DOCSLIB.ORG

The Evolving Role of Music in Theodor Storm's Novellas

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Evolving Role of Music in Theodor Storm's Novellas THE EVOLVING ROLE OF MUSIC IN THEODOR STORM’S NOVELLAS by Marie-Thérèse Renée Ferguson A thesis submitted to the Graduate Program of the Department of German in conformity with the requirements for the Degree of Doctor of Philosophy Queen’s University Kingston, Ontario, Canada April 2015 Copyright ©Marie-Thérèse Ferguson, 2015 Abstract The texts of Theodor Storm (1817-88) engage with the role of the artist and works of art in society during the latter half of the nineteenth century. While the role of painting and writing has already been analyzed in this regard, the function of music in Storm’s work has not been hitherto researched to any great degree. Musicians, however, feature prominently among the artists he portrays. They encounter various artistic and personal difficulties that this dissertation analyzes both through close readings and from a literary-historical perspective. The analysis focuses on three novellas entitled Ein stiller Musikant (1875), Zur “Wald- und Wasserfreude” (1879), and Es waren zwei Königskinder (1884), which illustrate the changing role of music in the lives of the protagonists. In order to show the development of economic and social changes that took place after the 1848 Revolution and during the Gründerzeit, the texts are analyzed in chronological order. This thematic study argues that the reflection on music can be interpreted as a specialized reflection on the topic of the artist in general, which, in itself, is a prominent theme in Romanticism. Taking into account how Romantic notions of life and art lost their appeal both during and as a result of the forces of industrialization, the study shows how music, first presented as a nurturing and comforting force in the Biedermeier era, becomes progressively less important, and, in the end, loses its appeal as artistic salvation. The novellas use music as a literary technique in order to comment on education, both musical and academic, with particular emphasis on girls’ education. In addition to transcending gender and social barriers, as well as establishing a continuity of sorts between the past and the present, music also serve as a psychological tool to suggest or express feelings or a state of mind. In the same vein, physical features and instruments are used in the characterization of the ii protagonists, while also reflecting ethnic stereotypes common to both literature and greater society at the time. iii Acknowledgements Embarking on a program of graduate studies was an idea that lay at the back of my mind for a long time. For starters, I want to thank Dr. Patrick O’Neill and Dr. Pugh who, by accepting me into the graduate program of the German Department at Queen’s University, made this incredible journey possible. Thank you, in particular, to Dr. Christiane Arndt, my Doktormutter, for her judicious guidance and positive feedback that kept me going. My thanks also go to Dr. Jill Scott and Prof. Dr. Werner Nell (Martin-Luther-Universität Halle-Wittenberg) for their advice and continuous support. I also want to thank Dr. Jean-Jacques Hamm (Queen’s University) for his useful remarks, along with Dr. Patricia Minnes (Queen’s University) for her unfailing trust in me from the start. Thank you to Dr. Margaret Maliszewska for helping me with the administrative side of my project, and to Nathalie Soini, M.A., who helped me navigate the perils of the template and much more. My gratitude also goes to the staff of the Stauffer Library and the Music Library, as well as the School of Graduate Studies for their kindness and help along the way. To Dr. Petra Fachinger and Dr. Bill Reeves, thank you for giving me confidence at the beginning of my journey. Vielen Dank to Frau Elke Jacobsen, archivist at the Theodor-Storm-Gesellschaft in Husum, who made me feel very welcome during my stay and whose help has been invaluable. Many thanks also to Dr. Karl Ernst Laage for granting me an interview while I was researching my project in Husum. And, of course, thank you to my colleagues in the German Department (in alphabetical order): Pia Banzhaf, Rebecca Hügler, Maria Irchenhauser, Steffi Kullick, Eva Sattelmayer, Corina Szarka, and particularly to Andrea Speltz for her help with a difficult comprehensive exam. iv Special thanks go to my friends Dr. Monika Holzschuh and Linda Dong for their support, and to Dr. Joan Gladwell for proofreading my dissertation and giving me precious advice on the pitfalls of the English language. Finally, I want to thank my children Anne and Thomas Ferguson for their constant support and for the trust they have always placed in me. I dedicate my dissertation to them, and to the memory of my parents. v Statement of Originality I hereby certify that all of