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Fb2 Choral Fantasies: Music, Festivity, and Nationhood in Nineteenth-Century Germany ePub

by Ryan Minor

Category: Music
Subcategory: Photo and Art
Author: Ryan Minor
ISBN: 0521760712
ISBN13: 978-0521760713
Language: English
Publisher: Cambridge University Press; 1 edition (May 28, 2012)
Pages: 284
Fb2 eBook: 1945 kb
ePub eBook: 1189 kb
Digital formats: lrf rtf mbr docx

Most histories of nineteenth-century music portray 'the people' merely as an audience, a passive .

Most histories of nineteenth-century music portray 'the people' merely as an audience, a passive spectator to the music performed around it. Ye. With an elegant lightness, Choral Fantasies is entirely persuasive in making us think about the chorus not as a ready-made means or compliant vessel for the communication of national or political aspirations but as an aesthetic and social imaginary associated with a German festival culture. Look backing to ancient Greece and Rome, the chorus reemerged in the music practices of the nineteenth century in a highly charged political atmosphere.

Ryan Minor is Associate Professor of Music at the State University of New York, Stony Brook

Ryan Minor is Associate Professor of Music at the State University of New York, Stony Brook.

Choral Fantasies book. Goodreads helps you keep track of books you want to read. Start by marking Choral Fantasies: Music, Festivity, and Nationhood in Nineteenth-Century Germany as Want to Read: Want to Read savin. ant to Read.

New York: Cambridge University Press. ISBN 978-0-521-76071-3. Choral Fantasies: Music, Festivity, and Nationhood in Nineteenth-Century Germany. New York: Cambridge University Press. Volume 47 Issue 1 - Michael H. Kater.

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Choral Fantasies: Music, Festivity, and Nationhood in Nineteenth-Century Germany. Michael H. Kater (a1).

Select Format: Hardcover. ISBN13: 9781107543638.

Choral Fantasies Minor Cambridge Academ 9780521760713 : Most histories of nineteenth-century music portray the people .

Choral Fantasies Minor Cambridge Academ 9780521760713 : Most histories of nineteenth-century music portray the people merely as an audience, a passive spectator to the music performed around . Основная тема: Music Подзаголовок: Music, Festivity, and Nationhood in Nineteenth-Century Germany Рейтинг: Поставляется из: Англии Описание: Most histories of nineteenth-century music portray the people merely as an audience, a passive spectator to the music performed around it.

The Fantasy (Fantasia) for piano, vocal soloists, chorus, and orchestra, Op. 80, usually called the Choral Fantasy, was composed in 1808 by Ludwig van Beethoven

The Fantasy (Fantasia) for piano, vocal soloists, chorus, and orchestra, Op. 80, usually called the Choral Fantasy, was composed in 1808 by Ludwig van Beethoven. Beethoven intended the Fantasy to serve as the concluding work for the benefit concert he put on for himself on 22 December 1808; the performers consisted of vocal soloists, chorus, an orchestra, and Beethoven himself as piano soloist.

ISBN 978 1 84383 718 . horal fantasies: music, festivity, and nationhood in nineteenth-century Germany Ryan Minor Cambridge University. Back to Baltimore': George Antheil's Symphonic Excursion from European Modernism to American Postmodernism.

Most histories of nineteenth-century music portray 'the people' merely as an audience, a passive spectator to the music performed around it. Yet, in this reappraisal of choral singing and public culture, Minor shows how a burgeoning German bourgeoisie sang of its own collective aspirations, mediated through the voice of celebrity composers. As both performer and idealized community, the chorus embodied the possibilities and limitations of a participatory, national identity. Starting with the many public festivals at which the chorus was a featured participant, Minor's account of the music written for these occasions breaks new ground not only by taking seriously these often-neglected works, but also by showing how the contested ideals of German nationhood suffused the music itself. In situating both music and festive culture within the milieu of German bourgeois liberals, this study uncovers new connections between music and politics during a century that sought to redefine both spheres.
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