Proquest Dissertations
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THE VIRTUOSO UNDER SUBJECTION: HOW GERMAN IDEALISM SHAPED the CRITICAL RECEPTION of INSTRUMENTAL VIRTUOSITY in EUROPE, C. 1815 A
THE VIRTUOSO UNDER SUBJECTION: HOW GERMAN IDEALISM SHAPED THE CRITICAL RECEPTION OF INSTRUMENTAL VIRTUOSITY IN EUROPE, c. 1815–1850 A Dissertation Presented to the Faculty of the Graduate School of Cornell University in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by Zarko Cvejic August 2011 © 2011 Zarko Cvejic THE VIRTUOSO UNDER SUBJECTION: HOW GERMAN IDEALISM SHAPED THE CRITICAL RECEPTION OF INSTRUMENTAL VIRTUOSITY IN EUROPE, c. 1815–1850 Zarko Cvejic, Ph. D. Cornell University 2011 The purpose of this dissertation is to offer a novel reading of the steady decline that instrumental virtuosity underwent in its critical reception between c. 1815 and c. 1850, represented here by a selection of the most influential music periodicals edited in Europe at that time. In contemporary philosophy, the same period saw, on the one hand, the reconceptualization of music (especially of instrumental music) from ―pleasant nonsense‖ (Sulzer) and a merely ―agreeable art‖ (Kant) into the ―most romantic of the arts‖ (E. T. A. Hoffmann), a radically disembodied, aesthetically autonomous, and transcendent art and on the other, the growing suspicion about the tenability of the free subject of the Enlightenment. This dissertation‘s main claim is that those three developments did not merely coincide but, rather, that the changes in the aesthetics of music and the philosophy of subjectivity around 1800 made a deep impact on the contemporary critical reception of instrumental virtuosity. More precisely, it seems that instrumental virtuosity was increasingly regarded with suspicion because it was deemed incompatible with, and even threatening to, the new philosophic conception of music and via it, to the increasingly beleaguered notion of subjective freedom that music thus reconceived was meant to symbolize. -
2012 Annual Festival/Conference to Convene
Founded in 1964 Volume 27, Issue 2, Summer/Fall 2011 AN OFFICIAL PUBLICATION OF THE AMERICAN LISZT SOCIETY, INC. 2012 Annual Festival/Conference to TABLE OF CONTENTS Convene in Eugene, Oregon in May 1 2012 Festival/Conference The annual Festival/Conference of The American Liszt Society will take place Eugene, OR May 17 - 20 May 17 - 20, 2012 at the University of Oregon in Eugene. Under the artistic direction of Alexandre Dossin, the 2012 Festival is entitled "Liszt in Weimar" and will celebrate Liszt's great compositional achievements during the prolific Weimar years: theSonata 2 President’s Message in B Minor, symphonic poems, a relatively rare performance of Berlioz's Symphonie Fantastique for solo piano, and other great works. 3 Letter from the Editor The Festival begins Thursday at 8:00pm, with a performance by the Eugene Symphony Orchestra, conducted by Danail Rachev and featuring pianist Adam Golka playing the Liszt Concerto No. 1. Also on the program will be the "Hungarian 4 Parish Alvars: (Rákóczy) March" from Berlioz's Damnation of Faust, also used by Liszt as the basis for "The Liszt of the Harp" his Hungarian Rhapsody No. 15, and the Bruckner Symphony No. 6. University of Illinois Honors Liszt The next day's musical activities begin with a concert featuring music of Bach and Liszt for piano and organ, followed by a lecture on the city of Weimar. A lieder recital of music by Liszt and Beethoven, and a lecture on Liszt's pianos in Weimar complete 5 Member News the morning schedule. Following lunch, attendees will be treated to a lecture on "A New Perspective on Franz Liszt," followed by a presentation on Liszt and the lied. -
UNIVERSITY of LONDON THESIS J\Lv& AA
REFERENCE ONLY UNIVERSITY OF LONDON THESIS Degree ^ Year Name of Author (_0 ^ 0 \ j\lV & A A COPYRIGHT This is a thesis accepted for a Higher Degree of the University of London. It is an unpublished typescript and the copyright is held by the author. All persons consulting this thesis must read and abide by the Copyright Declaration below. COPYRIGHT DECLARATION I recognise that the copyright of the above-described thesis rests with the author and that no quotation from it or information derived from it may be published without the prior written consent of the author. LOANS Theses may not be lent to individuals, but the Senate House Library may lend a copy to approved libraries within the United Kingdom, for consultation solely on the premises of those libraries. Application should be made to: Inter-Library Loans, Senate House Library, Senate House, Malet Street, London WC1E 7HU. REPRODUCTION University of London theses may not be reproduced without explicit written permission from the Senate House Library. Enquiries should be addressed to the Theses Section of the Library. Regulations concerning reproduction vary according to the date of acceptance of the thesis and are listed below as guidelines. A. Before 1962. Permission granted only upon the prior written consent of the author. (The Senate House Library will provide addresses where possible). B. 1962-1974. In many cases the author has agreed to permit copying upon completion of a Copyright Declaration. C. 1975-1988. Most theses may be copied upon completion of a Copyright Declaration. D. 1989 onwards. Most theses may be copied. -
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INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality af this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignmentcan adversely afreet reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI University Microfilms International A Beil & Howell information C om pany 300 Nortfi Z eeb Roac. Ann Arbor, Ml 48106-1346 USA 313 761-4700 800 521-0600 Order Number 91S04S0 Sîgîsmimd Thalberg (1812—1871), forgotten piano virtuoso: His career and musical contributions Hominick, Ian Glenn, D.M.A. -
Summer/Fall 2011
Founded in 1964 Volume 27, Issue 2, Summer/Fall 2011 AN OFFICIAL PUBLICATION OF THE AMERICAN LISZT SOCIETY, INC. 2012 Annual Festival/Conference to TABLE OF CONTENTS Convene in Eugene, Oregon in May 1 2012 Festival/Conference The annual Festival/Conference of The American Liszt Society will take place Eugene, OR May 17 - 20 May 17 - 20, 2012 at the University of Oregon in Eugene. Under the artistic direction of Alexandre Dossin, the 2012 Festival is entitled "Liszt in Weimar" and will celebrate Liszt's great compositional achievements during the prolific Weimar years: theSonata 2 President’s Message in B Minor, symphonic poems, a relatively rare performance of Berlioz's Symphonie Fantastique for solo piano, and other great works. 3 Letter from the Editor The Festival begins Thursday at 8:00pm, with a performance by the Eugene Symphony Orchestra, conducted by Danail Rachev and featuring pianist Adam Golka playing the Liszt Concerto No. 1. Also on the program will be the "Hungarian 4 Parish Alvars: (Rákóczy) March" from Berlioz's Damnation of Faust, also used by Liszt as the basis for "The Liszt of the Harp" his Hungarian Rhapsody No. 15, and the Bruckner Symphony No. 6. University of Illinois Honors Liszt The next day's musical activities begin with a concert featuring music of Bach and Liszt for piano and organ, followed by a lecture on the city of Weimar. A lieder recital of music by Liszt and Beethoven, and a lecture on Liszt's pianos in Weimar complete 5 Member News the morning schedule. Following lunch, attendees will be treated to a lecture on "A New Perspective on Franz Liszt," followed by a presentation on Liszt and the lied.