Hearing Perfection

2020 ◽  
pp. 109-130
Author(s):  
Emily I. Dolan
Keyword(s):  
Nineteenth Century ◽  
Essential Role ◽  
Comparative Tests ◽  
Ongoing Process ◽  
Musical History ◽  
Technological History ◽  
Musical Canon

This chapter examines the formation of a particular rhetoric and constellation of values surrounding the violin through the lens of comparative tests between new and old violins. Since the nineteenth century, new violins have consistently won out over old ones. This is part of an ongoing process of mutual calibration between old and new violins: the old violins are updated to meet new playing needs; new violins are made as copies of older instruments. The continual blurring of distinctions between new and old produces what this chapter calls mendacious technology: an instrument that lies about its own historicity. Mendacious technology performs a productive, even essential, role within musical history. The violin itself has undergone many significant, though underplayed, technological alterations, but what has endured is the very notion that the instrument has endured. The musical canon—and meaningful access to it—depends on this careful obfuscating of technological history.

scholarly journals A ‘Distinctive’ Map of London: Women, Theatre and the Classics in 1893

2020 ◽  
Vol 47 (1) ◽  
pp. 26-42
Author(s):  
Laura Monrós-Gaspar
Keyword(s):  
Nineteenth Century ◽  
Essential Role ◽  
Entertainment Industry ◽  
Reception Studies ◽  
Classical Reception ◽  
Concert Halls

Copious geographies of nineteenth-century London spectacle have been mapped following different scales and criteria. In this article, I invite readers to scrutinise London’s entertainment industry in 1893 focusing on the venues where modern reconfigurations and adaptations of Greek and Roman mythology by women were first staged. Such a map reveals microhistories of the streets, theatres, pleasure gardens and concert halls, where women as creators and agents of the classical revival played an essential role that has generally been forgotten by theatre historians and classical reception studies. As I aim to demonstrate, this new and gendered cartography challenges the notion of a classical repertoire and the boundaries between the popular and the legitimate.

““Das verlassene Määgdlein””: Grief Partaken

2009 ◽  
Vol 33 (2) ◽  
pp. 173-192
Author(s):  
Karen M. Bottge
Keyword(s):  
Nineteenth Century ◽  
Sustained Attention ◽  
Musical Settings ◽  
Musical History ◽  
History Of ◽  
The Creation ◽  
The Voice ◽  
Insight Into

Abstract Perhaps the most influential abandoned woman to surface in the musical history of the nineteenth century was that conceived by Biedermeier poet Eduard Möörike. Since its initial publication in 1832, his ““Das verlassene Määgdlein”” has engaged the sustained attention of composers, performers, and even music analysts and critics. Not only did his Määgdlein prompt the creation of numerous nineteenth-century volkstüümliche varianten throughout Germany and Austria, but she also inspired 130 musical settings dating between 1832 and 1985. Yet, although Möörike is just one of many figures within a long tradition of male poets writing on female abandonment, there seems to be something to this particular poem, that is, to Möörike's Määgdlein, that has compelled composers to retell her tale again and again in song. My discussion begins by first revisiting the poem's original novelistic context, Maler Nolten: Novelle in zwei Theilen (1832). Thereafter I follow Möörike's Määgdlein from her poetic beginnings to two of her best-known musical reappearances: Robert Schumann's ““Das verlassne Määgdelein”” (op. 64, no. 2) of 1847 and the work it inspired forty years later, Hugo Wolf's 1888 ““Das verlassene Määgdlein”” (also op. 64, no. 2), perhaps the most renowned setting of them all. Through the juxtaposition of these two settings we may not only uncover their potential textual and musical interconnections, but also gain insight into the tacit cultural understandings and ideologies surrounding those who take up the voice of the abandoned.

scholarly journals Musical History and Self-Consciousness in Mendelssohn's Octet, Op. 20

2008 ◽  
Vol 32 (2) ◽  
pp. 131-159 ◽  
Author(s):  
Benedict Taylor
Keyword(s):  
Nineteenth Century ◽  
Instrumental Music ◽  
Musical Work ◽  
Musical Time ◽  
Major Significance ◽  
Musical History ◽  
Historical Past ◽  
Musical Memory

Abstract The historical past played perhaps a more important role in Mendelssohn's music than in that of any other composer. This article approaches the work traditionally seen as his first major compositional achievement, the Octet in E♭♭ Major for Strings, op. 20 (1825), from the perspective of the composer's strong historical sense and takes up ideas of musical memory, history, and circular narrative journey as embodied in the cyclical structure of the piece. The Octet enacts a coming to self-consciousness of its own musical history, a process with close parallels in the writings of Goethe and Hegel, both of whom Mendelssohn knew personally. In its cyclical manipulations of musical time, Mendelssohn's Octet sets up a new formal and expressive paradigm for a musical work that would be of major significance for the instrumental music of the later nineteenth century.

