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Author: John Spitzer
Publisher: University of Chicago Press
ISBN: 0226769771
Category : History
Languages : en
Pages : 504
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Book Description
Studies of concert life in nineteenth-century America have generally been limited to large orchestras and the programs we are familiar with today. But as this book reveals, audiences of that era enjoyed far more diverse musical experiences than this focus would suggest. To hear an orchestra, people were more likely to head to a beer garden, restaurant, or summer resort than to a concert hall. And what they heard weren’t just symphonic works—programs also included opera excerpts and arrangements, instrumental showpieces, comic numbers, and medleys of patriotic tunes. This book brings together musicologists and historians to investigate the many orchestras and programs that developed in nineteenth-century America. In addition to reflecting on the music that orchestras played and the socioeconomic aspects of building and maintaining orchestras, the book considers a wide range of topics, including audiences, entrepreneurs, concert arrangements, tours, and musicians’ unions. The authors also show that the period saw a massive influx of immigrant performers, the increasing ability of orchestras to travel across the nation, and the rising influence of women as listeners, patrons, and players. Painting a rich and detailed picture of nineteenth-century concert life, this collection will greatly broaden our understanding of America’s musical history.
Author: John Spitzer
Publisher: University of Chicago Press
ISBN: 0226769771
Category : History
Languages : en
Pages : 504
Get Book Here
Book Description
Studies of concert life in nineteenth-century America have generally been limited to large orchestras and the programs we are familiar with today. But as this book reveals, audiences of that era enjoyed far more diverse musical experiences than this focus would suggest. To hear an orchestra, people were more likely to head to a beer garden, restaurant, or summer resort than to a concert hall. And what they heard weren’t just symphonic works—programs also included opera excerpts and arrangements, instrumental showpieces, comic numbers, and medleys of patriotic tunes. This book brings together musicologists and historians to investigate the many orchestras and programs that developed in nineteenth-century America. In addition to reflecting on the music that orchestras played and the socioeconomic aspects of building and maintaining orchestras, the book considers a wide range of topics, including audiences, entrepreneurs, concert arrangements, tours, and musicians’ unions. The authors also show that the period saw a massive influx of immigrant performers, the increasing ability of orchestras to travel across the nation, and the rising influence of women as listeners, patrons, and players. Painting a rich and detailed picture of nineteenth-century concert life, this collection will greatly broaden our understanding of America’s musical history.
Author: John Spitzer
Publisher: University of Chicago Press
ISBN: 0226769763
Category : History
Languages : en
Pages : 504
Get Book Here
Book Description
Studies of concert life in nineteenth-century America have generally been limited to large orchestras and the programs we are familiar with today. But as this book reveals, audiences of that era enjoyed far more diverse musical experiences than this focus would suggest. To hear an orchestra, people were more likely to head to a beer garden, restaurant, or summer resort than to a concert hall. And what they heard weren’t just symphonic works—programs also included opera excerpts and arrangements, instrumental showpieces, comic numbers, and medleys of patriotic tunes. This book brings together musicologists and historians to investigate the many orchestras and programs that developed in nineteenth-century America. In addition to reflecting on the music that orchestras played and the socioeconomic aspects of building and maintaining orchestras, the book considers a wide range of topics, including audiences, entrepreneurs, concert arrangements, tours, and musicians’ unions. The authors also show that the period saw a massive influx of immigrant performers, the increasing ability of orchestras to travel across the nation, and the rising influence of women as listeners, patrons, and players. Painting a rich and detailed picture of nineteenth-century concert life, this collection will greatly broaden our understanding of America’s musical history.
Author: John H. Baron
Publisher: LSU Press
ISBN: 0807150843
Category : Music
Languages : en
Pages : 645
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Book Description
During the nineteenth century, New Orleans thrived as the epicenter of classical music in America, outshining New York, Boston, and San Francisco before the Civil War and rivaling them thereafter. While other cities offered few if any operatic productions, New Orleans gained renown for its glorious opera seasons. Resident composers, performers, publishers, teachers, instrument makers, and dealers fed the public's voracious cultural appetite. Tourists came from across the United States to experience the city's thriving musical scene. Until now, no study has offered a thorough history of this exciting and momentous era in American musical performance history. John H. Baron's Concert Life in Nineteenth-Century New Orleans impressively fills that gap. Baron's exhaustively researched work details all aspects of New Orleans's nineteenth-century musical renditions, including the development of orchestras; the surrounding social, political, and economic conditions; and the individuals who collectively made the city a premier destination for world-class musicians. Baron includes a wide-ranging chronological discussion of nearly every documented concert that took place in the Crescent City in the 1800s, establishing Concert Life in Nineteenth-Century New Orleans as an indispensable reference volume.
