A Study of Exoticism in Fanny Hensel's Lieder Xi Zhang Advisor
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My Musical Lineage Since the 1600S
Paris Smaragdis My musical lineage Richard Boulanger since the 1600s Barry Vercoe Names in bold are people you should recognize from music history class if you were not asleep. Malcolm Peyton Hugo Norden Joji Yuasa Alan Black Bernard Rands Jack Jarrett Roger Reynolds Irving Fine Edward Cone Edward Steuerman Wolfgang Fortner Felix Winternitz Sebastian Matthews Howard Thatcher Hugo Kontschak Michael Czajkowski Pierre Boulez Luciano Berio Bruno Maderna Boris Blacher Erich Peter Tibor Kozma Bernhard Heiden Aaron Copland Walter Piston Ross Lee Finney Jr Leo Sowerby Bernard Wagenaar René Leibowitz Vincent Persichetti Andrée Vaurabourg Olivier Messiaen Giulio Cesare Paribeni Giorgio Federico Ghedini Luigi Dallapiccola Hermann Scherchen Alessandro Bustini Antonio Guarnieri Gian Francesco Malipiero Friedrich Ernst Koch Paul Hindemith Sergei Koussevitzky Circa 20th century Leopold Wolfsohn Rubin Goldmark Archibald Davinson Clifford Heilman Edward Ballantine George Enescu Harris Shaw Edward Burlingame Hill Roger Sessions Nadia Boulanger Johan Wagenaar Maurice Ravel Anton Webern Paul Dukas Alban Berg Fritz Reiner Darius Milhaud Olga Samaroff Marcel Dupré Ernesto Consolo Vito Frazzi Marco Enrico Bossi Antonio Smareglia Arnold Mendelssohn Bernhard Sekles Maurice Emmanuel Antonín Dvořák Arthur Nikisch Robert Fuchs Sigismond Bachrich Jules Massenet Margaret Ruthven Lang Frederick Field Bullard George Elbridge Whiting Horatio Parker Ernest Bloch Raissa Myshetskaya Paul Vidal Gabriel Fauré André Gédalge Arnold Schoenberg Théodore Dubois Béla Bartók Vincent -
Positive Psychology – Unmitigated Good, and Pessimism As a Categorical Impediment to Wellbeing
E L C I contrasting phenomena were implicitly T conceptualised as negative, positioned as R intrinsically undesirable. So, for example, A optimism tended to be valorised as an Positive psychology – unmitigated good, and pessimism as a categorical impediment to wellbeing. Some scholars did paint a more nuanced the second wave picture; for instance, Seligman (1990, p.292) cautioned that one must be ‘able Tim Lomas delves into the dialectical nuances of flourishing to use pessimism’s keen sense of reality when we need it’. However, in terms of the broader discourse of the field, and its cultural impact, a less nuanced binary t is nearly 20 years since Martin wellbeing – could be brought together message held sway. Seligman used his American and considered collectively. Thus, as While seemingly offering an upbeat IPsychological Association presidential a novel branch of scholarship focused message – linking positive emotions to address to inaugurate the notion of specifically and entirely on ‘the science beneficial outcomes, such as health ‘positive psychology’. The rationale for its and practice of improving wellbeing’ (Fredrickson & Levenson, 1998) – this creation was Seligman’s contention that (Lomas et al., 2015, p.1347), it was valorisation of positivity was problematic, psychology had tended to focus mainly a welcome new addition to the broader for various reasons. Firstly, it often failed on what is wrong with people: on church of psychology. to sufficiently appreciate the contextual dysfunction, disorder and distress. There However, positive psychology was complexity of emotional outcomes. For were of course pockets of scholarship that not without its critics. A prominent instance, ‘excessive’ optimism can be held a candle for human potential and focus of concern was the very notion harmful to wellbeing (e.g. -
Tiina Rosenberg
