Barbara Eichner
Biographic Data
| ID | 9149556 |
|---|---|
| NAME | Barbara Eichner |
| GIVEN NAMES | Barbara |
| FAMILY NAME | Eichner |
| SIGNATURE | EICHNER B |
| AFFILIATIONS | Oxford Brookes University |
| ORCID | 0000-0001-7123-5171 |
| VERIFIED | Yes |
| TOTAL WORKS | 6 |
| TOTAL CITATIONS | 0 |
| AUTHOR COUNT | 6 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2011 |
| LATEST PUBLICATION YEAR | 2024 |
| H-INDEX | 0 |
The Scene of Grand Opera
Wagner’s attitude towards the Paris-centred tradition of grand opéra and its German-language cousin, große Oper, was equivocal. On the one hand, he mercilessly dissects the shortcomings of the genres in his Zurich writings; on the other hand, borrowings are rife and a notable exemplar exists in Rienzi. After disentangling and contextualising that contradiction in relation to Wagner’s early works and writings, this chapter considers the tensions b…
Richard Wagner’s Medieval Visions
This contribution will focus on three aspects of Wagner’s medievalism: the historic medievalism of Tannhäuser and Lohengrin , set in a recognizable historical framework but also invoking the aura of the Middle Ages through marvel and miracle; the mythical medievalism of the Ring cycle where Nordic myth displaces the more familiar sphere of the medieval Nibelungenlied ; and finally the civic medievalism of Die Meistersinger von Nürnberg where a me…
Rekrutierung musikalischer Eliten. Knabengesang im 15. und 16. Jahrhundert. Hrsg. von Nicole Schwindt. Kassel u. a
Sven Oliver Müller
History in Mighty Sounds
Music played a central role in the self-conception of middle-class Germans between the March Revolution of 1848 and the First World War. Although German music was widely held to be 'universal' and thus apolitical, it participated - like the other arts - in the historicist project of shaping the nation's future by calling on the national heritage. Compositions based on - often heavily mythologised - historical events and heroes, such as the Battle…
Beghinae in cantu instructae
In 2005 Resonant, the Centre for Flemish Musical Heritage, and the Alamire Foundation began an inventory of music from Flemish beguinages, led by Pieter Mannaerts and Els Vercammen (see also ). The sources were localized in a concerted search between January and March 2006, and the result of this investigation represents the second part of Beghinae in cantu instructae. In a second phase from 2006 to 2007 a number of scholarly articles were added …
No prominent works on this page.
Beghinae in cantu instructae
In 2005 Resonant, the Centre for Flemish Musical Heritage, and the Alamire Foundation began an inventory of music from Flemish beguinages, led by Pieter Mannaerts and Els Vercammen (see also ). The sources were localized in a concerted search between January and March 2006, and the result of this investigation represents the second part of Beghinae in cantu instructae. In a second phase from 2006 to 2007 a number of scholarly articles were added …
History in Mighty Sounds
Music played a central role in the self-conception of middle-class Germans between the March Revolution of 1848 and the First World War. Although German music was widely held to be 'universal' and thus apolitical, it participated - like the other arts - in the historicist project of shaping the nation's future by calling on the national heritage. Compositions based on - often heavily mythologised - historical events and heroes, such as the Battle…
Sven Oliver Müller
Rekrutierung musikalischer Eliten. Knabengesang im 15. und 16. Jahrhundert. Hrsg. von Nicole Schwindt. Kassel u. a
Richard Wagner’s Medieval Visions
This contribution will focus on three aspects of Wagner’s medievalism: the historic medievalism of Tannhäuser and Lohengrin , set in a recognizable historical framework but also invoking the aura of the Middle Ages through marvel and miracle; the mythical medievalism of the Ring cycle where Nordic myth displaces the more familiar sphere of the medieval Nibelungenlied ; and finally the civic medievalism of Die Meistersinger von Nürnberg where a me…
The Scene of Grand Opera
Wagner’s attitude towards the Paris-centred tradition of grand opéra and its German-language cousin, große Oper, was equivocal. On the one hand, he mercilessly dissects the shortcomings of the genres in his Zurich writings; on the other hand, borrowings are rife and a notable exemplar exists in Rienzi. After disentangling and contextualising that contradiction in relation to Wagner’s early works and writings, this chapter considers the tensions b…
Art (6 works) · History (4 works) · Art history (3 works) · German (3 works) · Musicology and Musical Analysis (3 works) · Philosophy (3 works) · Aesthetics (2 works) · Archaeology (2 works) · Central European national history (2 works) · Classics (2 works)