Goethe and Schubert: Across the Divide
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UC Berkeley UC Berkeley Electronic Theses and Dissertations
UC Berkeley UC Berkeley Electronic Theses and Dissertations Title "Sweet Science": Romantic Materialism and the New Sciences of Life Permalink https://escholarship.org/uc/item/2sm297sw Author Goldstein, Amanda Jo Publication Date 2011 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California “Sweet Science”: Romantic Materialism and the New Sciences of Life By Amanda Jo Goldstein A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Comparative Literature in the Graduate Division of the University of California, Berkeley Committee in charge: Prof. Steven Goldsmith, Co-Chair Prof. Kevis Goodman, Co- Chair Prof. Judith Butler Prof. Anne-Lise François Prof. Niklaus Largier Fall 2011 Abstract “Sweet Science”: Romantic Materialism and the New Sciences of Life by Amanda Jo Goldstein Doctor of Philosophy in Comparative Literature Professor Steven Goldsmith, Co-Chair Professor Kevis Goodman, Co-Chair This dissertation on late Enlightenment poetics and the history of the biomedical sciences unfolds a lapsed possibility near the historical beginnings of the division of labor between literary and scientific representation. Against the pressure, then and now, to treat the culture of science as context or antithesis to literary production, I recover a countervailing epistemology that cast poetry as a privileged technique of empirical inquiry: a knowledgeable practice whose figurative work brought it closer to, not farther from, the physical nature of things. In his late life science, Morphology, Goethe mischievously re-signified “objectivity” to mean an observer’s vulnerability to transformation by the objects under view: “every new object, well seen, opens up a new organ in us.” Such a gesture at once opens the scene of experiment to the agency of objects, and shifts biology’s question from the life force within beings, to the metamorphic relations between them. -
A European Singspiel
Columbus State University CSU ePress Theses and Dissertations Student Publications 2012 Die Zauberflöte: A urE opean Singspiel Zachary Bryant Columbus State University, [email protected] Follow this and additional works at: https://csuepress.columbusstate.edu/theses_dissertations Part of the Music Commons Recommended Citation Bryant, Zachary, "Die Zauberflöte: A urE opean Singspiel" (2012). Theses and Dissertations. 116. https://csuepress.columbusstate.edu/theses_dissertations/116 This Thesis is brought to you for free and open access by the Student Publications at CSU ePress. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of CSU ePress. r DIE ZAUBEFL5TE: A EUROPEAN SINGSPIEL Zachary Bryant Die Zauberflote: A European Singspiel by Zachary Bryant A Thesis Submitted in Partial Fulfillment of Requirements of the CSU Honors Program for Honors in the Bachelor of Arts in Music College of the Arts Columbus State University Thesis Advisor JfAAlj LtKMrkZny Date TttZfQjQ/Aj Committee Member /1^^^^^^^C^ZL^>>^AUJJ^AJ (?YUI£^"QdJu**)^-) Date ^- /-/<£ Director, Honors Program^fSs^^/O ^J- 7^—^ Date W3//±- Through modern-day globalization, the cultures of the world are shared on a daily basis and are integrated into the lives of nearly every person. This reality seems to go unnoticed by most, but the fact remains that many individuals and their societies have formed a cultural identity from the combination of many foreign influences. Such a multicultural identity can be seen particularly in music. Composers, artists, and performers alike frequently seek to incorporate separate elements of style in their own identity. One of the earliest examples of this tradition is the German Singspiel. -
The Library of Prof. Dr. Werner Rudolf Fuchs, Professor Emeritus, Westfälische Wilhelms-Universität, Münster Including a Portion of the Library of Prof