Don ’t be Quiet TIINA ROSENBERG , Don’ ,t be Quiet ESSAYS ON FEMINISM AND PERFORMANCE Don’t Be Quiet, Start a Riot! Essays on Feminism and Performance Tiina Rosenberg Published by Stockholm University Press Stockholm University SE-106 91 Stockholm, Sweden www.stockholmuniversitypress.se Text © Tiina Rosenberg 2016 License CC-BY ORCID: Tiina Rosenberg: 0000-0002-7012-2543 Supporting Agency (funding): The Swedish Research Council First published 2016 Cover Illustration: Le nozze di Figaro (W.A. Mozart). Johanna Rudström (Cherubino) and Susanna Stern (Countess Almaviva), Royal Opera, Stockholm, 2015. Photographer: Mats Bäcker. Cover designed by Karl Edqvist, SUP Stockholm Studies in Culture and Aesthetics (Online) ISSN: 2002-3227 ISBN (Paperback): 978-91-7635-023-2 ISBN (PDF): 978-91-7635-020-1 ISBN (EPUB): 978-91-7635-021-8 ISBN (Kindle): 978-91-7635-022-5 DOI: http://dx.doi.org/10.16993/baf This work is licensed under the Creative Commons Attribution 4.0 Unported License. To view a copy of this license, visit creativecommons.org/licenses/ by/4.0/ or send a letter to Creative Commons, 444 Castro Street, Suite 900, Mountain View, California, 94041, USA. This license allows for copying any part of the work for personal and commercial use, providing author attribution is clearly stated. Suggested citation: Rosenberg, Tiina 2016 Don’t Be Quiet, Start a Riot! Essays on Feminism and Performance. Stockholm: Stockholm University Press. DOI: http://dx.doi. org/10.16993/baf. License CC-BY 4.0 To read the free, open access version of this book online, visit http://dx.doi.org/10.16993/baf or scan this QR code with your mobile device. -
ROT-DISSERTATION-2016.Pdf
FROM ANXIETY TO BOREDOM: HEIDEGGER, FREUD, AND THE EMOTIONAL HISTORY OF SECULARIZATION by Avraham Rot A dissertation submitted to Johns Hopkins University in conformity with the requirements for the degree of Doctor of Philosophy Baltimore, Maryland October 2016 Abstract While anxiety has been chiefly researched in the field of psychopathology, the phenomenon of boredom has been explored more extensively by positive and existential psychologists, behaviorists, literary critics and historians, sociologists, anthropologists, and philosophers. This disciplinary separation is both an expression of the difference between anxiety and boredom and a hindrance to the systematic study of this difference. This dissertation is an initial assessment of the significance and scope of this structural lacuna, conducted through the study of the intellectual history of the difference between anxiety and boredom. In particular, I show that Freud never worked out a theory of boredom because anxiety had been the implicit presupposition of his psychoanalytic psychology. I also demonstrate that due to the same rationale of mutual exclusion, Heidegger, who discussed both phenomena extensively, never considered them in juxtaposition. To explain the development of Freud’s and Heidegger’s thought, I draw a distinction between anxiety and boredom that is analogous to the distinction between fear and anxiety. While anxiety is fear without the perception of actual danger, boredom is anxiety without the experience of actual fear; and since there is no fear in boredom, there is no guilt in boredom. On the basis of these essential distinctions, I propose the historical hypothesis that there has been a transition from anxiety to boredom in late modernity and that this transition is the emotional aspect of the history of secularization. -
Music in New Woman Fiction
“SUCH GENIUS AS HERS”: MUSIC IN NEW WOMAN FICTION Maura Goodrich Dunst Submitted in partial fulfillment of the requirements for the degree of PhD Cardiff University March 2013 DECLARATION PAGE This work has not been submitted in substance for any other degree or award at this or any other university or place of learning, nor is being submitted concurrently in candidature for any degree or other award. Signed ………………………………………… (candidate) Date ………………………… STATEMENT 1 This thesis is being submitted in partial fulfillment of the requirements for the degree of PhD. Signed ………………………………………… (candidate) Date ………………………… STATEMENT 2 This thesis is the result of my own independent work/investigation, except where otherwise stated. Other sources are acknowledged by explicit references. The views expressed are my own. Signed ………………………………………… (candidate) Date ………………………… STATEMENT 3 I hereby give consent for my thesis, if accepted, to be available for photocopying and for inter- library loan, and for the title and summary to be made available to outside organisations. Signed ………………………………………… (candidate) Date ………………………… STATEMENT 4: PREVIOUSLY APPROVED BAR ON ACCESS I hereby give consent for my thesis, if accepted, to be available for photocopying and for inter- library loans after expiry of a bar on access previously approved by the Academic Standards & Quality Committee. Signed ………………………………………… (candidate) Date ………………………… SUMMARY OF THESIS This thesis examines music and its relationship to gender and the related social commentary woven throughout New Woman writing, putting forth the New Woman musician figure for consideration. In contrast to the male-dominated world of Victorian music, New Woman fiction is rife with women who not only wish to pursue music, but are brilliantly talented musicians and composers themselves. -