the work described within this thesis is the original work of the author. Any published (or unpublished) ideas and/or techniques from the work of others are fully acknowledged in accordance with the standard referencing practices. Marie-Thérèse Ferguson April 2015 vi Table of Contents Abstract ......................................................................................................................................................... ii Acknowledgements ...................................................................................................................................... iv Statement of Originality ............................................................................................................................... vi List of Abbreviations (Primary Literature) ................................................................................................ viii Chapter 1 Introduction .................................................................................................................................. 1 Chapter 2 A Literary and Musical Background to Storm’s Music Novellas .............................................. 13 Chapter 3 The Power of Music in Ein stiller Musikant .............................................................................. 46 Chapter 4 Hopeless Aspirations in Zur “Wald- und Wasserfreude” .......................................................... 86 Chapter 5 Es waren zwei Königskinder: Romantic Realism in the Life of Music Students ..................... 118 Chapter 6 Conclusion ................................................................................................................................ 143 Bibliography ............................................................................................................................................. 146 vii List of Abbreviations (Primary Literature) BTSGK Der Briefwechsel zwischen Theodor Storm und Gottfried Keller. Ed. Peter Goldammer. Berlin: Aufbau, 1967. Print. TSBH Theodor Storm – Briefe in die Heimat aus den Jahren 1853-1864. Ed. Gertrud Storm. Berlin: Curtius, 1914. Print. TSES Theodor Storm – Erich Schmidt Briefwechsel. Ed. Karl Ernst Laage. 2 vols. Berlin: Schmidt, 1976. Print. TSPH Theodor Storm – Paul Heyse Briefwechsel: Kritische Ausgabe. Ed. Clifford Albrecht Bernd. 3 vols. Berlin: Schmidt, 1969. Print. TSSW Theodor Storm: Sämtliche Werke in vier Bänden. Ed. Karl Ernst Laage and Dieter Lohmeier. 4 vols. Frankfurt a. M: Deutscher Klassiker, 1987/88. Print. viii Chapter 1 Introduction Theodor Storm (1817-88), a poet and a canonical novelist of German Realism, spent most of his life in Husum, a small port town in Schleswig-Holstein. The bulk of his prose output consists of novellas. Densely atmospheric, his earlier work makes use of lyrical language and exhibits many Biedermeier characteristics. Over time, Storm’s writings took on an increasingly Realist character. From very early on, the thread throughout his oeuvre is the unavoidable passage of time and an engagement with immortality through art. One of the techniques he used in his endeavor to recapture the past was to give his novellas a frame structure, within which the characters reminisce. A further constant in his writings is the protagonists’ quest for happiness, which they seldom find.1 In Storm’s work, these overall themes recur in a variety of topics, often under the guise of historical novellas. Among the most important of these topics are the decline of the nobility, the marked differences between social classes, family conflicts, and the role of heredity. But Storm’s texts, notably with respect to the lament of transience and the question of art and immortality, reflect on artists and on their place and their role in society. His first novella, Immensee (1850) is known as a Künstlernovelle, the first of many. Its main protagonist is a poet who chose to live for his art rather than become a “useful” member of society (i.e., a burgher), losing his sweetheart to his rival in the process. This novella became an instant bestseller and has been the subject of many scholarly studies ever since. Eine Malerarbeit (1867) and Aquis Submersus (1876) feature two very different painters. The one in Eine Malerarbeit does not have 1 For a more detailed introduction to Storm and his oeuvre, see Fritz Martini, Deutsche Literatur im bürgerlichen Realismus, 1848-1898 (Stuttgart: Metzler, 1981) 630-61. 1 the necessary talent to become a great artist, but finds his calling and happiness in teaching a young aspiring painter and building a “family” around him. In this text, the painter expresses his sadness, and later on his new-found contentment in two different paintings that sum up his frame of mind. In Aquis Submersus, a painting contains a riddle solved with the help of a diary found long
Load more

Recommended publications
