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National memory, public music: Comme...

Minor, Ryan.

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National memory, public music: Commemoration and consecration in nineteenth-century German choral music (Felix Mendelssohn-Bartholdy, Franz Liszt, Johannes Brahms, Karl Martin Reinthaler, Richard Wagner).

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	National memory, public music: Commemoration and consecration in nineteenth-century German choral music (Felix Mendelssohn-Bartholdy, Franz Liszt, Johannes Brahms, Karl Martin Reinthaler, Richard Wagner)./
作者:	Minor, Ryan.
面頁冊數:	484 p.
附註:	Source: Dissertation Abstracts International, Volume: 65-12, Section: A, page: 4394.
Contained By:	Dissertation Abstracts International65-12A.
標題:	Music. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3158712
ISBN:	0496917099

National memory, public music: Commemoration and consecration in nineteenth-century German choral music (Felix Mendelssohn-Bartholdy, Franz Liszt, Johannes Brahms, Karl Martin Reinthaler, Richard Wagner).
Minor, Ryan.

National memory, public music: Commemoration and consecration in nineteenth-century German choral music (Felix Mendelssohn-Bartholdy, Franz Liszt, Johannes Brahms, Karl Martin Reinthaler, Richard Wagner). - 484 p.

Source: Dissertation Abstracts International, Volume: 65-12, Section: A, page: 4394.

Thesis (Ph.D.)--The University of Chicago, 2005.

This dissertation explores nineteenth-century German choral music written for public festivity. In particular, I focus on commemorations and consecrations, occasions that often engaged the chorus's representative ties to the musical past and a utopian future---and promoted it as a bridge between the two. I argue that the symbolic promise of the mixed chorus offered the burgeoning German nation a ready image---indeed, an imagined community---to embody both its shared history and its collective hopes.

ISBN: 0496917099Subjects--Topical Terms:

516178
Music.

National memory, public music: Commemoration and consecration in nineteenth-century German choral music (Felix Mendelssohn-Bartholdy, Franz Liszt, Johannes Brahms, Karl Martin Reinthaler, Richard Wagner).
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245 1 0 $a National memory, public music: Commemoration and consecration in nineteenth-century German choral music (Felix Mendelssohn-Bartholdy, Franz Liszt, Johannes Brahms, Karl Martin Reinthaler, Richard Wagner).
300 $a 484 p.
500 $a Source: Dissertation Abstracts International, Volume: 65-12, Section: A, page: 4394.
500 $a Adviser: Berthold Hoeckner.
502 $a Thesis (Ph.D.)--The University of Chicago, 2005.
520 $a This dissertation explores nineteenth-century German choral music written for public festivity. In particular, I focus on commemorations and consecrations, occasions that often engaged the chorus's representative ties to the musical past and a utopian future---and promoted it as a bridge between the two. I argue that the symbolic promise of the mixed chorus offered the burgeoning German nation a ready image---indeed, an imagined community---to embody both its shared history and its collective hopes.
520 $a Nineteenth-century choral music in Germany negotiated a complex aesthetic and public world, which was reflected in the music's often hyperbolic mixture of monumentality, optimism, religiosity, and historical veneration. In this dissertation, I show that the interstices in which public choral music thrived consistently destabilize the strict divisions between music and society, Volk and nation, and past and future that have come to dominate the musical and historical narratives of nineteenth-century Germany.
520 $a After an Introduction outlining the social, music-historical, and historiographic contexts of choral music and public festivity in nineteenth-century Germany, five chapters provide an account of both the development of choral aesthetics as well as the public festival culture in which the chorus took center stage. In each of the chapters, I examine a commemorative or consecratory occasion and the choral works written to celebrate it. My focus ranges from the heady idealism of the Vormarz to the growing pains of the new Reich in the 1880s, and the repertory includes works by Mendelssohn, Liszt, Brahms, Reinthaler, and Wagner. I argue that the use of the chorus in these compositions illustrates how ideals of choral singing and communal festivity shifted throughout nineteenth-century Germany, from notions of autonomous participation towards an aesthetic of administered spectatorship. I also suggest that the continued prominence of liberal ideals in Brahms's works imposes important limits to this narrative.
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