scholarly journals Dimensão escatológica da Igreja. Um estudo do capítulo VII da Lumen Gentium

2017 ◽  
Vol 77 (306) ◽  
pp. 407-437
Author(s):  
Cleto Caliman ◽  
Renato Alves de Oliveira
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Vatican Ii ◽  
Human Existence ◽  
Christian Theology ◽  
Ongoing Process ◽  
Lumen Gentium ◽  
The Sixties ◽  
History Of ◽  
New Perspective

Síntese: Nesse trabalho apresentamos como o Concílio Vaticano II entra no processo de redescoberta da escatologia que se deu na virada do séc. XIX para o séc. XX no contexto da investigação sobre o Jesus histórico. Esse processo desemboca nos anos 50 e 60 do séc. XX, sob a inspiração do Princípio-Esperança de E. Bloch, na Teologia da Esperança de J. Moltmann. Passamos da compreensão da escatologia como último tratado da dogmática, os Novíssimos, para uma dimensão transcendental que perpassa toda a teologia cristã desde os seus fundamentos. Desta forma, deixamos para trás o paradigma clássico da teologia que girava em torno da filosofia da essência, para um novo paradigma em torno da filosofia da existência, respondendo às exigências da compreensão do ser humano própria da modernidade. Nossa hipótese é que o Concílio Vaticano II assimila em seus principais documentos essa nova perspectiva e, especificamente, na Lumen Gentium, cap. VII, sobre A índole escatológica da Igreja peregrina e sua união com a Igreja celeste.Palavras-chave: Escatologia. Cristologia. Igreja. História da salvação. Vaticano II.Abstracts: This Essay aims to present the way the Vatican II Council rediscover Eschatology. A process that was going on since the of the nineteenth century up to the twentieth century as the investigations about the historical Jesus began. This ongoing process reaches the fifties and the sixties of the twentieth Century inspired both by the Hope-Principle of E. Bloch and Moltmann’s Theology of Hope. There is a new understanding of eschatology that moves from Dogmatics’ last treatise to a transcendental dimension that touches the whole of the Christian theology on its very foundations. In this way, we leave behind theology’s classical paradigm based on an essentialist philosophy to a new one reflecting of a philosophy of Human Existence. This change in perspective meets the demands of a new understanding of man in modernity. In our view the Vatican II Council assimilates in its main documents this new perspective as we find for example in the Lumen Gentium cap. VII, where it deals with the eschatological nature of the Pilgrim Church and its union with the Celestial Church.Keywords: Eschatology. Christology. Church. The History of Salvation. Vatican II.

Systemic Politics and the Origins of Great Power Conflict

2008 ◽  
Vol 102 (1) ◽  
pp. 77-93 ◽  
Author(s):  
BEAR F. BRAUMOELLER
Keyword(s):  
Nineteenth Century ◽  
International Politics ◽  
International System ◽  
Great Powers ◽  
Great Power ◽  
Related Activity ◽  
Second Stage ◽  
Ongoing Process ◽  
Spiral Model ◽  
Proximate Explanation

Systemic theories of international politics rarely predict conflict short of cataclysmic systemic wars, and dyadic theories of conflict lack systemic perspective. This article attempts to bridge the gap by introducing a two-step theory of conflict among Great Powers. In the first stage, states engage in a dynamic, ongoing process of managing the international system, which inevitably produces tensions among them. In the second stage, relative levels of security-related activity determine how and when those tensions erupt into disputes. A test of the theory on Great Power conflicts from the nineteenth century supports the argument and, moreover, favors the deterrence model over the spiral model as a proximate explanation of conflict in the second stage.

scholarly journals Science, Fashion, Knowledge and Imagination: Shopfront Natural History in 19th-Century Sydney

2013 ◽  
Vol 4 (1) ◽  
pp. 1-18 ◽  
Author(s):  
Anne Coote
Keyword(s):  
Nineteenth Century ◽  
Natural History ◽  
19Th Century ◽  
Ongoing Process ◽  
The People ◽  
History Of ◽  
The City

Natural history dealers' shops offered colour, interest and occasional sensation to the people of mid-nineteenth century Sydney. This essay examines the nature of shop-front natural history enterprise in this period, and its significance in the history of the city and the wider colony. It begins by discussing dealers and their businesses, going on to argue for the role both played in the ongoing process of colonisation. In particular, it highlights the contribution made to those aspects of territorial appropriation which were taking place in the imaginations of Sydney's inhabitants.

