Pub Date : 2020-08-06DOI: 10.1093/oxfordhb/9780190616922.013.13
M. Lundberg
Collecting, cataloguing, and archival practices became much more systematic in the nineteenth century, which was representative of significant scholarly networks. Focusing on the holdings of some important nineteenth-century institutions, along with some well-known collectors of the period (François-Joseph Fétis in Brussels, Giuseppe Baini in Rome, and Karl Proske in Regensburg), as well as unfamiliar figures such as William Horsley in London and Pehr Frigel in Stockholm, this chapter highlights a range of concepts that underpinned collectors’ strategies. Drawing on Raphael Kiesewetter’s 1834 categorization of collecting practices, notions of the “ancient,” the “obsolete,” and the “curious” are discussed, and tensions are highlighted between the ideas of completism and of canonicity. Additionally, Aleida Assmann’s work on “cultural memory” allows us to reconsider the “latency” of archival materials, along with the accessibility of such items within nineteenth-century culture.
在19世纪，收集、编目和档案实践变得更加系统化，这是重要的学术网络的代表。本章重点关注19世纪一些重要机构的藏品，以及该时期的一些知名收藏家(布鲁塞尔的fran- joseph fsamutis，罗马的Giuseppe Baini和雷根斯堡的Karl Proske)，以及伦敦的William Horsley和斯德哥尔摩的Pehr Frigel等不熟悉的人物，本章强调了一系列支撑收藏家策略的概念。Raphael Kiesewetter在1834年对收集实践进行了分类，讨论了“古老”，“过时”和“好奇”的概念，并强调了完整主义和经典主义之间的紧张关系。此外，Aleida Assmann关于“文化记忆”的作品让我们重新思考档案材料的“潜伏期”，以及这些物品在19世纪文化中的可及性。
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Pub Date : 2020-08-06DOI: 10.1093/oxfordhb/9780190616922.013.16
W. Weber
This chapter analyzes the process by which separate musical canons emerged during the nineteenth century, dividing musical culture along lines still in existence today. Musical life expanded in both economic and aesthetic terms, creating a set of separate worlds governed by contrasting taste and cultural authority: orchestral and chamber music; operas in contrasting genres; and popular songs sung in public and private contexts. These cultural worlds developed separate canons and canonic repertories which interacted through competing ideologies. The opera world, which emerged as the main economic base of musical life, ended up focused on a repertory of old works in diverse genres. The classical music world took higher ground intellectually, with concerts by orchestras, string quartets, and vocal or instrumental. Popular music concerts related closely with the opera world, but developed their own events in the English music halls, French café-concerts, and German Variety shows.
{"title":"Musical Canons","authors":"W. Weber","doi":"10.1093/oxfordhb/9780190616922.013.16","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780190616922.013.16","url":null,"abstract":"This chapter analyzes the process by which separate musical canons emerged during the nineteenth century, dividing musical culture along lines still in existence today. Musical life expanded in both economic and aesthetic terms, creating a set of separate worlds governed by contrasting taste and cultural authority: orchestral and chamber music; operas in contrasting genres; and popular songs sung in public and private contexts. These cultural worlds developed separate canons and canonic repertories which interacted through competing ideologies. The opera world, which emerged as the main economic base of musical life, ended up focused on a repertory of old works in diverse genres. The classical music world took higher ground intellectually, with concerts by orchestras, string quartets, and vocal or instrumental. Popular music concerts related closely with the opera world, but developed their own events in the English music halls, French café-concerts, and German Variety shows.","PeriodicalId":425498,"journal":{"name":"The Oxford Handbook of Music and Intellectual Culture in the Nineteenth Century","volume":"45 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-08-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131667851","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-08-06DOI: 10.1093/oxfordhb/9780190616922.013.18
Daniel M. Grimley
Images of landscape lie at the heart of nineteenth-century musical thought. From frozen winter fields, mountain echoes, distant horn calls, and the sound of the wind moving among the pines, landscape was a vivid representational practice, a creative resource, and a privileged site for immersion, gothic horror, and the Romantic sublime. As Raymond Williams observed, however, the nineteenth century also witnessed an unforeseen transformation of artistic responses to landscape, which paralleled the social and cultural transformation of the country and the city under processes of intense industrialization and economic development. This chapter attends to several musical landscapes, from the Beethovenian “Pastoral” to Delius’s colonial-era evocation of an exoticized American idyll, as a means of mapping nineteenth-century music’s obsession with the idea of landscape and place. Distance recurs repeatedly as a form of subjective presence and through paradoxical connections with proximity and intimacy.