Ancient Art & Archaeology, Mostly Greek The Library of Prof. Dr. Werner Rudolf Fuchs, Professor emeritus, Westfälische Wilhelms-Universität, Münster including a portion of the library of Prof. Dr. Reinhard Herbig (as well as books from the libraries of Gustav Herbig and Rudolf Pagenstecher) 2,842 titles in circa 3,600 volumes WERNER FUCHS Dr.Phil. Professor em. 27.09.27 11.01.16 Zwickau, Germany Oxford, England SCHRIFTVERZEICHNIS FUER PROF.em. DR. WERNER FUCHS 1. Die Vorbilder der neuattischen Reliefs. Dissertation Tuebingen 1953. Erweitert gedruckt 1959 als 20. Ergaenzungsheft zum Jahrbuch des Deutschen Archaeologischen Instituts. 212 S., 39 Taf. 2. Zum Aphrodite-Typus Louvre-Neapel, Neue Beitraege zur klass. Altertumswissenschaft (Festschrift B. Schweitzer) 1954, 206-217 3. Das roemische Theater in Malaga, Archaeologischer Anzeiger 1954, 389- 395. 4. Dionysos aus dem Metroon-Giebel?, Athenische Mitteilungen 721, 1956, 66-73, Beilage 44-46. 5. Zu den Metopen des Heraion von Selinus, Roemische Mitteilungen 63, 1956, 102-121, Taf. 49-56. 6. Eine Bronzestatuette des Strengen Stiles im Lateran, Roemische Mitteilungen 64, 1957, 222-231, Taf. 46-47. 7. Die verschollene Kleinbronze aus Tegea, Archaeologischer Anzeiger 1956, 1-10, Abb. 1-5. 8. Juenglingskopf im Museo Barracco, Roemische Mitteilungen 65, 1958, 1-5, Taf. 1-3. 9. Anzeige von Opus Nobile Heft 1-5, Gnomon 30, 1958, 398-399. 10. Der Dornauszieher, Opus Nobile Heft 8, Bremen 1958, 3-14, Abb.15. 11. Attisches Weihrelief im Vatikan, Roemische Mitteilungen 68, 1961, 167- 181, Taf. 74-77. 12. Rezension von Tobias Dohrn, Attische Plastik vom Tode des Phidias bis zum Wirken der grossen Meister des IV Jhs.v.Chr., Gnomon 33, 1961, 237- 242. -
Alfred Music Submission Guidelines for Concert Band
Alfred Music Submission Guidelines For Concert Band At Alfred Music, we believe that everyone should have the opportunity and necessary information to submit music to be considered for publication. We encourage composers of all backgrounds and levels of experience to create and submit music for review. In addition to full-time composers, teachers are very often some of the best writers of educationally focused music—finding the balance between art and education is a challenge, but one that we encourage you to try. The framework that follows is designed to aid in the creation of music that fosters the education and growth of instrumental music students from all over the world. Please view these as guidelines rather than rules, as musical context is also very important in defining grade levels. Music that is submitted must be in the public domain or an original work. The instrumentation must align with our offered series, and works must be intended for the educational market. Our catalogs are not without limits—with that in mind, please do not be discouraged if your submission is not accepted for publication. Publication decisions are multifaceted; if a piece does not move forward for publication that is not always an indication of the quality of the writing. Also, with the number of submissions we receive, it is impossible to provide specific feedback about why a piece may not have been accepted. We sincerely appreciate your understanding and want you to know that every submitted piece will be reviewed and responded to. Thank you for considering Alfred Music as a home for your music! Please begin the submission process by reviewing our most recent releases to ensure that your creative work is targeted to our audience and in alignment with our guidelines. -
Ein Film Von Dominik Graf
Ein Film von Dominik Graf Filmpädagogische Begleitmaterialien für den Schulunterricht 1.) Inhaltsverzeichnis / Vorwort Liebe Lehrkräfte und Filminteressierte, das vorliegende filmpädagogische Material möchte eine tiefergehende Beschäftigung mit dem Film DIE GELIEBTEN SCHWESTERN anregen und begleiten. Es bietet insbesondere Lehrkräften Informationen an für die Vor- und Nachbereitung eines Kinobesuchs. Die Reihenfolge der inhaltlichen Abschnitte muss dabei nicht eingehalten werden, sondern ist je nach Interessen und Kenntnisstand frei wählbar. Recherchehinweise für filmspezifische Fachbegriffe und einige grundlegende Literaturtipps finden Sie am Ende des Materials. Ergänzend lohnt sich ein Blick auf die Internetseite der Berlinale mit Bildmaterial und Interviews rund um den Film: www.berlinale.de/de/archiv/jahresarchive/2014/02_programm_2014/02_Filmdatenblatt_2 014_20147812.php Dort heißt es unter anderem: „Dominik Graf stellt in seinem ersten abendfüllenden Kinofilm seit acht Jahren nicht den wilden Starautor Friedrich Schiller in den Mittelpunkt, sondern die ewig aktuelle Frage: Kann man eine ungewöhnliche Liebe leben?“ Die Jury der Deutschen Film- und Medienbewertung (FBW) hat dem Film das „Prädikat besonders wertvoll“ verliehen und urteilt zusammenfassend: „Dominik Grafs DIE GELIEBTEN SCHWESTERN ist ein episches Filmwerk mit großen Schauwerten und brillanter Sprachkunst, das den Zuschauer von Anfang bis Ende nie aus seiner Spannung und Faszination entlässt, ja emotional zu fesseln vermag.“ Wir wünschen gute und spannende Unterhaltung! -