Long Live Anachronism

2016 ◽  
pp. 281-304
Author(s):  
Mieke Bal
Keyword(s):  
Nineteenth Century ◽  
Essential Role ◽  
The Novel ◽  
Art Practice ◽  
Collaborative Art

‘Long Live Anachronism’, written by Mieke Bal, is the first essay in the ‘Novel Rereadings’ section and provides a self-conscious analysis of Bal’s own collaborative art practice and its outcomes. In the essay, Bal makes a passionate plea for the essential role of anachronism in our understanding of contemporaneity in art, and suggests that her collaborative audio-visual installation project ‘Madame B’ (what she calls an ‘unfaithful’ adaptation of Flaubert’s novel) ‘actualizes’ the nineteenth-century text to release ‘its political thrust,’ demonstrating the work’s durable ‘aliveness.’

Trade and Civilization around the Bay of Bengal, c. 1650–1800

Itinerario ◽  
1995 ◽  
Vol 19 (3) ◽  
pp. 82-108 ◽  
Author(s):  
Jos Gommans
Keyword(s):  
Nineteenth Century ◽  
Early Modern ◽  
State Formation ◽  
Bay Of Bengal ◽  
Religious Orientation ◽  
Special Volume ◽  
European Expansion ◽  
The Third ◽  
Ongoing Process ◽  
Ancien Régime

About seven years ago the journalItinerarioissued a special volume on theAncien Régimein India and Indonesia that carried the papers presented at the third Cambridge-Leiden-Delhi-Yogyakarta conference. The aim of the conference was a comparative one in which state-formation, trading net-works and socio-political aspects of Islam were the major topics. Thumbing through the pages of this issue (while preparing this essay) I had the impression that the results of the conference went beyond its initial comparative goals. Directly or indirectly, several papers stressed that during the early-modern phase India and Indonesia were still part of a cultural continuum that was only gradually broken up by the ongoing process of European expansion during the nineteenth century. It appeared that even after the earlier course of so-called ‘Indianisation’ – a designation that unjustly conveys an Indian ‘otherness’ – India and the Archipelago shared many characteristics, especially in terms of their political and religious orientation. More importantly, these shared traits were shaped by highly mobile groups of traders, pilgrims and courtiers who criss-crossed the Bay of Bengal, traversing both the lands above and below the winds.

Provinces versus metropolis in the British brass band movement in the early twentieth century: the case of William Rimmer and his music

Popular Music ◽  
1997 ◽  
Vol 16 (2) ◽  
pp. 151-163 ◽  
Author(s):  
Duncan Bythell
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Annual Cycle ◽  
British Isles ◽  
Mass Market ◽  
Brass Band ◽  
Music Making ◽  
Educational Role ◽  
Opera House ◽  
Musical Canon

In recent years, historians have belatedly recognised the growth of the British brass band as one of the most remarkable developments in the sphere of popular music-making in the second half of the nineteenth century. Not only did ‘banding’ provide an absorbing pastime for tens of thousands of amateur musicians, but brass band performances also fulfilled an important cultural and educational role in introducing the standard classics of the bourgeois musical canon to mass audiences who never saw the inside of an opera house or a concert hall. In addition, satisfying the needs of these new-style bands for music, instruments, uniforms and other impedimenta led to the growth of a group of small, specialised and resourceful enterprises which successfully developed a mass market for their wares in Britain and the colonies. By the end of the 1890s, there could have been few towns or villages, whether in the remoter parts of the British Isles or even the most far flung corners of the white dominions, where some kind of brass band did not add its distinctive tones to the annual cycle of formal and informal events which made up their community's social calendar.

scholarly journals When William Met Mary: The Rewriting of Mary Lamb’S and William-Henry Ireland’S Stories in Peter Ackroyd’S The Lambs Of London

2012 ◽  
Vol 47 (4) ◽  
pp. 177-195
Author(s):  
Petr Chalupský
Keyword(s):  
Nineteenth Century ◽  
Early Nineteenth Century ◽  
Historical Reality ◽  
Ongoing Process ◽  
Historical Biography ◽  
Late Eighteenth ◽  
The City ◽  
Literary Circles

Abstract Peter Ackroyd’s London novels represent a distinctive component in his project of composing a literary-historical biography of the city. Understanding London as a multilayered palimpsest of texts, Ackroyd adds to this ongoing process by rewriting the city’s history from new, imaginative perspectives. For this he employs approaches and strategies such as parody, pastiche, genre mixture, metafiction, intertextuality and an incessant mixing of the factual with the fictititious. The aim of this article is to explore the various ways in which he toys with historical reality and blurs the borderline between fiction and biography in The Lambs of London (2004), offering thus an alternative rendering of two unrelated offences connected with late eighteenth and early nineteenth century London literary circles: Mary Lamb’s matricide and William-Henry Ireland’s forgeries of the Shakespeare Papers.

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