  • The Futurist Moment : Avant-Garde, Avant Guerre, and the Language of Rupture
    MARJORIE PERLOFF Avant-Garde, Avant Guerre, and the Language of Rupture THE UNIVERSITY OF CHICAGO PRESS CHICAGO AND LONDON FUTURIST Marjorie Perloff is professor of English and comparative literature at Stanford University. She is the author of many articles and books, including The Dance of the Intellect: Studies in the Poetry of the Pound Tradition and The Poetics of Indeterminacy: Rimbaud to Cage. Published with the assistance of the J. Paul Getty Trust Permission to quote from the following sources is gratefully acknowledged: Ezra Pound, Personae. Copyright 1926 by Ezra Pound. Used by permission of New Directions Publishing Corp. Ezra Pound, Collected Early Poems. Copyright 1976 by the Trustees of the Ezra Pound Literary Property Trust. All rights reserved. Used by permission of New Directions Publishing Corp. Ezra Pound, The Cantos of Ezra Pound. Copyright 1934, 1948, 1956 by Ezra Pound. Used by permission of New Directions Publishing Corp. Blaise Cendrars, Selected Writings. Copyright 1962, 1966 by Walter Albert. Used by permission of New Directions Publishing Corp. The University of Chicago Press, Chicago 60637 The University of Chicago Press, Ltd., London © 1986 by The University of Chicago All rights reserved. Published 1986 Printed in the United States of America 95 94 93 92 91 90 89 88 87 86 54321 Library of Congress Cataloging-in-Publication Data Perloff, Marjorie. The futurist moment. Bibliography: p. Includes index. 1. Futurism. 2. Arts, Modern—20th century. I. Title. NX600.F8P46 1986 700'. 94 86-3147 ISBN 0-226-65731-0 For DAVID ANTIN CONTENTS List of Illustrations ix Abbreviations xiii Preface xvii 1.
    [Show full text]
  • Objectivism: Ayn Rand's Personal Philosophy
    Objectivism: Ayn Rand’s Personal Philosophy These notes are taken from The Reader’s Guide to the Writings and Philosophy of Ayn Rand found at the end of Centennial Editions of Anthem. Ayn Rand provides a nutshell version of Objectivism by describing four aspects of it: Metaphysics the philosophy of what constitutes REALITY (How do we know what reality is?) Epistemology the philosophy of knowledge (How do we know what we know?) Ethics the philosophy of how we determine what is right vs. wrong, fair vs. unfair Politics the philosophy of how we govern groups of people Objectivism holds the following ideas: Metaphysics Objective Reality Epistemology Reason Ethics Self-Interest Politics Capitalism A further exploration of the ideas: Metaphysics Objective Reality Rand agrees with Naturalism in that reality is observable and measurable. There is one reality. She disagrees with Modernism in that Modernists believe in Subjective Reality, the idea that humans CREATE reality through their perceptions. Rand says that our only ability is to perceive reality, not create it. “facts are facts” This believe precludes (makes impossible) a belief in the supernatural. Epistemology Reason Rand agrees with the Enlightenment that we should use reason to achieve our goals. She holds that reason is man’s highest virtue. Other ways of “knowing what we know” is through faith, tradition, and intuition, none of which she would deem valid methods of “knowing.” Ethics Self-Interest Rand believes wholly in acting upon one’s self-interest. No one should sacrifice himself for others or sacrifice others for himself. This idea would preclude any altruistic acts.
    [Show full text]
  • Nietzsche on Time and History
    Nietzsche on Time and History authors copy with permission by WdG 2008 ≥ authors copy with permission by WdG 2008 Nietzsche on Time and History Edited by Manuel Dries authors copy with permission by WdG 2008 Walter de Gruyter · Berlin · New York authors copy with permission by WdG 2008 Țȍ Printed on acid-free paper which falls within the guidelines of the ANSI to ensure permanence and durability. Library of Congress Cataloging-in-Publication Data A CIP catalogue record for this book is available from the Library of Congress. ISBN 978-3-11-019009-0 Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available in the Internet at http://dnb.d-nb.de. Ą Copyright 2008 by Walter de Gruyter GmbH & Co. KG, 10785 Berlin, Germany. All rights reserved, including those of translation into foreign languages. No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any information storage or retrieval system, without permis- sion in writing from the publisher. Printed in Germany Cover design: Martin Zech, Bremen. Printing and binding: Hubert & Co GmbH & Co KG, Göttingen. If there is no goal in the whole of history of man’s lot, then we must put one in: assuming, on the one hand, that we have need of a goal, and on the other that we’ve come to see through the illusion of an immanent goal and purpose. And the reason we have need of goals is that we have need of a will—which is the spine of us.
