrich Schenker. Shaped as much by the skeptical pronouncements of the likes of Nietzsche and Wagner as it was by progressivist ideologies of scientific positivism, the new discipline comprised an array of oft-contested and intensely personal visions of music study, its value, and its future. Karnes introduces readers to a Hanslick who rejected the call of positivist scholarship and dedicated himself to penning an avowedly subjective history of Viennese musical life. He argues that Schenker's analytical experiments had roots in a Wagner-inspired search for a critical alternative to Adler's style-obsessed scholarship. And he illuminates Adler's determined response to Nietzsche's warnings about the vitality of artistic and cultural life in an increasingly scientific age. Through sophisticated and meticulous presentation, Music, Criticism, and the Challenge of History demonstrates that the new discipline of musicology was inextricably tied in with the cultural discourse of its time.

The Cambridge History of Nineteenth-Century Music

The Cambridge History of Nineteenth-Century Music

Author: Jim Samson

Publisher: Cambridge University Press

Published: 2001-12-03

Total Pages: 796

ISBN-13: 9780521590174

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The most informed reference book on nineteenth-century music currently available, this comprehensive overview of music in the nineteenth century draws on the most recent scholarship in the field. Essays investigate the intellectual and socio-political history of the time, and examine topics such as nations and nationalism, the emergent concept of an avant garde, and musical styles and languages at the turn of the century. It contains a detailed chronology, and extensive glossaries.


Book Synopsis The Cambridge History of Nineteenth-Century Music by : Jim Samson

Download or read book The Cambridge History of Nineteenth-Century Music written by Jim Samson and published by Cambridge University Press. This book was released on 2001-12-03 with total page 796 pages. Available in PDF, EPUB and Kindle. Book excerpt: The most informed reference book on nineteenth-century music currently available, this comprehensive overview of music in the nineteenth century draws on the most recent scholarship in the field. Essays investigate the intellectual and socio-political history of the time, and examine topics such as nations and nationalism, the emergent concept of an avant garde, and musical styles and languages at the turn of the century. It contains a detailed chronology, and extensive glossaries.

Music in Vienna 1700, 1800, 1900

Music in Vienna 1700, 1800, 1900

Author: David Wyn Jones

Publisher: Boydell & Brewer

Published: 2016

Total Pages: 289

ISBN-13: 1783271078

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The image of Vienna as a musical city is a familiar one. This book explores the history of music in Vienna, focussing on three different epochs, 1700, 1800 and 1900.


Book Synopsis Music in Vienna 1700, 1800, 1900 by : David Wyn Jones

Download or read book Music in Vienna 1700, 1800, 1900 written by David Wyn Jones and published by Boydell & Brewer. This book was released on 2016 with total page 289 pages. Available in PDF, EPUB and Kindle. Book excerpt: The image of Vienna as a musical city is a familiar one. This book explores the history of music in Vienna, focussing on three different epochs, 1700, 1800 and 1900.

The Regulation and Reform of Music Criticism in Nineteenth-Century England

The Regulation and Reform of Music Criticism in Nineteenth-Century England

Author: Paul Watt

Publisher: Routledge

Published: 2017-11-22

Total Pages: 131

ISBN-13: 1351974009

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Music criticism in England underwent profound change from the 1880s to the 1920s. It gave rise to ‘New criticism’ that aimed to be rational, impartial and intellectually authoritative. It was a break from the criticism of old: the work of the opinionated journalist who wrote descriptive concert reviews with invective, cliché, bias and bombast. Critics such as Ernest Newman (1868–1959), John F. Runciman (1866–1916) and Michel D. Calvocoressi (1877–1944) fostered this new school and wrote extensively of their aspirations for musical criticism in their own times and for the future. This book charts the genesis of this new wave of musical criticism that sought to regulate and reform the profession of music critic. Alongside the establishment of principles, training manuals and schools for critics, hundreds of journal articles and dozens of books were written that encouraged new criticism, which also had a bearing on scholarly writing in biography, aesthetics and history. The Regulation and Reform of Music Criticism in Nineteenth-Century England considers the influence and advocacy of individual critics and the role that institutions, such as the Musical Association and the Musical Times, played in this period of change. The book also explores the impact that French and German writers had on their English counterparts, demonstrating the internationalization of critical thought of the period.


