Music and Monumentality
Nineteenth-century German music, commemoration, and the sublime
Bibliographic Data
| ID | 8080799 |
|---|---|
| Authors | Alexander Rehding (corresponding author) |
| Year | 2009 |
| Pages | 308 |
| Publication date | 2009-08-19 |
| Open Access | No |
| Type | BOOK |
| Venue | Resounding monumentality (SOURCE_BOOK) |
| Publisher | Oxford University Press (PUBLISHER • GB) |
| DOI | 10.1093/acprof:oso/9780195385380.001.0001 |
| OpenAlex | W2486963373 |
| Open Library | OL22665171M |
| ISBN | 9780195385380 |
| Language | EN |
| Citations received | 10 |
A few weeks after the reunification of Germany, Leonard Bernstein raised his baton above the ruins of the Berlin Wall and conducted a special arrangement of Beethoven’s Ninth Symphony. The central statement of the work, that “all men will be brothers,” captured the sentiment of those who saw a brighter future for the newly reunited nation. This now-iconic performance is a palpable example of “musical monumentality” — a significant concept which underlies our cultural and ideological understanding of Western art music since the nineteenth-century. Although the concept was first raised in the earliest years of musicological study in the 1930s, a satisfying exploration of the “monumental” in music has not yet been made. The author sets his focus on the main players of the period within the Austro-German repertoire as he unpacks a two-fold definition of “musical monumentality.” The author generally attempts to examine how German music emerges as a unified cultural and musical brand
Computer Science · Diverse Musicological Studies · 19th century · german · Germany · Group identity · History · History and criticism · Music · Music, history and criticism · Psychological aspects · Social aspects · Sublime, The, in music
The Enchanting Music of Blades And Bullets
Smetana’s The Brandenburgers in Bohemia and Czech Nationalism
The Empire at the Opéra
Beyond Homage and Critique? Schubert’s Sonata in C minor, D. 958, and Beethoven’s Thirty-Two Variations in C minor, WoO 80
War and the Musical Grotesque in Crumb’s “When Johnny Comes Marching Home”
Integration, Urbanity, and Multi-Dimensionality in Schoenberg’s First Quartet
The Berlin Premiere of Gluck’s Iphigénie en Aulide in 1809
Remembering Armenian music in Bolis
The Romantic Fragment and the Monumental
Coloured opera as subversive forgetting
| Unique citing works | 10 |
|---|---|
| Citations per year | 0,77 |
| Citation span | 2013 - 2024 (12) |
| Citation velocity | recent |
| Highly cited | No |
| Citation types | Neutral: 10 |