Preußische Bildnisse Des 19. Jahrhunderts
November 1981 Monats Anze · ge Nr. 8 Viktorin Drassegg, der 1782 in 1815 endlich in Bregenz landete, Namen zu signieren. Das ausge Mähren geboren wurde, eine ziem wo er, um einer Bestrafung als stellte Instrument, das durch seine lich abenteuerliche militärische Deserteur zu entgehen, sich zu hübschen Zargen und seinen Bo Laufbahn durchmachte, in Italien in nächst Friedrich Grünwald nannte. den aus Vogelahorn auffällt, trägt französische Kriegsgefangenschaft Nach kurzer Zeit fing er an , seine das Datum 1833. geriet und nach vielen Umtrieben Instrumente mit seinem eigenen John Henry van der Meer Preußische Bildnisse des 19. Jahrhunderts Ausstellung im Germanischen Nationalmuseum vom 30. 10. 1981 bis 3. 1. 1982 Als einzigartiges Zeugnis preußi scher Geschichte im 19. Jahr hundert bewahrt die Berliner Natio nalgalerie die Porträtssammlung des Malers Wilhelm Hensel. Der zu seiner Zeit geschätzte Porträt- und Historienmaler hatte es sich zum Ziel gesetzt, mit den Bildnissen bedeutender Zeitgenossen zu gleich ein Porträt seiner Epoche zu schaffen. über 1000 Bleistiftzeich nungen, gesammelt in 46 Alben, fügten sich schließlich bei seinem Tod 1861 zu einem lebendigen und überaus facettenreichen Bild der historisch entscheidenden Jahre zwischen den Befreiungskriegen und der Reichsgründung. Die Ak teure dieses widerspruchsvollen und ereignisreichen Kapitels preußischer Geschichte, Vertreter der Politik und des Militärs, des Hofes und des Bürgertums, der Kunst und der Wissenschaft sind in dieser kunst- und kulturhistorisch reizvollen Sammlung vereint. Na men wie E.T.A. Hoffmann und Wilhelm Hensel, Bildnis E.T.A. Hoffmann Wilhelm 1., Heinrich Heine und Friedrich von Savigny, Hegel und Ranke kennzeichnen die histori sche und geistige Spannweite, die letzten Getreuen Friedrich Wil heitsideal, die Mode und die Ge der Künstler zu fassen vermochte. -
The Dialectics of Well-Being Tim Lomas, Ph.D. Introduction It Is a Real
The Dialectics of Well-being Tim Lomas, Ph.D. Introduction It is a real honour to be standing up here. It is been such a great conference, with such a beautiful spirit. I have heard so many fantastic talks, met many great people, and I feel very honoured that Paul asked me to do a keynote talk, particularly because he has been so influential for me and my colleagues. For instance, our conceptualisation of the second wave of positive psychology is directly influenced by his prior and similar idea of PP 2.0. And beyond that, his scholarship on Eastern philosophies and traditions has been equally important and inspiring. Moreover, Paul is not merely influential, but encouraging and supportive, acting as a mentor figure to me and others, and I would not be standing here without his kind attention. And what I would like to talk about is the dialectics of well-being. More broadly, this presentation is about what we’ve been calling the second wave of positive psychology (PP 2.0). I am going to give you my take on where I see the field as having come from, where it is, and where it might be going. To begin with though, I would briefly like to let you know a bit more about who I am, partly because I feel scholarship is a function of the nature of the person undertaking it, their background, their history, their story, and so on. So, I would like to mention a few things about myself which have fed into the way in which I have approached positive psychology. -
“Müde Bin Ich, Geh' Zur Ruh”: the Story of a Children's Prayer