Book Synopsis The Regulation and Reform of Music Criticism in Nineteenth-Century England by : Paul Watt

Download or read book The Regulation and Reform of Music Criticism in Nineteenth-Century England written by Paul Watt and published by Routledge. This book was released on 2017-11-22 with total page 131 pages. Available in PDF, EPUB and Kindle. Book excerpt: Music criticism in England underwent profound change from the 1880s to the 1920s. It gave rise to ‘New criticism’ that aimed to be rational, impartial and intellectually authoritative. It was a break from the criticism of old: the work of the opinionated journalist who wrote descriptive concert reviews with invective, cliché, bias and bombast. Critics such as Ernest Newman (1868–1959), John F. Runciman (1866–1916) and Michel D. Calvocoressi (1877–1944) fostered this new school and wrote extensively of their aspirations for musical criticism in their own times and for the future. This book charts the genesis of this new wave of musical criticism that sought to regulate and reform the profession of music critic. Alongside the establishment of principles, training manuals and schools for critics, hundreds of journal articles and dozens of books were written that encouraged new criticism, which also had a bearing on scholarly writing in biography, aesthetics and history. The Regulation and Reform of Music Criticism in Nineteenth-Century England considers the influence and advocacy of individual critics and the role that institutions, such as the Musical Association and the Musical Times, played in this period of change. The book also explores the impact that French and German writers had on their English counterparts, demonstrating the internationalization of critical thought of the period.

Seeing Mahler: Music and the Language of Antisemitism in Fin-de-Siècle Vienna

Seeing Mahler: Music and the Language of Antisemitism in Fin-de-Siècle Vienna

Author: K.M. Knittel

Publisher: Routledge

Published: 2016-04-01

Total Pages: 224

ISBN-13: 1317057791

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No-one doubts that Gustav Mahler's tenure at the Vienna Court Opera from 1897-1907 was made extremely unpleasant by the antisemitic press. The great biographer, Henry-Louis de La Grange, acknowledges that 'it must be said that antisemitism was a permanent feature of Viennese life'. Unfortunately, the focus on blatant references to Jewishness has obscured the extent to which 'ordinary' attitudes about Jewish difference were prevalent and pervasive, yet subtle and covert. The context has been lost wherein such coded references to Jewishness would have been immediately recognized and understood. By painstakingly reconstructing 'the language of antisemitism', Knittel recreates what Mahler's audiences expected, saw, and heard, given the biases and beliefs of turn-of-the-century Vienna. Using newspaper reviews, cartoons and memoirs, Knittel eschews focusing on hostile discussions and overt attacks in themselves, rather revealing how and to what extent authors call attention to Mahler's Jewishness with more subtle language. She specifically examines the reviews of Mahler's Viennese symphonic premieres for their resonance with that language as codified by Richard Wagner, though not invented by him. An entire chapter is also devoted to the Viennese premieres of Richard Strauss's tone poems, as a proof text against which the reviews of Mahler can also be read and understood. Accepting how deeply embedded this way of thinking was, not just for critics but for the general population, certainly does not imply that one can find antisemitism under every stone. What Knittel suggests, ultimately, is that much of early criticism was unease rather than 'objective' reactions to Mahler's music - a new perspective that allows for a re-evaluation of what makes his music unique, thought-provoking and valuable.


