Nineteenth Century Music Review

Aims to locate music within the framework of intellectual activity pertaining to the long nineteenth century (c 1789-1914). This title focuses on the interdisciplinary scholarship that explores music within the context of other artistic and scientific discourses.

This magnificent survey of the most popular period in music history is an extended essay embracing music, aesthetics, social history, and politics, by one of the keenest minds writing on music in the world today. Dahlhaus organizes his book around "watershed" years--for example, 1830, the year of the July Revolution in France, and around which coalesce the "demise of the age of art" proclaimed by Heine, the musical consequences of the deaths of Beethoven and Schubert, the simultaneous and dramatic appearance of Chopin and Liszt, Berlioz and Meyerbeer, and Schumann and Mendelssohn. But he keeps us constantly on guard against generalization and clich . Cherished concepts like Romanticism, tradition, nationalism vs. universality, the musical culture of the bourgeoisie, are put to pointed reevaluation. Always demonstrating the interest in socio-historical influences that is the hallmark of his work, Dahlhaus reminds us of the contradictions, interrelationships, psychological nuances, and riches of musical character and musical life. Nineteenth-Century Music contains 90 illustrations, the collected captions of which come close to providing a summary of the work and the author's methods. Technical language is kept to a minimum, but while remaining accessible, Dahlhaus challenges, braces, and excites. This is a landmark study that no one seriously interested in music and nineteenth-century European culture will be able to ignore.

This book demonstrates, in fascinating diversity, how musicians in the nineteenth century thought about and described music. The analysis of music took many forms (verbal, diagrammatic, tabular, notational, graphic), was pursued for many different purposes (educational, scholarly, theoretical, promotional) and embodied very different approaches. This, the first volume, is concerned with writing on fugue, form and questions of style in the music of Palestrina, Handel, Bach, Mozart, Beethoven and Wagner and presents analyses of complete works or movements by the most significant theorists and critics of the century. The analyses are newly translated into English and are introduced and thoroughly annotated by Ian Bent, making this a volume of enormous importance to our understanding of the nature of music reception in the nineteenth century.

This new volume incorporates all entries from the previous editions by Arthur Wenk, expanding to cover writings drawn from periodicals, theses, dissertations, books, and Festschriften from 1940 to 2000. Over 9,000 references to analyses of works by over 1,000 composers of the nineteenth and twentieth centuries are included.

Nineteenth-Century Choral Music is an in-depth examination of the rich repertoire of choral music and the cultural phenomenon of choral music making throughout the period. The book is divided into three main sections. The first details the attraction to choral singing and the ways it was linked to different parts of society, and to the role of choral voices in the two principal large-scale genres of the period: the symphony and opera. A second section highlights ten choral-orchestral masterworks that are a central part of the repertoire. The final section presents overview and focus chapters covering composers, repertoire (both small and larger works), and performance life in an historical context from over a dozen regions of the world: Britain and Ireland, the Czech Republic, France, Germany, Hungary, Italy, Latin America, the Philippines, Poland, Russia, Scandinavia and Finland, Spain, and the United States. This diverse collection of essays brings together the work of 25 authors, many of whom have devoted much of their scholarly lives to the composers and music discussed, giving the reader a lively and unique perspective on this significant part of nineteenth-century musical life.

The music of the nineteenth century was - and still is - thought of as a 'romantic' art, whereas the main current of the literature and fine arts of the age was 'realist' from about 1830. Yet some works are consistently described as 'realistic': Nusorgsky's Boris and Bizet's Carmen are only the most frequently cited examples. Professor Dahlhaus sets out the criteria of realism, with particular reference to French and German theorists and examines the extent to which they apply to music too. While his findings do not reverse the verdict that the music of the age was in general romantic, he demonstrates that musical realism consists in much more than imitation of natural sounds or tone-painting. The notes are revised here for the English-speaking reader.

This up-to-date view of nineteenth-century classical music places a strong emphasis on the history of opera and on schematic representations of musical structure and form. The book presents a highly concise survey of nineteenth-century music tailored for the increasingly limited amount of time available to readers for the study of any one period, and focuses specifically on the central repertory heard today in the concert hall and at the opera house. The volume provides an overview and background information on nineteenth-century music including the Viennese ascendancy, musical drama in the first part of the nineteenth century, the styling of the avant-garde, operatic development from mid century, the life of the concert hall after mid century, the diversity of nationalism and the new language at century's end. For musicians and music lovers interested in an introduction to classical music.

Analysis of 18th- and 19th-Century Musical Works in the Classical Tradition is a textbook for upper-level undergraduate and graduate courses in music analysis. It outlines a process of analyzing works in the Classical tradition by uncovering the construction of a piece of music—the formal, harmonic, rhythmic, and voice-leading organizations—as well as its unique features. It develops an in-depth approach that is applied to works by composers including Haydn, Mozart, Beethoven, Schubert, Schumann, and Brahms. The book begins with foundational chapters in music theory, starting with basic diatonic harmony and progressing rapidly to more advanced topics, such as phrase design, phrase expansion, and chromatic harmony. The second part contains analyses of complete musical works and movements. The text features over 150 musical examples, including numerous complete annotated scores. Suggested assignments at the end of each chapter guide students in their own musical analysis.