Nicholas Mathew
Biographic Data
| ID | 3595169 |
|---|---|
| NAME | Nicholas Mathew |
| GIVEN NAMES | Nicholas |
| FAMILY NAME | Mathew |
| SIGNATURE | MATHEW N |
| AFFILIATIONS | University of California |
| VERIFIED | No |
| TOTAL WORKS | 8 |
| TOTAL CITATIONS | 4 |
| AUTHOR COUNT | 8 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2009 |
| LATEST PUBLICATION YEAR | 2025 |
| H-INDEX | 1 |
All the Feels
The latest books by Martha Nussbaum and Peter Franklin, on the music and life of Benjamin Britten, both come from positions notionally outside music studies. Nussbaum – the liberal philosopher, as close to an academic celebrity as one can find nowadays – writes about the War Requiem (1962) as a (mostly) appreciative visitor to the discipline. Franklin, by contrast, is well known in nineteenth- and twentieth-century music studies. Britten Experien…
The Beethoven Syndrome: Hearing Music as Autobiography , by Mark Evan Bonds
Describing and distancing supposedly obsolete versions of Beethoven is an old musicological impulse. Arnold Schmitz’s 1927 Das romantische Beethovenbild is its classic expression, but it goes back a good deal farther than this—to Wagner’s scattergun polemics, Hanslick’s formalist aesthetic theories, and arguably even Czerny’s revisionist performance guides. The practice continues to this day. Indeed, rejecting past Beethovens may look particularl…
Listening(s) Past
This essay is about the long-standing and tenacious audile technique of listening past-that is, the discrimination of music, musical performances, and even sound amid the ostensibly broader range of vibrations conveyed by any media form. For some time, an assortment of musicians, sound artists, and theoreticians have lined up to maintain that this cognitive-discursive technique, which suppresses or diminishes the processes of mediation, is in som…
Music Histories from the Edge
Gould and Liberace, or the Fate of Nineteenth-Century Performance Culture
Two of the most famous pianists of the 1950s, Glenn Gould and Liberace occupied opposing esthetic and cultural positions. Liberace’s style of performance and self-presentation was by and large consistent with his late nineteenth-century pianistic models; however, emerging television esthetics, among other factors, made this style increasingly incomprehensible, except as an extreme brand of musical kitsch or camp (the mode for which he became noto…
Elephants in the Music Room
In this introduction to the forum Quirk Historicism, the editors describe the recent tendency of music scholars, in the wake of New Historicism, to avail themselves of objets trouvés and historical micronarratives for interpretation
“Achieved is the glorious work”: The Creation and the choral work concept
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The Tangled Woof
An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content
Elephants in the Music Room
In this introduction to the forum Quirk Historicism, the editors describe the recent tendency of music scholars, in the wake of New Historicism, to avail themselves of objets trouvés and historical micronarratives for interpretation
The Tangled Woof
An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content
“Achieved is the glorious work”: The Creation and the choral work concept
A summary is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content.
Elephants in the Music Room
In this introduction to the forum Quirk Historicism, the editors describe the recent tendency of music scholars, in the wake of New Historicism, to avail themselves of objets trouvés and historical micronarratives for interpretation
Gould and Liberace, or the Fate of Nineteenth-Century Performance Culture
Two of the most famous pianists of the 1950s, Glenn Gould and Liberace occupied opposing esthetic and cultural positions. Liberace’s style of performance and self-presentation was by and large consistent with his late nineteenth-century pianistic models; however, emerging television esthetics, among other factors, made this style increasingly incomprehensible, except as an extreme brand of musical kitsch or camp (the mode for which he became noto…
Listening(s) Past
This essay is about the long-standing and tenacious audile technique of listening past-that is, the discrimination of music, musical performances, and even sound amid the ostensibly broader range of vibrations conveyed by any media form. For some time, an assortment of musicians, sound artists, and theoreticians have lined up to maintain that this cognitive-discursive technique, which suppresses or diminishes the processes of mediation, is in som…
Music Histories from the Edge
The Beethoven Syndrome: Hearing Music as Autobiography , by Mark Evan Bonds
Describing and distancing supposedly obsolete versions of Beethoven is an old musicological impulse. Arnold Schmitz’s 1927 Das romantische Beethovenbild is its classic expression, but it goes back a good deal farther than this—to Wagner’s scattergun polemics, Hanslick’s formalist aesthetic theories, and arguably even Czerny’s revisionist performance guides. The practice continues to this day. Indeed, rejecting past Beethovens may look particularl…
All the Feels
The latest books by Martha Nussbaum and Peter Franklin, on the music and life of Benjamin Britten, both come from positions notionally outside music studies. Nussbaum – the liberal philosopher, as close to an academic celebrity as one can find nowadays – writes about the War Requiem (1962) as a (mostly) appreciative visitor to the discipline. Franklin, by contrast, is well known in nineteenth- and twentieth-century music studies. Britten Experien…
Art (6 works) · Computer Science (5 works) · History (4 works) · Aesthetics (3 works) · Diverse Musicological Studies (3 works) · History (3 works) · Literature (3 works) · Music History and Culture (3 works) · Musicology and Musical Analysis (3 works) · Visual arts (3 works)