REFLECTION “Müde bin ich, geh’ zur Ruh”: The Story of a Children’s Prayer Margaret Loewen Reimer The children’s prayer, Müde bin ich, geh’ zur Ruh, is dear to the heart of many Mennonites who grew up in German-speaking homes. A recent request for an English translation sent me on a quest to discover what was available. The translations I found were unsatisfactory, and so I resumed work on my own translation, which I had begun years ago. Meanwhile, I decided to trace the origins of this classic little prayer. The search uncovered a surprisingly rich story. Müde bin ich first appeared in a songbook for nursery school children compiled by Theodor Fliedner in Kaiserswerth, Germany in 1842.1 That is why the tune is sometimes identified as “Kaiserswerth” or “Fliedner.” It is likely that the melody is based on a popular folk tune, as are many familiar hymns. The words were written by Luise Hensel (1798-1876), a widely-read religious poet and hymn writer, and a woman who led a remarkable life.2 Hensel’s father was a Lutheran pastor in Brandenburg. Her brother, well- known painter Wilhelm Hensel, was married to Fanny Mendelssohn, sister of Felix. After the death of her father in 1809, Luise moved to Berlin with her mother. Here she captured the attention of several remarkable men. Romantic poet Clemens Brentano acknowledged her influence on his poetry and apparently shared with composer Ludwig Berger an unrequited love for Luise. Another poet, Wilhelm Müller, was also attracted to her. Today, Müller is remembered for his Waldhornisten poems, which Franz Schubert set to music in his song cycles Die schöne Müllerin and Winterreise. -
'Entomophagy': an Evolving Terminology in Need of Review
"Entomophagy" an evolving terminology in need of review Evans, Joshua David; Alemu, Mohammed Hussen; Flore, Roberto; Frøst, Michael Bom; Halloran, Afton Marina Szasz; Jensen, Annette Bruun; Maciel Vergara, Gabriela; Meyer- Rochow, V.B.; Münke-Svendsen, C.; Olsen, Søren Bøye; Payne, C.; Roos, Nanna; Rozin, P.; Tan, H.S.G.; van Huis, Arnold; Vantomme, Paul; Eilenberg, Jørgen Published in: Journal of Insects as Food and Feed DOI: 10.3920/JIFF2015.0074 Publication date: 2015 Document version Publisher's PDF, also known as Version of record Citation for published version (APA): Evans, J. D., Alemu, M. H., Flore, R., Frøst, M. B., Halloran, A. M. S., Jensen, A. B., Maciel Vergara, G., Meyer- Rochow, V. B., Münke-Svendsen, C., Olsen, S. B., Payne, C., Roos, N., Rozin, P., Tan, H. S. G., van Huis, A., Vantomme, P., & Eilenberg, J. (2015). "Entomophagy": an evolving terminology in need of review. Journal of Insects as Food and Feed, 1(4), 293-305. https://doi.org/10.3920/JIFF2015.0074 Download date: 28. sep.. 2021 Wageningen Academic Journal of Insects as Food and Feed, 2015; 1(4): 293-305 Publishers ‘Entomophagy’: an evolving terminology in need of review J. Evans1*, M.H. Alemu2, R. Flore1, M.B. Frøst1, A. Halloran3, A.B. Jensen4, G. Maciel-Vergara4, V.B. Meyer-Rochow5,6, C. Münke-Svendsen7, S.B. Olsen2, C. Payne8, N. Roos3, P. Rozin9, H.S.G. Tan10, A. van Huis11, P. Vantomme12 and J. Eilenberg4 1Nordic Food Lab, University of Copenhagen, Department of Food Science, Rolighedsvej 30, 1958 Frederiksberg C, Copenhagen, Denmark; 2University of -
Fanny Mendelssohn
The Akron Symphony Meet the Composer - Fanny Mendelssohn Born: November 14, 1805 Died: May 14, 1847 Fanny Mendelssohn was a German pianist and composer and the older sister of the well-known composer, Felix Mendelssohn. The two siblings were very close. She received a quality musical education, first taking piano les- sons from her mother and later studying piano and composition with other teachers. Due to social conventions of the time re- garding the roles of women, some of her compositions were published under her brother’s name. Fanny’s works were often played alongside those of her brother on the family’s Sunday concert series. In 1829, Fanny married Wilhelm Hensel. Her husband was sup- portive and encouraging of her musical work. Before her death Fanny Mendelssohn she composed more than 460 pieces of music, mostly songs and piano pieces. In 1846, a collection of her songs was published. Since the 1980s her works have become better known through performances and recordings. In May 2018, the Fanny and Felix Mendelssohn Museum was opened in Hamburg, Germany. The Piano The piano was invented by Bartolomeo Cristofori in Italy