Europe, Empire, and Spectacle in Nineteenth-Century British Music
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Europe, Empire, and Spectacle in Nineteenth-Century British Music
Rushton, Julian; Cowgill, Rachel
Taylor & Francis Ltd
12/2006
320
Dura
Inglês
9780754652083
15 a 20 dias
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Contents: Introduction, the editors. Part I Europe: Continental Connections: 'Hence, base intruder, hence': rejection and assimilation in the early English reception of Mozart's Requiem, Rachel Cowgill; William Sterndale Bennett and the Bach revival in 19th-century England, Isabel Parrott; 'Le roi est mort, vive le roi': languages and leadership in Niecks's Liszt obituary, Anne Widen; Promotion through performance: Liszt's symphonic poems in the London concerts of Walter Bache, Michael Allis; Henry Hugo Pierson and Shakespearean tragedy, Julian Rushton; 'The Italians are coming': opera in mid-Victorian Dublin, Paul Rodmell. Part II Empire: Britain, Ireland, and Beyond: Sir Frederick Bridge and the musical furtherance of the 1902 imperial project, David Wright; Attwood's St David's Day: music, Wales, and war in 1800, Meirion Hughes; Hamish MacCunn: a Scottish national composer?, Jennifer Oates; For the sake of the union: the nation in Stanford's fourth Irish Rhapsody, Christopher Scheer; 'From ocean to ocean ...': how Harriss and Mackenzie toured British music across Canada in 1903, Duncan Barker; From 'incomprehensibility' to 'meaning': transcription and representation of non-western music in 19th-century British musicology and ethnomusicology, Bennett Zon. Part III Spectacle: Theatre, Opera, and Internationalism: 'Behind thy veil close-drawn': Elgar, The Crown of India, and the feminine 'other', Corissa Gould; Empire and 'Orient' in opera libretti set by Sir Henry Bishop and Edward Solomon, Claire Walsh; Acting with music: Henry Irving's use of the musical score in his production of The Bells, Stephen Cockett; Handel's Acis and Galatea: a Victorian view, Roberta Marvin; Blackface minstrels, black minstrels, and their reception in England, Derek B. Scott. Index.
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Contents: Introduction, the editors. Part I Europe: Continental Connections: 'Hence, base intruder, hence': rejection and assimilation in the early English reception of Mozart's Requiem, Rachel Cowgill; William Sterndale Bennett and the Bach revival in 19th-century England, Isabel Parrott; 'Le roi est mort, vive le roi': languages and leadership in Niecks's Liszt obituary, Anne Widen; Promotion through performance: Liszt's symphonic poems in the London concerts of Walter Bache, Michael Allis; Henry Hugo Pierson and Shakespearean tragedy, Julian Rushton; 'The Italians are coming': opera in mid-Victorian Dublin, Paul Rodmell. Part II Empire: Britain, Ireland, and Beyond: Sir Frederick Bridge and the musical furtherance of the 1902 imperial project, David Wright; Attwood's St David's Day: music, Wales, and war in 1800, Meirion Hughes; Hamish MacCunn: a Scottish national composer?, Jennifer Oates; For the sake of the union: the nation in Stanford's fourth Irish Rhapsody, Christopher Scheer; 'From ocean to ocean ...': how Harriss and Mackenzie toured British music across Canada in 1903, Duncan Barker; From 'incomprehensibility' to 'meaning': transcription and representation of non-western music in 19th-century British musicology and ethnomusicology, Bennett Zon. Part III Spectacle: Theatre, Opera, and Internationalism: 'Behind thy veil close-drawn': Elgar, The Crown of India, and the feminine 'other', Corissa Gould; Empire and 'Orient' in opera libretti set by Sir Henry Bishop and Edward Solomon, Claire Walsh; Acting with music: Henry Irving's use of the musical score in his production of The Bells, Stephen Cockett; Handel's Acis and Galatea: a Victorian view, Roberta Marvin; Blackface minstrels, black minstrels, and their reception in England, Derek B. Scott. Index.
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