Literary Clusters in Germany from Mid-18Th to Early-20Th Century
A Service of Leibniz-Informationszentrum econstor Wirtschaft Leibniz Information Centre Make Your Publications Visible. zbw for Economics Kuld, Lukas; O'Hagan, John Working Paper Location, migration and age: Literary clusters in Germany from mid-18th to early-20th Century TRiSS Working Paper Series, No. TRiSS-WPS-03-2019 Provided in Cooperation with: Trinity Research in Social Sciences (TRiSS), Trinity College Dublin, The University of Dublin Suggested Citation: Kuld, Lukas; O'Hagan, John (2019) : Location, migration and age: Literary clusters in Germany from mid-18th to early-20th Century, TRiSS Working Paper Series, No. TRiSS-WPS-03-2019, Trinity College Dublin, The University of Dublin, Trinity Research in Social Sciences (TRiSS), Dublin This Version is available at: http://hdl.handle.net/10419/226788 Standard-Nutzungsbedingungen: Terms of use: Die Dokumente auf EconStor dürfen zu eigenen wissenschaftlichen Documents in EconStor may be saved and copied for your Zwecken und zum Privatgebrauch gespeichert und kopiert werden. personal and scholarly purposes. Sie dürfen die Dokumente nicht für öffentliche oder kommerzielle You are not to copy documents for public or commercial Zwecke vervielfältigen, öffentlich ausstellen, öffentlich zugänglich purposes, to exhibit the documents publicly, to make them machen, vertreiben oder anderweitig nutzen. publicly available on the internet, or to distribute or otherwise use the documents in public. Sofern die Verfasser die Dokumente unter Open-Content-Lizenzen (insbesondere CC-Lizenzen) zur Verfügung gestellt haben sollten, If the documents have been made available under an Open gelten abweichend von diesen Nutzungsbedingungen die in der dort Content Licence (especially Creative Commons Licences), you genannten Lizenz gewährten Nutzungsrechte. may exercise further usage rights as specified in the indicated licence. -
Einzelkapitel
EINZELKAPITEL 1 Gerhard Müller Ausstellungen zum im 19. Jahrhundert werden sollte.1 Eindring- klassischen Weimar lich instruierte er seine Freunde, ja indirekt über Carl Ludwig Fernow sogar seinen In- seit 1999 timfeind Carl August Böttiger in Dresden, öffentliche Äußerungen zu vermeiden, die Weimars Ansehen bei Kaiser Napoleon und I. den Franzosen herabsetzen könnten, sei doch die Literatur das Einzige, was ihnen Die Präsentation der Klassik in den Wei- noch Achtung gegenüber den Deutschen marer Ausstellungen und Museen hat ihre abnötige. Er werde es ihm anrechnen, ließ eigene, lange Tradition, die auf Goethe und er seinen Verleger Johann Friedrich Cotta Wieland selbst zurückgeht. Im ersten Jahr- drohend wissen, wenn dieser daran mitwir- zehnt des 19. Jahrhunderts beschäftigten ken sollte, „einen kleinen bisher leuchtenden sich die beiden Dichter angesichts man- Punct Deutschlands, der doch auch ihre nigfaltiger Krisen, die nicht nur Weimars Freunde u[nd] Genossen, Herdern, Schillern Rolle als Mittelpunkt des geistigen Lebens und mich beherbergt hat […], zu trüben, zu in Deutschland, sondern auch die Existenz verfinstern und zu vernichten“.2 Mochte es des Herzogtums Sachsen-Weimar-Eisenach ihm durch Interventionen dieser Art auch überhaupt in Frage stellten, mit dem Ge- für den Augenblick noch gelingen, Weimars danken, wie das Andenken an die große Zeit Reputation in der europäischen Öffentlich- und damit auch an ihr eigenes Wirken der keit aufrechtzuerhalten, so stellte sich auf Nachwelt überliefert werden könne. Schon längere Sicht -
Jarmila Gabrielová ANTONÍN DVOŘÁK and RICHARD WAGNER*
