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<jats:title>Abstract</jats:title> <jats:p>This article examines the role of London's Crystal Palace in the popularization of “classical music” in Victorian Britain, and in the creation of the orchestral canon in the nineteenth century. The Crystal Palace was originally built in Hyde Park for the Great Exhibition of 1851 and was reconstructed in the London suburb of Sydenham in 1854. This popular attraction assumed a musical prominence in British culture when the ambitious conductor Augustus Manns established an orchestra there in 1855, and presented a series of Saturday Concerts until 1900.</jats:p> <jats:p>Central to this discussion of the significance of the Crystal Palace concerts are two audience plebiscites that Manns conducted, in 1880 and 1887, which shed much light on Victorian popular taste and musical values. As well, particular attention is given to his involvement in the “English Musical Renaissance” in both of its aspects: as a campaign to raise British composers to canonic stature (to construct a “British Beethoven”); and as an effort to securely embed classical music within British culture.</jats:p>

<jats:title>Abstract</jats:title> <jats:p>The 178 letters, nearly all of them by the Halle University medical student and amateur violinist Adolph Müller, published in 1874 as Briefe von der Universität in die Heimath, provide an opportunity to explore in detail one individual's uses of music as a means of social interaction, identity construction, and aesthetic cultivation and reflection during the first decade of the nineteenth century. The immediacy and self-representational nature of the medium of the letter result in a record that makes clear not only the variety of musical experiences at all levels woven into the daily life of a young German Bürger but also how his accounts of those experiences could help align Müller with—and sometimes vividly over against—his family. Participating in and describing music in society as well as extraordinary works (especially Mozart's and Beethoven's) that he came to value explicitly over conventional and socially acceptable music, Müller provides a colorful if often inconsistent account of living with and coming to terms with that music in a daily context of aesthetic values, class and gender ideologies (the latter particularly evident in his musical encounters with Friedrich Schleiermacher), and the institutions and relationships that structured his life.</jats:p>

<jats:title>Abstract</jats:title> <jats:p>The fantastic, theorized as an expression of the anxieties, fears, and political beliefs of the generation of young French writers born in the decades directly following the Revolution and Terror, has long been viewed primarily as a literary genre. Observed in light of this artistic movement, Berlioz's most famous work, Symphonie fantastique, emerges as a musical manifestation of fantastic techniques, and Berlioz himself as an important contributor to the Fantastic culture that swept nineteenth-century France. Using Tzvetan Todorov's narrative theory, I identify two techniques fantastic authors exploit that are most useful in understanding Symphonie Fantastique: an intentional ambiguity of form, and a privileging of ambiguous “thresholds” over teleological plot resolution. In pursuing a new explanation of the symphony's strange deviations from musical norms, I highlight the many different ways the symphony has been understood and analyzed by prominent musicologists over the past 180 years.</jats:p> <jats:p>By now, musicologists have effectively demonstrated that Berlioz was not the “incompetent genius” (in Charles Rosen's wry formulation) he was long considered to be; however, the fact that there is still disagreement and debate over Symphonie Fantastique's deviations from normative form and content, as well as what those deviations might mean, demonstrates the highly fraught signifying structure of the music. Locating the symphony's use of fantastic tropes and techniques demonstrates that many of its strangest aspects—those “failures” that have been the subject of musicological debate since 1835—come into focus when we take its title seriously and regard the work as a symphony in the fantastic genre.</jats:p>

<jats:title>Abstract</jats:title> <jats:p>Throughout the history of Western music, musicians have almost invariably discussed the keyboard fugue and other extreme forms of polyphony as signs of something that transcends human subjectivity. Despite the persistence of this critical topos, musicians shifted their approach to it around the beginning of the nineteenth century. The shift involved both a change in the technique of counterpoint and a change in the way counterpoint was interpreted. Composers sought to invest the fugue with a new dramatic and teleological thrust suitable to modern times, and critically minded musicians changed their interpretive method so as to emphasize the passage of time. Whereas musicians of the early eighteenth century read counterpoint and the fugue allegorically and annulled time through the conceptual precision of the allegorical image, musicians of the late eighteenth and early nineteenth centuries read the fugue symbolically and worked time into their interpretive process. In both eras, the practice of interpretation coincided with and affected the reading of the genre's temporality.</jats:p>