The Persistence of Voice: Instrumental Music and Romantic Orality

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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.
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Biographical Note

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).

Table of contents

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

Part 1: New Discourses about Music

Introduction to Part 1 1 The Music Journals    Allgemeine Musikalische Zeitung (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 BerliozNeue 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 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

Readership

Historians of cultural nationalism, music historians, cultural, literary and intellectual historians of 19th-century Europe, scholars in Comparative Literature.