Author: Brian Hart
Publisher: Indiana University Press
ISBN: 0253067553
Category : Music
Languages : en
Pages : 987
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Book Description
Central to the repertoire of Western art music since the 1700s, the symphony has come to be regarded as one of the ultimate compositional challenges. In his series The Symphonic Repertoire, the late A. Peter Brown explored the symphony in Europe from its origins into the 20th century. In Volume V, Brown's former students and colleagues continue his vision by turning to the symphony in the Western Hemisphere. It examines the work of numerous symphonists active from the early 1800s to the present day and the unique challenges they faced in contributing to the European symphonic tradition. The research adds to an unmatched compendium of knowledge for the student, teacher, performer, and sophisticated amateur. This much-anticipated fifth volume of The Symphonic Repertoire: The Symphony in the Americas offers a user-friendly, comprehensive history of the symphony genre in the United States and Latin America.
Author: Neil Butterworth
Publisher: Routledge
ISBN: 0429789440
Category : Music
Languages : en
Pages : 385
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Book Description
First published in 1998, this volume is the first book to focus on the American symphony. Neil Butterworth surveys the development of the symphony in the United States from early European influences in the last century to the present day, and asks why American composers have shown such allegiance to a musical form which their European contemporaries appear to have discarded. An overview of the growth of musical societies in America during the eighteenth century and the establishment of the first professional orchestras during the early part of the nineteenth century is followed by chronological analyses of the works of those composers who have played important parts in the progress of symphony in the United States, from Charles Ives, Aaron Copland and Leonard Bernstein, to contemporary figures such as William Bolcom and John Harbison. Complete with a comprehensive catalogue of symphonies and an extensive discography, this book is an indispensable reference work.
Author: Paul Watt
Publisher: Oxford Handbooks
ISBN: 019061692X
Category : History
Languages : en
Pages : 568
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Book Description
Rarely studied in their own right, writings about music are often viewed as merely supplemental to understanding music itself. Yet in the nineteenth century, scholarly interest in music flourished in fields as disparate as philosophy and natural science, dramatically shifting the relationship between music and the academy. An exciting and much-needed new volume, The Oxford Handbook of Music and Intellectual Culture in the Nineteenth Century draws deserved attention to the people and institutions of this period who worked to produce these writings. Editors Paul Watt, Sarah Collins, and Michael Allis, along with an international slate of contributors, discuss music's fascinating and unexpected interactions with debates about evolution, the scientific method, psychology, exoticism, gender, and the divide between high and low culture. Part I of the handbook establishes the historical context for the intellectual world of the period, including the significant genres and disciplines of its music literature, while Part II focuses on the century's institutions and networks - from journalists to monasteries - that circulated ideas about music throughout the world. Finally, Part III assesses how the music research of the period reverberates in the present, connecting studies in aestheticism, cosmopolitanism, and intertextuality to their nineteenth-century origins. The Handbook challenges Western music history's traditionally sole focus on musical work by treating writings about music as valuable cultural artifacts in themselves. Engaging and comprehensive, The Oxford Handbook of Music and Intellectual Culture in the Nineteenth Century brings together a wealth of new interdisciplinary research into this critical area of study.
Author: Nancy Newman
Publisher: University Rochester Press
ISBN: 1580463452
Category : History
Languages : en
Pages : 334
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Book Description
A transatlantic perspective that illuminates the Germania Musical Society's crucial role in introducing a "classical," predominantly German, repertory of instrumental works into American musical life. In Good Music for a Free People, author Nancy Newman examines the activities and reception of the Germania Musical Society, an orchestra whose members emigrated from Berlin during the Revolutions of 1848. These two dozen "Forty-Eighters" gave nearly a thousand concerts in North America during the ensuing six-year period, possibly reaching a million listeners. Drawing on a memoir by member Henry Albrecht, Newman provides insights into the musicians'desire to bring their music to the audiences of a democratic republic at this turbulent time. Eager to avoid the egotism and self-promotion of the European patronage system, they pledged to work for their mutual interests both musically and socially. "One for all, and all for one" became their motto. Originally published in German, Albrecht's memoir is presented here in for the first time in translation. Nancy Newman is Associate Professor in the Music Department at the University at Albany, SUNY.