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Pub Date : 2020-08-06DOI: 10.1080/10131759185310111
M. Halliwell
The rise of the European novel reached its zenith during the nineteenth century. One can hardly turn on the TV without seeing an adaptation of a novel from this period in a classically sumptuous BBC-TV production. The depiction of music-making in a variety of forms is a significant feature of many of the works of literature and poetry of the period, as the professional evaluation of music performance became part of a broader critical discourse. Poetry found an ever-growing mode of dissemination through the commercial performance of the art song—the work of many, mostly forgotten poets of the late eighteenth and nineteenth centuries lives on in the German Lied, the French mélodie and the English art song.
{"title":"Fiction and Poetry","authors":"M. Halliwell","doi":"10.1080/10131759185310111","DOIUrl":"https://doi.org/10.1080/10131759185310111","url":null,"abstract":"The rise of the European novel reached its zenith during the nineteenth century. One can hardly turn on the TV without seeing an adaptation of a novel from this period in a classically sumptuous BBC-TV production. The depiction of music-making in a variety of forms is a significant feature of many of the works of literature and poetry of the period, as the professional evaluation of music performance became part of a broader critical discourse. Poetry found an ever-growing mode of dissemination through the commercial performance of the art song—the work of many, mostly forgotten poets of the late eighteenth and nineteenth centuries lives on in the German Lied, the French mélodie and the English art song.","PeriodicalId":425498,"journal":{"name":"The Oxford Handbook of Music and Intellectual Culture in the Nineteenth Century","volume":"211 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-08-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121217774","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-08-06DOI: 10.1093/oxfordhb/9780190616922.013.5
M. Allis
This chapter discusses the ways in which music has been represented, referenced, and discussed in nineteenth-century travel literature. In the context of the expanding opportunities for travel in the nineteenth century, a plethora of travel-related literature was created—guidebooks (Murray, Baedeker), poetry, novels, and descriptions of travel by writers such as Goethe, Heine, Dickens, Stendhal, Henry James, and Mary Shelley. Focusing on the latter category (writings descriptive of travel) from c.1800 to 1914, the chapter begins by establishing the significance of these texts in terms of documenting performing practice, referencing composers and performers, and commenting upon the status and power of music, including its ability to intoxicate or evoke nostalgia. Tensions in the portrayal of musical “otherness” are identified, along with the sense of competing levels of musicality between nations, communicated by a range of literary strategies that include binary opposition, hyperbole, and scenic absorption. The invocation of musical metaphor or parallel is highlighted as an important feature of writing style in these narratives, and the significance of a particular group of travel writings by musicians such as Edward Holmes, Marquis Chisholm, Hector Berlioz, Jacques Offenbach and Granville Bantock is also established. Composers’ engagement with literary models of travel narrative offers clear parallels in the nature and sequence of events in several musical works, creating real potential for new readings of specific compositions.
