USD $149.00
The Persistence of Voice: Instrumental Music and Romantic Orality
Series: - National Cultivation of Culture, Volume: 14
Author:
This work, completed by Neubauer on the very eve of his death in 2015, complements both his benchmark The Emancipation of Music from Language (Yale UP, 1986) and his History of the Literary Cultures of East-Central Europe (John Benjamins, 2004-10). It thematizes Romantic interest in oral speech, its poetical usage in music and musical discourse, and its political usage in the national-communitarian cult of the vernacular community. Subtly and with great erudition, Neubauer traces in different genres and fields the many transnational cross-currents around Romantic cultural criticism and writings on music and language, offering not only fresh analytical insights but also a rich account of the interaction between Romantic aesthetics and cultural nationalism.
John Neubauer (Budapest 1933 – Amsterdam 2015) was Professor of Comparative Literature at the University of Amsterdam. Among his works are The Emancipation of Music from Language (1986), The Fin-de-siècle Culture of Adolescence (1992) and the four-volume History of the Literary Cultures of East-Central Europe (4 vols., ed. w. M. Cornis-Pope, 2004-10).
Preface Words of Thanks List of Abbreviations List of Illustrations Introduction Retelling the Fifth Absolute or Emancipated Music? Part 1: The New Discourses Part 2: Romantic Orality
(amz)
Friedrich Rochlitz Gottfried Wilhelm Fink A.B. Marx and the Berliner allgemeine musikalische Zeitung
(bamz)
Revue et Gazette musicale de Paris
(rgm)
Maurice Schlesinger Jules Janin Hector Berlioz Neue Zeitschrift für Musik (NZfM) 2 From Poetry to Music Novels Gulden/Fiorino, Hildegard von Hohental, Heinrich von Ofterdingen Le neveu de Rameau Hegel’s Spirit “Ritter Gluck” 3 Failing Musicians, Failed Education The Berglinger Stories Miseducation or Music Madness “Der Besuch im Irrenhause” (1804) “Der arme Spielmann” 4 Serialized Novellas Hoffmann in Germany Hoffmann in France and in Fiction Janin’s Hoffmann Opera Fiction Opera in Balzac’s “Gambara” and “Massimilla Doni” Historical Musicians in Fiction 5 Narrating Listeners, Narrating Instruments Listeners Narrate Instruments Narrate Berlioz “Harold en Italie” (1834) Roméo et Juliette (1839) Schumann
Part 1: New Discourses about Music
Introduction to Part 1 1 The Music Journals Allgemeine Musikalische ZeitungPart 2: Romantic Orality
6 From Journals to Battles Battle Drums at Dresden, Leipzig, and Wellington Waltzing in Vienna 7 Music Histories: From Gossip to Nationalism Anecdotes, Gossip, and Obituaries Stendhal – A Biographer? Voice and Instruments in History Thibaut’s Musical Past and Legal Present Schumann and Thibaut F.-J. Fétis: The Glory of the Low Countries? 8 Speech and Song Michel Foucault Friedrich Schlegel and Franz Bopp Wilhelm von Humboldt Johann Christoph Adelung The Mother’s Voice and Pestalozzi Der goldene Topf 9 Vocal Authenticity? Ossianism Herder on Ossian Forgeries, Opera Adapations, Plagiarisms, and Copyrights Authentic Folk Songs? Whose Wunderhorn? 10 “Write as You Speak” – in Serbian Kopitar, the Networker Karadžić, the Voice of the “Volk” Jacob Grimm, the Patron Fauriel, the Professor Parry and Bartók: Secondary Orality 11 Contrafacts from the British Isles Scott (Re)turns to Ulster Byron on Jordan’s Banks Schumann as Saul 12 Vernacular Operas Epilogue References Index
Historians of cultural nationalism, music historians, cultural, literary and intellectual historians of 19th-century Europe, scholars in Comparative Literature.