Catálogo de publicaciones - revistas
19th-Century Music
Resumen/Descripción – provisto por la editorial en inglés
19th-Century Music publishes articles on all aspects of music having to do with the "long" nineteenth century. The period of coverage has no definite boundaries; it can extend well backward into the eighteenth century and well forward into the twentieth. Published tri-annually, the journal is open to studies of any musical or cultural development that affected nineteenth-century music and any such developments that nineteenth-century music subsequently affected. The topics are as diverse as the long century itself. They include music of any type or origin and include, but are not limited to, issues of composition, performance, social and cultural context, hermeneutics, aesthetics, music theory, analysis, documentation, gender, sexuality, history, and historiography.Palabras clave – provistas por la editorial
No disponibles.
Disponibilidad
| Institución detectada | Período | Navegá | Descargá | Solicitá |
|---|---|---|---|---|
| No detectada | desde jul. 1977 / | JSTOR |
Información
Tipo de recurso:
revistas
ISSN impreso
0148-2076
ISSN electrónico
1533-8606
Editor responsable
University of California Press
País de edición
Estados Unidos
Fecha de publicación
1977-
Cobertura temática
Tabla de contenidos
Strauss and Hofmannsthal's Arabella and the Resacralization of the Operatic Tradition
Marc Brooks
<jats:title>Abstract</jats:title> <jats:p>The obvious debt that Strauss's operas owe to Wagner often led early critics to view their conspicuous lack of spiritual depth as an unintentional failure. Recent commentators such as Charles Youmans, Leon Botstein, and Michael Walter have rightly characterized this feature as a conscious Nietzschean strategy calculated to avoid or ironize metaphysical tropes. Following the critique of the concept of “secularization” by Jürgen Habermas and Charles Taylor, however, I wish to complicate this newer interpretation by arguing that Strauss's operas do not represent the point in music history when German music threw off its pretentions to Kunstreligion, but mark yet another point of “re-sacralization”—a term I borrow from Simon Critchley's Faith of the Faithless (2012).</jats:p> <jats:p>The Wagner-indebted music in Arabella (1933)—an opera given much less critical attention than it deserves—certainly never gestures toward any transcendent truth beyond the physical confines of what is presented. Nevertheless, I argue, a sacred economy still operates in the opera whereby certain aspects of the immanent stage-world are figured as “sacred” and others as “profane.” It is possible to trace the influence of the operas Tannhäuser and Parsifal on Arabella, specifically in the harmonic, rhythmic, and timbral techniques Wagner used to mark certain suprahuman forces as possessing a transcendent aura. The music of Arabella uses moderated versions of these techniques to redistribute the same sacred status onto different aspects of material and psychological reality.</jats:p>
Palabras clave: Music.
Pp. 272-301
Berlioz, Love, and Béatrice et Bénédict
J. P. E. Harper-Scott
<jats:p>Berlioz's final opera, Béatrice et Bénédict (1860–62) has generally been considered a light-hearted work, revelling in the simple joys of love. Yet his final development of the theme of love, which had preoccupied him at least since the Symphonie fantastique (1830), makes this opéra comique more serious than it might appear to be. Drawing on theories of the human subject by Badiou, Žižek, and Lacan, as well as on the resources of Schenkerian theory, this article invites a new attention on the ideological violence done both by conventional models of love (in this case, on the main characters in the opera) and by the language of tonality. Evaluation of the musical means by which Berlioz psychoanalyzes the characters of a masochist, Héro, and a hysteric, Béatrice, ultimately reveals a surprisingly provocative work of vivid psychological drama.</jats:p>
Palabras clave: Music.
Pp. 3-34