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Pub Date : 2020-08-06DOI: 10.1093/oxfordhb/9780190616922.013.6
L. Kramer
The philosophy and aesthetics of music in the nineteenth century recapitulated the change that overtook music (along with literature, psychology, and medicine) in the century before: the shift of concern from affectivity to subjectivity. Hegel epitomized this shift, and the limitation attached to it, when he posited that music presents the subject with the latter’s own subjectivity, but only in pre-reflective form. For Hegel, the power to articulate subjectivity rested with language, and language, even in song, remained external to music. The idea that this formulation crystallized became the default understanding. It gave rise to two corollaries that would long remain dominant. The first is the idea that music is a vehicle (among the arts, the primary vehicle) of the ineffable and the transcendent. The second—actually the first again negative form—is the idea that music is always fully immediate and cannot, therefore, convey ideas. The music of the era, however—for example in compositions by Mendelssohn, Liszt, Schumann, Nietzsche, and Mahler—often resists both ideas in favor of the possibility that music is capable of reflective understanding.
{"title":"Philosophy and Aesthetics","authors":"L. Kramer","doi":"10.1093/oxfordhb/9780190616922.013.6","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780190616922.013.6","url":null,"abstract":"The philosophy and aesthetics of music in the nineteenth century recapitulated the change that overtook music (along with literature, psychology, and medicine) in the century before: the shift of concern from affectivity to subjectivity. Hegel epitomized this shift, and the limitation attached to it, when he posited that music presents the subject with the latter’s own subjectivity, but only in pre-reflective form. For Hegel, the power to articulate subjectivity rested with language, and language, even in song, remained external to music. The idea that this formulation crystallized became the default understanding. It gave rise to two corollaries that would long remain dominant. The first is the idea that music is a vehicle (among the arts, the primary vehicle) of the ineffable and the transcendent. The second—actually the first again negative form—is the idea that music is always fully immediate and cannot, therefore, convey ideas. The music of the era, however—for example in compositions by Mendelssohn, Liszt, Schumann, Nietzsche, and Mahler—often resists both ideas in favor of the possibility that music is capable of reflective understanding.","PeriodicalId":425498,"journal":{"name":"The Oxford Handbook of Music and Intellectual Culture in the Nineteenth Century","volume":"16 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-08-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127640049","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-08-06DOI: 10.1093/oxfordhb/9780190616922.013.24
Tomas Mcauley
Recent histories of nineteenth-century philosophies of music have been dominated by two narratives. The first narrative, that of musical formalism, holds that philosophies of music in this period were concerned primarily with identifying a distinct sphere of musical autonomy. The second narrative, that of musical idealism, holds that philosophies of music in this period were concerned primarily with music’s perceived ability to offer insight into higher truths. This chapter contends that these narratives need to be augmented—and in some cases challenged—by an awareness of the vital role that ethics played in philosophical thinking about music across the long nineteenth century. It thus provides an alternative narrative focused on the musical-ethical thought of three key thinkers of this period: Immanuel Kant, Arthur Schopenhauer, and Friedrich Nietzsche.
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Pub Date : 2020-08-06DOI: 10.1093/oxfordhb/9780190616922.013.8
Catherine Massip
Among the documents which give access to musical life and its various events, ephemera occupy a special field. The word (ephemeron singular; ephemera plural) covers several kinds of written or printed documents largely scattered but being produced for a short life and not subject to be handled and stored in a permanent way. “Those papers of the day” as defined in eighteenth century were produced on a large scale in the nineteenth century when newspapers became the major medium for publicity. The main purpose of these documents was primarily information and publicity. This chapter argues how ephemera may be read not as mere sidelines to culture but as central documents pertaining to the wide and complex intellectual issues in music.
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Pub Date : 2020-08-06DOI: 10.1093/oxfordhb/9780190616922.013.22
Benedict Taylor
For the nineteenth century, music was commonly characterized as the “art of time,” and provided a particularly fertile medium for articulating concerns about the nature of time and the temporal experience of human life. This chapter examines some of the debates around music and time from the period, arranged thematically around a series of conceptual issues. These include the reasons proposed for the links between music and time, and the intimate connection between our subjective experience of time and music; the use of music as a poetic metaphor for the temporal course of history; its use by philosophers as an instrument for the explication of temporal conundrums; its alleged potential for overcoming time; its various forms of temporal signification across diverse genres; and the legacy of nineteenth-century thought on these topics today.
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