around 1700. There were several innovations to the instrument during the 1800s. These include a cast iron frame and the use of aliquot strings (unstruck strings that reinforce the tone). These innovations gave the instrument a more powerful sound. During this time the family piano played a similar role to that of the radio in the 19th century. The family would frequently gather around the instrument for an enjoyable musical evening. Timeline 1805 - Fanny Mendelssohn is born in Hamburg, Germany 1807 – Lord Nelson defeats the combined French and Spanish fleets in the Battle of Trafalgar 1809 – Mary Kies becomes the first woman in the U.S. -
9. Gundolf's Romanticism
https://www.openbookpublishers.com © 2021 Roger Paulin This work is licensed under a Creative Commons Attribution 4.0 International license (CC BY 4.0). This license allows you to share, copy, distribute and transmit the text; to adapt the text and to make commercial use of the text providing attribution is made to the authors (but not in any way that suggests that they endorse you or your use of the work). Attribution should include the following information: Roger Paulin, From Goethe to Gundolf: Essays on German Literature and Culture. Cambridge, UK: Open Book Publishers, 2021, https://doi.org/10.11647/OBP.0258 Copyright and permissions for the reuse of many of the images included in this publication differ from the above. Copyright and permissions information for images is provided separately in the List of Illustrations. In order to access detailed and updated information on the license, please visit, https://doi.org/10.11647/OBP.0258#copyright Further details about CC-BY licenses are available at, https://creativecommons.org/ licenses/by/4.0/ All external links were active at the time of publication unless otherwise stated and have been archived via the Internet Archive Wayback Machine at https://archive.org/web Updated digital material and resources associated with this volume are available at https://doi.org/10.11647/OBP.0258#resources Every effort has been made to identify and contact copyright holders and any omission or error will be corrected if notification is made to the publisher. ISBN Paperback: 9781800642126 ISBN Hardback: 9781800642133 ISBN Digital (PDF): 9781800642140 ISBN Digital ebook (epub): 9781800642157 ISBN Digital ebook (mobi): 9781800642164 ISBN Digital (XML): 9781800642171 DOI: 10.11647/OBP.0258 Cover photo and design by Andrew Corbett, CC-BY 4.0. -
Musicians from Marlboro
CAL PERFORMANCES PRESENTS PROGRAM NOTES Sunday, April 22, 2012, 3pm Joseph Haydn (1732–1809) goals to destroy every harpsichord they could Hertz Hall Trio for Piano, Violin and Cello in E-flat find as a symbolic smashing of the old aristoc- major, H. XV:29 racy—the new times in France called for a new musical instrument. Composed in 1796 or 1797. The social reason promoting the acceptance Musicians from Marlboro of the piano, one not unrelated to the upheavals Tien-Hsin Cindy Wu, violin The history of the piano is far more than the in France, was the rise of the middle class, the Hye-Jin Kim, violin mere recounting of the mechanical and techni- new gentry who had both leisure time and the Philip Kramp, viola cal development of an instrument—it is a virtu- money to enjoy it. In those days before record- al microcosm of the progress of modern Western ings and broadcasts, music could only be heard Peter Wiley, cello civilization. The first keyboard instrument at the instant and place it was produced, so the Anna Polonsky, piano capable of responding to the varying touch of demand for a musical instrument as the center the player was the gravicembalo col piano e forte of home entertainment—for the fashionable (“harpsichord with soft and loud”), invented piano—mounted. PROGRAM in Florence in 1709 by Bartolomeo Cristofori. The success of the piano as an item of com- Cristofori’s instrument, whose sound was acti- merce followed, of course, the increased demand. vated by a hammer thrown against a string ac- By the turn of the 19th century, and especially Joseph Haydn (1732–1809) Trio for Piano, Violin and Cello in E-flat major, cording to the force of the pressure applied at with the development of the metal-frame piano H.