    [Show full text]
  • Psalm 51 in Germany C
    Ruprecht – Karls – Universität Heidelberg Philosophische Fakultät Musikwissenschaftliches Seminar Prof. Dr. Silke Leopold Dissertation on the topic Musical Settings of Psalm 51 in Germany c. 1600-1750 in the Perspectives of Reformational Music Aesthetics Presented by Billy Kristanto Supervisor: Prof. Dr. Silke Leopold Second Examiner: PD Dr. Michael Heymel Third Examiner: Prof. Dr. Dorothea Redepenning 2 Acknowledgments This present study could not have been written without various supports by numerous institutions and individuals, which I owe debt of thanks here. The following libraries and their staff have made the access to their musical and archival collections possible for me: Universitätsbibliothek Heidelberg; Stadt- und Universitätsbibliothek Frankfurt am Main; Bibliothek der Hochschule für Kirchenmusik, Dresden; Württembergische Landesbibliothek, Stuttgart; Bayerische Staatsbibliothek, Munich; Staatsbibliothek Berlin; and Loeb Music Library of Harvard University, Cambridge. I would also like to thank Joachim Steinheuer, Dorothea Redepenning and the Doktorkolloquium of the Musikwissenschaftliches Seminar, Heidelberg, for helpful feedback, discussion, various suggestions as well as constructive criticism. Special gratitude is due to both my supervisors, Silke Leopold and Michael Heymel for their patient, encouraging, and critical trust in the gradual making of this work. Enormous thanks are also due to Stephen Tong and the congregation of the Reformed Evangelical Church of Indonesia for supporting and patiently waiting for my return without being discouraged. Many thanks are owed to Ferdinan Widjaya, Landobasa YMAL Tobing, Stevanus Darmawan, Shirleen Gunawan, Lily Rachmawati, and Lisman Komaladi for proof-reading the manuscript, giving helpful advice on my modest English. Finally, a profound debt of thanks I owe to my wife and daughters for passing with me through the valley of Baca and for making it a place of springs.
    [Show full text]
  • Nietzsche's Philosophy of History
    more information – www.cambridge.org/9781107027329 NIETZSCHE’SPHILOSOPHY OF HISTORY Nietzsche, the so-called herald of the ‘philosophy of the future,’ nevertheless dealt with the past on nearly every page of his writing. Not only was he concerned with how past values, cultural practices, and institutions influence the present – he was plainly aware that any attempttounderstandthatinfluence encounters many meta- historical problems. This comprehensive and lucid exposition of the development of Nietzsche’s philosophy of history explores how Nietzsche thought about history and historiography throughout his life and how it affected his most fundamental ideas. Discussion of the wholespanofNietzsche’swritings,fromhisearliestpublicationsasa classical philologist to his later genealogical and autobiographical projects, is interwoven with careful analysis of his own forms of writing history, the nineteenth-century paradigms which he cri- tiqued, and the twentieth-century views which he anticipated. The book will be of much interest to scholars of Nietzsche and of nineteenth-century philosophy. anthony k. jensen is Associate Professor of Philosophy at Providence College and Associate Editor of The Journal of Nietzsche Studies. NIETZSCHE’SPHILOSOPHY OF HISTORY ANTHONY K. JENSEN cambridge university press Cambridge, New York, Melbourne, Madrid, Cape Town, Singapore, São Paulo, Delhi, Mexico City Cambridge University Press The Edinburgh Building, Cambridge cb28ru,UK Published in the United States of America by Cambridge University Press, New York www.cambridge.org Information on this title: www.cambridge.org/9781107027329 © Anthony K. Jensen This publication is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press.
