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Anthology Repertoire | p. xii |
Series Editor's Preface | p. xiii |
Author's Preface | p. xv |
Nineteenth-Century Music and Its Contexts | p. 1 |
Around 1815 | p. 2 |
The Final Decade of the Century | p. 5 |
From 1815 to the 1890s | p. 7 |
The "Tristan" Chord | p. 9 |
For Further Reading | p. 11 |
The Romantic Imagination | p. 13 |
The Reaction Against Classicism | p. 14 |
Romantic Longing | p. 19 |
Music in the Romantic Imagination | p. 21 |
The Religion of Art | p. 23 |
Fantasy Versus Reality | p. 24 |
Romantic Irony | p. 26 |
Romanticism and Nationalism | p. 28 |
For Further Reading | p. 31 |
Music and the Age of Metternich | p. 32 |
The Congress of Vienna | p. 33 |
Biedermeier Culture | p. 34 |
Ludwig van Beethoven | p. 37 |
Franz Schubert | p. 42 |
Virtuosity, Virtuosos | p. 46 |
For Further Reading | p. 51 |
The Opera Industry | p. 52 |
Italian Opera | p. 53 |
French Opera | p. 62 |
German Opera | p. 65 |
Russian Opera | p. 71 |
For Further Reading | p. 72 |
Making Music Matter: Criticism and Performance | p. 73 |
Music Journalism | p. 74 |
Civic Engagement: The Case of Felix Mendelssohn | p. 82 |
Fanny Mendelssohn Hensel and the Musical Salon | p. 85 |
Clara Wieck Schumann and the Keyboard | p. 87 |
For Further Reading | p. 91 |
Making Music Speak: Program Music and the Character Piece | p. 92 |
Absolute and Program Music | p. 93 |
Romantic Piano Music: The Character Piece | p. 100 |
Robert Schumann and the Lied | p. 109 |
For Further Reading | p. 111 |
Beyond Romanticism | p. 112 |
The Revolutions of 1848 | p. 113 |
Anti-Romanticism and Pessimism | p. 114 |
Idealism Versus Materialism | p. 116 |
Realism | p. 119 |
Historicism | p. 123 |
Nationalism | p. 124 |
For Further Reading | p. 131 |
Richard Wagner and Wagnerism | p. 133 |
Wagner's Early Life and Career | p. 134 |
Wagner's Theories of Operatic Reform | p. 136 |
The Wagnerian Artwork of the Future | p. 138 |
Wagner's Mature Operas | p. 141 |
Wagner's Nationalism and Anti-Semitism | p. 146 |
Wagnerism | p. 149 |
For Further Reading | p. 152 |
Verdi, Operetta, and Popular Appeal | p. 153 |
Giuseppe Verdi | p. 154 |
Operetta | p. 161 |
French Opera | p. 168 |
For Further Reading | p. 172 |
Concert Culture and the "Great" Symphony | p. 174 |
Concert Culture | p. 174 |
The Great Symphony in the Later Nineteenth Century | p. 177 |
Johannes Brahms and Anton Bruckner in Vienna | p. 178 |
Concert Culture in France | p. 185 |
Russian Concert Culture arid Tchaikovsky's Sixth (Pathétique) Symphony | p. 190 |
For Further Reading | p. 193 |
Musical Life and Identity in the United States | p. 195 |
Federal Boston | p. 196 |
Spanish Colonial America | p. 197 |
New Orleans and Louis Moreau Gottschalk | p. 200 |
Stephen Foster and American Popular Song | p. 202 |
America at the Opera | p. 205 |
Classical Music in the Cities | p. 208 |
For Further Reading | p. 214 |
The Fin de Siècle and the Emergence of Modernism | p. 215 |
Connections and Contradictions | p. 216 |
Strauss, Mahler, and the Modern World | p. 219 |
Italian Verismo in Opera | p. 226 |
Color and Sonority: Claude Debussy | p. 232 |
For Further Reading | p. 235 |
The Sound of Nineteenth-Century Music | p. 236 |
Pianos | p. 238 |
Chopin at the Keyboard | p. 241 |
The Romantic Tenor | p. 242 |
Orchestras in the Nineteenth Century | p. 245 |
Instrumental Color: The Case of the Brass | p. 247 |
Three Works, Three Recordings | p. 250 |
For Further Reading | p. 253 |
Glossary | p. A1 |
Endnotes | p. A10 |
Credits | p. A18 |
Index | p. A19 |
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