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Serbian Academy of Science and Arts Digital Archive (DAIS) Jarmila Gabrielová Antonín Dvořák and Richard Wagner Jarmila Gabrielová ANTONÍN DVOŘÁK AND RICHARD WAGNER∗ Abstract: The essay deals with the relation of prominent Czech composer Antonín Dvořák (1841–1904) to the personality and work of Richard Wagner (1813–1883). As opposed to the common opinions linking Dvořák’s name with Wagner‘s ideological opponents and placing his ‘Wagnerian’ period in the early phase of his career only, our examination shows that Dvořák’s interest in Wagner and his music was of deep and lasting nature and was significant for him throughout the whole of his life. Key words: Antonín Dvořák, Richard Wagner, Dvořák’s ‘Wagnerianism’, reception of Wagner in Czech music, Wagnerian influences. Today, more than a hundred years later, it is hard to imagine what a tremendous influence the life and work of Richard Wagner had on the minds of his contemporaries, or his impact on at least the next two generations of composers and their audiences. Without exaggeration we can say that almost no important musicians of the second half of the nineteenth century and the early twentieth century remained indifferent to Wagner’s legacy, without taking note of it–regardless of whether, in the period atmosphere of polarised opinions and values, they considered themselves ‘Wagnerians’ and continued consciously along the trail he had blazed, or whether they found themselves in the camp of the opposition as regards both art and views of the world. -
'Poor, Pale, Rusalka' : the Polymorphic Nature of the Heroine of Dvořák's
Copyright is owned by the Author of the thesis. Permission is given for a copy to be downloaded by an individual for the purpose of research and private study only. The thesis may not be reproduced elsewhere without the permission of the Author. ‘Poor, pale, Rusalka’: The Polymorphic Nature of the Heroine of Dvo řák’s Rusalka Jasna Brackovic A Thesis submitted to Massey University and Victoria University of Wellington in fulfilment of the requirements of the degree of Master of Music in Musicology New Zealand School of Music 2014 ii Abstract Rusalka, the protagonist of Antonín Dvo řák’s eponymous opera, is probably one of the most unique operatic heroines. Rusalka’s burning desire to become human in order to be with one and have a soul takes her on an interesting, yet tragic journey. From water nymph to human to will-o-the-wisp, Rusalka goes through three different states and two metamorphoses that leave her desire unfulfilled and cause her to suffer continuously. The two metamorphoses cause Rusalka to remain between the natural and human worlds, both of which reject her. This in turn leads to her eternal suffering. Her tragic fate and constant agony portray her as a victim. And yet Rusalka is also a powerful character who is in command of her own story: as the opera’s sole protagonist, we are encouraged to identify with her perspective. She is constantly present throughout the opera. Even in the scenes that do not require her presence, she communicates with us through absence and through other characters that are, like us, influenced by her presence. -
Polystylism and Narrative Potential in the Music of Alfred Schnittke
POLYSTYLISM AND NARRATIVE POTENTIAL IN THE MUSIC OF ALFRED SCHNITTKE by JEAN-BENOIT TREMBLAY B.Arts (education musicale), Universite Laval, 1999 B.Mus (mention en histoire), Universite Laval, 1999 M.Mus (musicologie), Universite Laval, 2001 A THESIS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY in THE FACULTY OF GRADUATE STUDIES (Music, emphasis in musicology) THE UNIVERSITY OF BRITISH COLUMBIA April 2007 © Jean-Benoit Tremblay, 2007 ABSTRACT This dissertation examines the narrative potential created by polystylism in selected works of Alfred Schnittke. "Polystylism," the combination of many styles in a single work, is Schnittke's answer to a compositional crisis that he experienced as a young Soviet composer. Polystylistic works often present blunt juxtapositions of styles that cannot be explained by purely musical considerations. I argue that listeners, confronted with those stylistic gaps, instinctively attempt to resolve them by the construction of a narrative. Three works, each showing different approaches to polystylism, are examined. The Symphony No. 1, which constitutes a kind a polystylistic manifesto, presents a number of exact quotations of Beethoven, Grieg, Tchaikovsky and Chopin among others. It also makes uses of the Dies Irae and of various stylistic allusions. The result is a work in which Schnittke, asking how to write a Symphony, eventually kills the genre before resurrecting it. Elaborated from a fragment of a pantomime by Mozart, Mo^-Art is a reflection on the opposition between the old and the new, between the past and the present. The work builds upon the plurality of styles already present in Mozart's music. -