Book Synopsis Seeing Mahler: Music and the Language of Antisemitism in Fin-de-Siècle Vienna by : K.M. Knittel

Download or read book Seeing Mahler: Music and the Language of Antisemitism in Fin-de-Siècle Vienna written by K.M. Knittel and published by Routledge. This book was released on 2016-04-01 with total page 224 pages. Available in PDF, EPUB and Kindle. Book excerpt: No-one doubts that Gustav Mahler's tenure at the Vienna Court Opera from 1897-1907 was made extremely unpleasant by the antisemitic press. The great biographer, Henry-Louis de La Grange, acknowledges that 'it must be said that antisemitism was a permanent feature of Viennese life'. Unfortunately, the focus on blatant references to Jewishness has obscured the extent to which 'ordinary' attitudes about Jewish difference were prevalent and pervasive, yet subtle and covert. The context has been lost wherein such coded references to Jewishness would have been immediately recognized and understood. By painstakingly reconstructing 'the language of antisemitism', Knittel recreates what Mahler's audiences expected, saw, and heard, given the biases and beliefs of turn-of-the-century Vienna. Using newspaper reviews, cartoons and memoirs, Knittel eschews focusing on hostile discussions and overt attacks in themselves, rather revealing how and to what extent authors call attention to Mahler's Jewishness with more subtle language. She specifically examines the reviews of Mahler's Viennese symphonic premieres for their resonance with that language as codified by Richard Wagner, though not invented by him. An entire chapter is also devoted to the Viennese premieres of Richard Strauss's tone poems, as a proof text against which the reviews of Mahler can also be read and understood. Accepting how deeply embedded this way of thinking was, not just for critics but for the general population, certainly does not imply that one can find antisemitism under every stone. What Knittel suggests, ultimately, is that much of early criticism was unease rather than 'objective' reactions to Mahler's music - a new perspective that allows for a re-evaluation of what makes his music unique, thought-provoking and valuable.

The Oxford Handbook of Music and Intellectual Culture in the Nineteenth Century

The Oxford Handbook of Music and Intellectual Culture in the Nineteenth Century

Author: Paul Watt

Publisher: Oxford Handbooks

Published: 2020

Total Pages: 568

ISBN-13: 019061692X

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Rarely studied in their own right, writings about music are often viewed as merely supplemental to understanding music itself. Yet in the nineteenth century, scholarly interest in music flourished in fields as disparate as philosophy and natural science, dramatically shifting the relationship between music and the academy. An exciting and much-needed new volume, The Oxford Handbook of Music and Intellectual Culture in the Nineteenth Century draws deserved attention to the people and institutions of this period who worked to produce these writings. Editors Paul Watt, Sarah Collins, and Michael Allis, along with an international slate of contributors, discuss music's fascinating and unexpected interactions with debates about evolution, the scientific method, psychology, exoticism, gender, and the divide between high and low culture. Part I of the handbook establishes the historical context for the intellectual world of the period, including the significant genres and disciplines of its music literature, while Part II focuses on the century's institutions and networks - from journalists to monasteries - that circulated ideas about music throughout the world. Finally, Part III assesses how the music research of the period reverberates in the present, connecting studies in aestheticism, cosmopolitanism, and intertextuality to their nineteenth-century origins. The Handbook challenges Western music history's traditionally sole focus on musical work by treating writings about music as valuable cultural artifacts in themselves. Engaging and comprehensive, The Oxford Handbook of Music and Intellectual Culture in the Nineteenth Century brings together a wealth of new interdisciplinary research into this critical area of study.


Book Synopsis The Oxford Handbook of Music and Intellectual Culture in the Nineteenth Century by : Paul Watt