Author: Paul Ganson
Publisher: Wayne State University Press
ISBN: 0814340628
Category : Music
Languages : en
Pages : 422
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Book Description
The first history of the Detroit Symphony Orchestra to describe and document its origins in 1887 to the present day, relating its changing fortunes in light of the economic, demographic, and cultural history of the city of Detroit. The Detroit Symphony Orchestra: Grace, Grit, and Glory details the history of the Detroit Symphony Orchestra as seen through the prism of the city it has called home for nearly 130 years. Now one of America’s finest orchestras, the Detroit Symphony Orchestra began in 1887 as a rather small ensemble of around thirty-five players in a city that was just emerging as an industrial powerhouse. Since then, both the city and its orchestra have known great success in musical artistry for the symphony and economic influence for the city. They have each faced crises as well—financial, social, and cultural—that have forced the DSO into closure three times, and the city to the brink of dissolution. Yet somehow, in the face of adversity, the DSO stands strong today, a beacon of perseverence and rebirth in a city of second chances. This is the first history of the DSO to document the orchestra from its earliest incarnation in the late nineteenth century to its current status as one of the top orchestras in the country. The Detroit Symphony Orchestra tells the story of the organization—the musicians, the musical directors, the boards, and the management—as they strove for musical excellence, and the consistent funding and leadership to achieve it in the changing economic and cultural landscape of Detroit. Author Laurie Lanzen Harris, with Paul Ganson, explores the cycles of glory, collapse, and renewal of the orchestra in light of the city’s own dynamic economic, demographic, and cultural changes. Any reader with an interest in Detroit history or the history of American smphony orchestras should have this book on his or her shelf.
Author: Cormac Newark
Publisher: Oxford University Press
ISBN: 0197510558
Category : Music
Languages : en
Pages : 639
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Book Description
Opera has always been a vital and complex mixture of commercial and aesthetic concerns, of bourgeois politics and elite privilege. In its long heyday in the eighteenth and nineteenth centuries, it came to occupy a special place not only among the arts but in urban planning, too — this is, perhaps surprisingly, often still the case. The Oxford Handbook of the Operatic Canon examines how opera has become the concrete edifice it was never meant to be, by tracing its evolution from a market entirely driven by novelty to one of the most canonic art forms still in existence. Throughout the book, a lively assembly of musicologists, historians, and industry professionals tackle key questions of opera's past, present, and future. Why did its canon evolve so differently from that of concert music? Why do its top ten titles, all more than a century old, now account for nearly a quarter of all performances worldwide? Why is this system of production becoming still more top-heavy, even while the repertory seemingly expands, notably to include early music? Topics range from the seventeenth century to the present day, from Russia to England and continental Europe to the Americas. To reflect the contested nature of many of them, each is addressed in paired chapters. These complement each other in different ways: by treating the same geographical location in different periods, by providing different national or regional perspectives on the same period, or by thinking through similar conceptual issues in contrasting or changing contexts. Posing its questions in fresh, provocative terms, The Oxford Handbook of the Operatic Canon challenges scholarly assumptions in music and cultural history, and reinvigorates the dialogue with an industry that is, despite everything, still growing.
Author: Robert Freeman
Publisher: Rowman & Littlefield
ISBN: 1442233036
Category : Music
Languages : en
Pages : 271
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Book Description
The Crisis of Classical Music in America by Robert Freeman focuses on solutions for the oversupply of classically trained musicians in America, problem that grows ever more chronic as opportunities for classical musicians to gain full-time professional employment diminishes year upon year. An acute observer of the professional music scene, Freeman argues that music schools that train our future instrumentalists, composers, conductors, and singers need to equip their students with the communications and analytical skills they need to succeed in the rapidly changing music scene. This book maps a broad range of reforms required in the field of advanced music education and the organizations responsible for that education. Featuring a foreword by Leonard Slatkin, music director of the Detroit Symphony Orchestra, The Crisis of Classical Music in America speaks to parents, prospective and current music students, music teachers and professors, department deans, university presidents and provosts, and even foundations and public organizations that fund such music programs. This book reaches out to all of these stakeholders and argues for meaningful change though wide-spread collaboration.