    [Show full text]
  • An Introduction to Objectivism by the Virginia Tech Objectivist Club
    An Introduction to Objectivism By the Virginia Tech Objectivist Club My philosophy, in essence, is the concept of man as a heroic being, with his own happiness as the moral purpose of his life, with productive achievement as his noblest activity, and reason as his only absolute. –Ayn Rand Who Was Ayn Rand? Born 1905 in St. Petersburg, Russia Opposed communist ideals from childhood Kerensky and Bolshevik revolution Graduated from University of Petrograd with history and philosophy degree Studied at State Institute of Cinema Arts http://visbella.wordpress.com/author/visbella/page/3/ Who Was Ayn Rand? Rand idolized America Moved to NYC in 1926 Started cinema work 1929 in Hollywood Met future husband, Frank O’Connor Wrote 1st screenplay, “Red Pawn”, in 1932 “We the Living” published in 1936 “Anthem” ’37 “Fountainhead” ’43 “Atlas Shrugged” ’57 Died March 6, ‘82 http://en.academic.ru/dic.nsf/enwiki/17 Who Was Ayn Rand? After Atlas Shrugged Rand focused on non-fiction, and lectures on objectivism Leonard Piekoff and the Collective The Collective started the Objectivist Movement Piekoff heads up ARI Had a tough time growing up and succeeding as a writer Never let her environment compromise what she wanted to do http://godscopybook.blogs.com/gpb/2005/02/ayn_rand_celebr.html A Brief Overview of Objectivism There are 5 branches of Objectivism Metaphysics Epistemology Ethics Politics Aesthetics http://en.wikipedia.org/wiki/File:Objectivist1.jpg Metaphysics: Objective Reality Three Axioms: Existence Identity Corollary:
    [Show full text]
  • Musikwissenschaft Und Vergangenheitspolitik
    Musikwissenschaft und Vergangenheitspolitik Jörg Rothkamm/Thomas Schipperges (Hg.) I Kontinuitäten und Brüche im Musikleben der Nachkriegszeit Herausgegeben von Dietmar Schenk, Thomas Schipperges und Dörte Schmidt II Musikwissenschaft und Vergangenheitspolitik Forschung und Lehre im frühen Nachkriegsdeutschland Mit den Lehrveranstaltungen 1945 bis 1955 (CD-ROM) Jörg Rothkamm/Thomas Schipperges (Hg.) In Verbindung mit Michael Malkiewicz, Christina Richter-Ibáñez und Kateryna Schöning III Bibliografische Information der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Daten sind im Internet über www.dnb.de abrufbar. ISBN 978-3-86916-404-5 Umschlaggestaltung: Thomas Scheer Umschlagabbildung: Theodor Wildemann, Theodor Heuss und Konrad Adenauer während der Beethoven-Feier 1952 im Garten des Beethoven-Hauses in Bonn, Fotografie von Georg Munker, Bildquelle: Beethoven-Haus, Bonn Das Werk einschließlich aller seiner Teile ist urheberrechtlich geschützt. Jede Verwertung, die nicht ausdrücklich vom Urheberrechtsgesetz zugelassen ist, bedarf der vorherigen Zustimmung des Verlages. Dies gilt insbesondere für Vervielfältigungen, Bearbeitungen, Übersetzungen, Mikroverfilmungen und die Einspeicherung und Verarbeitung in elektronischen Systemen. © edition text + kritik im Richard Boorberg Verlag GmbH & Co KG, München 2015 Levelingstraße 6a, 81673 München www.etk-muenchen.de Redaktion: Christina Richter-Ibáñez Satz: Dorr + Schiller GmbH, Curiestraße
    [Show full text]
  • Musik Im Sozialen Raum Beiträge Zur Kulturgeschichte Der Musik Herausgegeben Von Rebecca Grotjahn Band 3
    Musik im sozialen Raum Beiträge zur Kulturgeschichte der Musik Herausgegeben von Rebecca Grotjahn Band 3 Freia Hoffmann, Markus Gärtner und Axel Weidenfeld (Hrsg.) Musik im sozialen Raum Festschrift für Peter Schleuning zum 70. Geburtstag Allitera Verlag Weitere Informationen über den Verlag und sein Programm unter: www.allitera.de April 2011 Allitera Verlag Ein Verlag der Buch&media GmbH, München © 2011 Buch&media GmbH, München Umschlaggestaltung: Kay Fretwurst, Freienbrink, unter Verwendung des Gemäldes »Intérieur avec une femme jouant de l’épinette« von Emanuel de Witte. Bayerische Staatsbibliothek München, Signatur 2007.61597. Herstellung: Books on Demand GmbH, Norderstedt Printed in Germany · isbn 978-3-86906-155-9 Inhalt Freia Hoffmann, Markus Gärtner, Axel Weidenfeld Peter Schleuning: Musikwissenschaft auf neuen Wegen ............. 