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The necessity of music : variations on a German theme
"In The Necessity of Music, Celia Applegate explores the many ways that Germans thought about and made music from the eighteenth- to twentieth-centuries. Rather than focus on familiar stories of composers and their work Applegate illuminates the myriad ways in which music is integral to German...
Enregistré dans:
| Auteur principal : | |
|---|---|
| Format : | Livre |
| Langue : | anglais |
| Titre complet : | The necessity of music : variations on a German theme / Celia Applegate |
| Publié : |
Toronto, Canada, Buffalo, N.Y, London :
University of Toronto press
, copyright 2017 |
| Description matérielle : | 1 vol. (xii-402 pages) |
| Collection : | German and european studies ; 26 |
| Titre de l'ensemble : | German and European studies vol. 26 |
| Sujets : |
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| 200 | 1 | |a The necessity of music |e variations on a German theme |f Celia Applegate | |
| 210 | |a Toronto, Canada |a Buffalo, N.Y |a London |c University of Toronto press |d copyright 2017 | ||
| 215 | |a 1 vol. (xii-402 pages) |c illustrations |d 23 cm | ||
| 225 | 1 | |a German and European studies |v 26 | |
| 320 | |a Bibliogr. pages 315-382. Index | ||
| 330 | |a "In The Necessity of Music, Celia Applegate explores the many ways that Germans thought about and made music from the eighteenth- to twentieth-centuries. Rather than focus on familiar stories of composers and their work Applegate illuminates the myriad ways in which music is integral to German social life. Musical life reflected the polycentric nature of German social and political life, even while it provided many opportunities to experience what was common among Germans. Musical activities also allowed Germans, whether professional musicians, dedicated amateurs, or simply listeners, to participate in European culture. Applegate's original and fascinating analysis of Mendelssohn, Schumann, Brahms, Wagner, and military music enables the reader to understand music through the experiences of listeners, performers, and institutions. The necessity of music demonstrates that playing, experiencing, and interpreting music was a powerful factor that shaped German collective life." | ||
| 359 | 2 | |b Part I. Places ; How German is it ? ; Music in place ; Musical itinerancy in a world of nations ; Music at the fairs |b Part II. People ; Mendelssohn on the road ; A.B. Marx's cosmopolitan nationalism ; Schumann's German nation ; The musical worlds of Brahm's Hamburg |b Part III. Public and private ; What difference does a nation make? ; Men with trombones ; Women's Wagner ; Hausmusik in the Third Reich ; To be or not to be Wagnerian in Leni Riefenstahl's films ; Saving music. | |
| 410 | | | |0 113452985 |t German and european studies |v 26 | |
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| 606 | |3 PPN027240223 |a Musique |3 PPN027218856 |y Allemagne |3 PPN02779038X |x Histoire et critique |2 rameau | ||
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