85 ANTONÍN DVOŘÁK Musician and Craftsman John
Naturally his son would follow in the traditional family business. Accordingly, having spent six years at school, Antonín left shortly before his twelfth birthday and became 8 apprenticed to his father in the butchers’ trade. In order to improve the lad’s chances ANTONÍN DVOŘÁK of success he was sent a year later to become a butcher’s apprentice at Zlonice, Musician and Craftsman where he stayed with his mother’s younger brother, Antonín Zdeněk (b. 1823). His John Clapham uncle, who was steward to Count Kinsky, treated him like a son, for he had no chil- I dren of his own. This attractive Czech town, lying some twenty or more miles away Biographical Sketch by road to the west of Nelahozeves, offered chances of picking up a little German, Antonín Dvořák came of sturdy peasant stock. His great-grandfather Jan Dvořák which was an important point for one who was destined to become a publican, but (1724-1777) lived just beyond the north-eastern fringe of Prague at Třeboradice, the musical opportunities were very much greater. Josef Toman, schoolmaster, and where he combined farming with innkeeping. Eventually he died in the house in organist and choirmaster of the church, was a baritone singer, and played the violin, which he had been born. Six out of his family of ten survived infancy, the third of trumpet and double bass in addition to the organ. Antonín Liehmann (1808-1879), a these being the composer’s grandfather, Jan Nepomuk Dvořák (1764-1842). The teacher of German and music and a typical Czech Musikant, was an excellent organist latter became both publican and butcher, first at Vodolka (now known as Odolena with a talent for improvisation, a good violinist and clarinettist who also played the Voda), and from 1818 at Nelahozeves, where the composer himself was to be born. -
Der Weimarer Musenhof Aus Heutiger Sicht Martin STANGL Assist
10.2478/gb-2019-0018 Der Weimarer Musenhof aus heutiger Sicht Martin STANGL Assist. Dr. Drd.; Lucian-Blaga-Universität Hermannstadt/Sibiu; E-Mail: [email protected] Abstract: The article deals with the so-called Musenhof of Weimar and highlights the outstanding figures who worked and lived at this artist’s court. The central role of the two «Dioscuri» Goethe and Schiller is highlighted and ana- lyzed their initially tense relationship. The role of Herder as a writer is critically examined. Today, too, largely for- gotten names are spoken of, which at that time occupied important functions at the court of Princess Amalia. It opens a wide field of further discussion in this area ofresearch. Key words: Weimar Classicism, Goethe, Schiller, Herder Dass der kleine Herzogshof in Weimar zum Musenhof avancier- te, ist erstaunlich. In Anbetracht der Kleinheit des Herzogtums ist dieser Sachverhalt sehr unverhältnismäßig. Diese Entwick- lung ist der Herzogin Anna Amalia zu verdanken, jener Fürstin, über die Thomas Mann etwas abschätzig schreibt, sie erscheine auf dem Porträt „etwas entenhaft im Profil“1. Anna Amalia von Braunschweig-Wolfenbüttel, durch Heirat Herzogin von Sachsen-Weimar-Eisenach, war bereits mit 16 Jahren verheira- tet worden. Ihr Gemahl, Herzog Ernst August II. Constantin von Sachsen-Weimar-Eisenach, starb in ganz jungen Jahren, er war nur 21 Jahre alt. Er schenkte ihr aber den Thronfolger Carl August und posthum noch den zweiten Sohn Friedrich Ferdinand Constantin. Carl August war seit 1758, also bereits 1 Mann, Thomas: Lotte in Weimar. Roman. Stockholm 1939, S. 104. 28 Der Weimarer Musenhof aus heutiger Sicht 29 als einjähriger Knabe, Herzog und seit 1815 auch Großherzog.