9 Jan Henning Müller »Und ich hörte eine große Stimm« Ein Komponist als Prediger ................................... 15 Klaus Hofmann Vom Fürstengeburtstag zum Ratswahlgottesdienst Mutmaßungen über eine verschollene Bach’sche Arie Mit einem Nachwort über Bachs Parodieverfahren ................. 29 Martin Zenck Wie Thomas Bernhard mit Glenn Gould Bach gegen seine (falschen) Liebhaber verteidigt Zur Bach-Rezeption im 20. Jahrhundert ......................... 38 Martin Derungs Nietzsche und die Alte Musik ................................. 49 Werner Busch Kakophonie! William Hogarths The Enraged Musician ........................ 58 Freia Hoffmann Geheime Botschaften Thomas Gainsboroughs Porträt der Musikerin
    [Show full text]
  • Musical Rhetoric and Other Symbols of Communication in Bach's Organ Music Jacobus Kloppers
    Document generated on 09/27/2021 11:47 p.m. Man and Nature L'homme et la nature Musical Rhetoric and Other Symbols of Communication in Bach's Organ Music Jacobus Kloppers Volume 3, 1984 URI: https://id.erudit.org/iderudit/1011830ar DOI: https://doi.org/10.7202/1011830ar See table of contents Publisher(s) Canadian Society for Eighteenth-Century Studies / Société canadienne d'étude du dix-huitième siècle ISSN 0824-3298 (print) 1927-8810 (digital) Explore this journal Cite this article Kloppers, J. (1984). Musical Rhetoric and Other Symbols of Communication in Bach's Organ Music. Man and Nature / L'homme et la nature, 3, 131–162. https://doi.org/10.7202/1011830ar Copyright © Canadian Society for Eighteenth-Century Studies / Société This document is protected by copyright law. Use of the services of Érudit canadienne d'étude du dix-huitième siècle, 1984 (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ 9. Musical Rhetoric and Other Symbols of Communication in Bach's Organ Music1 This paper illustrates certain communicative devices in Bach's organ music. Such devices are usually designated by the term 'symbol.' This term is employed in the present paper in the broadest sense; it denotes a means to communicate something — directly and indirectly.
    [Show full text]
  • 6.5 X 11 Double Line.P65
    Cambridge University Press 978-0-521-84084-2 - Greek Sculpture and the Problem of Description A. A. Donohue Excerpt More information 1 the problem of archaeological description ᪉ The historian of classical art faces substantial difficulties. The immediate problems of dealing with a body of material that is fragmented in every sense of the word and that lacks a documentary base are compounded by major gaps in the transmission of the cultural context as a whole. Considerable analysis is thus required simply to establish a corpus that is reasonably secure with respect to provenance, chronology, and authorship. Ulrich von Wilamowitz- Moellendorff in 1921 used a striking mathematical metaphor to characterize the situation of archaeological research: “It is simply the case that archaeology has a mass of works of art without named creators, and accounts of artists without their works, and it cannot give up seeking connections, even if, taken altogether, asymptotes will remain.”1 These conditions are so obvious that they have been taken not only to determine the way that ancient art is studied, but even to define entire disciplines. DESCRIPTION AND INTERPRETATION We may introduce the problem of archaeological description by considering a passage in Meyer Schapiro’s influential article of 1953 on “Style,” which 1 U. von Wilamowitz-Moellendorff (1848–1931), Geschichte der Philologie (in A. Gercke and E. Norden, eds., Einleitung in die Altertumswissenschaft [third ed.; Leipzig and Berlin, 1921 , 1927] I, 1 –80; repr. Leipzig, 1959) 68:“DieArchaologie¨ hat nun einmal eine Masse Kunstwerke ohne benannte Urheber und Berichte uber¨ Kunstler¨ ohne ihre Werke, und sie kann nicht darauf verzichten, eine Verbindung zu suchen, wenn auch im ganzen Asymptoten bleiben werden.” See also A.