Download or read book The Oxford Handbook of Music and Intellectual Culture in the Nineteenth Century written by Paul Watt and published by Oxford Handbooks. This book was released on 2020 with total page 568 pages. Available in PDF, EPUB and Kindle. Book excerpt: Rarely studied in their own right, writings about music are often viewed as merely supplemental to understanding music itself. Yet in the nineteenth century, scholarly interest in music flourished in fields as disparate as philosophy and natural science, dramatically shifting the relationship between music and the academy. An exciting and much-needed new volume, The Oxford Handbook of Music and Intellectual Culture in the Nineteenth Century draws deserved attention to the people and institutions of this period who worked to produce these writings. Editors Paul Watt, Sarah Collins, and Michael Allis, along with an international slate of contributors, discuss music's fascinating and unexpected interactions with debates about evolution, the scientific method, psychology, exoticism, gender, and the divide between high and low culture. Part I of the handbook establishes the historical context for the intellectual world of the period, including the significant genres and disciplines of its music literature, while Part II focuses on the century's institutions and networks - from journalists to monasteries - that circulated ideas about music throughout the world. Finally, Part III assesses how the music research of the period reverberates in the present, connecting studies in aestheticism, cosmopolitanism, and intertextuality to their nineteenth-century origins. The Handbook challenges Western music history's traditionally sole focus on musical work by treating writings about music as valuable cultural artifacts in themselves. Engaging and comprehensive, The Oxford Handbook of Music and Intellectual Culture in the Nineteenth Century brings together a wealth of new interdisciplinary research into this critical area of study.

Absolute Music

Absolute Music

Author: Mark Evan Bonds

Publisher: Oxford University Press, USA

Published: 2014

Total Pages: 401

ISBN-13: 0199343632

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What we think music is shapes how we hear it. This book traces the history of the idea of pure - 'absolute' - music from Pythagoras to the present, with special emphasis on efforts to reconcile the irreducible essence of the art with its profound effects on the human spirit. The core of this study focuses on the period 1850-1935, beginning with the collision between Richard Wagner and the Viennese critic Eduard Hanslick.


Book Synopsis Absolute Music by : Mark Evan Bonds

Download or read book Absolute Music written by Mark Evan Bonds and published by Oxford University Press, USA. This book was released on 2014 with total page 401 pages. Available in PDF, EPUB and Kindle. Book excerpt: What we think music is shapes how we hear it. This book traces the history of the idea of pure - 'absolute' - music from Pythagoras to the present, with special emphasis on efforts to reconcile the irreducible essence of the art with its profound effects on the human spirit. The core of this study focuses on the period 1850-1935, beginning with the collision between Richard Wagner and the Viennese critic Eduard Hanslick.

Nineteenth-Century Music

Nineteenth-Century Music

Author: Jim Samson

Publisher: Routledge

Published: 2017-07-05

Total Pages: 400

ISBN-13: 1351556304

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This selection of essays represents a wide cross-section of the papers given at the Tenth International Conference on Nineteenth-Century Music held at the University of Bristol in 1998. Sections include thematic groupings of work on musical meaning, Wagner, Liszt, musical culture in France, music and nation, and women and music.


Book Synopsis Nineteenth-Century Music by : Jim Samson

Download or read book Nineteenth-Century Music written by Jim Samson and published by Routledge. This book was released on 2017-07-05 with total page 400 pages. Available in PDF, EPUB and Kindle. Book excerpt: This selection of essays represents a wide cross-section of the papers given at the Tenth International Conference on Nineteenth-Century Music held at the University of Bristol in 1998. Sections include thematic groupings of work on musical meaning, Wagner, Liszt, musical culture in France, music and nation, and women and music.

Schubert in the European Imagination

Schubert in the European Imagination

Author: Scott Messing

Publisher: University Rochester Press

Published: 2006

Total Pages: 348

ISBN-13: 9781580462136

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The concept of Schubert as a feminine type began in 1838. This work examines the historical reception of Franz Schubert as conveyed through the gendered imagery and language of 19th and early 20th century European culture. The figures discussed include Musset, Sand, Nerval, Maupassant, George Eliot, and others.


Book Synopsis Schubert in the European Imagination by : Scott Messing

Download or read book Schubert in the European Imagination written by Scott Messing and published by University Rochester Press. This book was released on 2006 with total page 348 pages. Available in PDF, EPUB and Kindle. Book excerpt: The concept of Schubert as a feminine type began in 1838. This work examines the historical reception of Franz Schubert as conveyed through the gendered imagery and language of 19th and early 20th century European culture. The figures discussed include Musset, Sand, Nerval, Maupassant, George Eliot, and others.