    [Show full text]
  • The Influence of Socialist Realism on the Yellow River
    THE INFLUENCE OF SOCIALIST REALISM ON THE YELLOW RIVER PIANO CONCERTO by GLORIA JUNG EIAN THAM A DOCUMENT Submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in the School of Music in the Graduate School of The University of Alabama TUSCALOOSA, ALABAMA 2009 Copyright Gloria Jung Eian Tham, 2009 ALL RIGHTS RESERVED ABSTRACT Commissioned by Madam Mao, also known as Jiang Qing (1914-1991), the Yellow River Piano Concerto (1968) is scored for Western orchestra and piano. The piano concerto is based on a previous composition – the Yellow River Cantata (1938) by Xian Xinghai (1909-1945). Like its namesake, the Yellow River, the piano concerto has a tumultuous history and background. The piano concerto was arranged by a group of four composers: Yin Chengzong (b. 1941), Chu Wanghua (b. 1941), Sheng Lihong (b. 1926), and Liu Zhuang (b. 1932) during the Cultural Revolution (1966-1976). Prior to the concerto, all forms of Western music were banned and classical musicians suffered great persecution. The Yellow River Piano Concerto displays aspects of Chinese nationalism and Socialist Realism fused together in virtuosic pianistic display. The People’s Republic of China often sought to emulate the Soviet Union, which was considered the elder brother and a suitable model. Ideologies, political practices, cultural reform and the revolutions of the Soviet Union were adapted and sinified by the Communist Party in China by Mao Zedong (1893-1976). This document examines the influences of Mao’s Socialist Realism and revolutionary Romanticism on the Yellow River Piano Concerto as contained in his Talks at the Yan’an Forum on Literature and Art (1942) and Jiang Qing’s speeches of 1964.
    [Show full text]
  • Zweyer Gleich-Gesinnten Freunde Tugend Und
    UND SCHERTZ-LIEDER ZWEYER GLEICH-GESINNTEN FREUNDE TUGEND BY JOHANN JACOB LOWE AND JULIUS JOHANN WEILAND APPROVED: Major Professor (6 Miro Professo ean of the School of Mu ic Dean b the Graduate School NS ZWEYER GLEICH-GESINNTEN FREUNDETUGEND- UND SCHERTZ-LIEDER BY JOHANN JACOB LOWE AND JULIUS JOHANN WEILAND THESIS Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC By Nancy Jean Clayton, B.M. Denton, Texas May, 1978 Clayton, Nancy J., Zweyer Gleich-Gesinnten Freunde Tugend- und Schertz-lieder. Master of Music (Musicology), May, 1978, 129 pp., 2 tables, 3 illustrations, Bibliog- raphy, 32 titles. The purpose of this thesis was to make available for performance and study an edition of the twenty-two secular songs published in this collection by Johann Jacob Lowe and Julius Johann Weiland in 1657. The thesis contains twenty-two secular songs for one, two, or three voices with continuo accompaniment and ritornellos for one or two violins, and/or viola, as well as translations of Lowe's preface and dedication and a poem to Ldwe and Weiland by Heinrich SchAffer. The work contains three chapters, the first covering Lbwe's life and work and association with Weiland, the second the state of German secular song in 1650, and the third a critical commentary on the editing of the songs. Editorial corrections are in- cluded. G 1977 NANCY JEAN CLAYTON All Rights Reserved ii TABLE OF CONTENTS Page LIST OF PLATES . iv LIST OF ILLUSTRATIONS ....... .. .. iv Chapter I.
    [Show full text]