Realism in nineteenth-century music
Author(s)
Bibliographic Information
Realism in nineteenth-century music
Cambridge University Press, 1985
- pbk.
- Other Title
-
Musikalischer Realismus
- Uniform Title
-
Musikalischer Realismus
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Note
Translation of: Musikalischer Realismus
Bibliography: p. 124-127
Includes index
Description and Table of Contents
Description
The music of the nineteenth century was - and still is - thought of as a 'romantic' art, whereas the main current of the literature and fine arts of the age was 'realist' from about 1830. Yet some works are consistently described as 'realistic': Nusorgsky's Boris and Bizet's Carmen are only the most frequently cited examples. Professor Dahlhaus sets out the criteria of realism, with particular reference to French and German theorists and examines the extent to which they apply to music too. While his findings do not reverse the verdict that the music of the age was in general romantic, he demonstrates that musical realism consists in much more than imitation of natural sounds or tone-painting. The notes are revised here for the English-speaking reader.
Table of Contents
- Translator's note
- 1. Introduction
- 2. What is musical realism?
- 3. 'True reality' and music
- 4. The 'descriptive' and the 'ugly'
- 5. 'Bourgeois realism' and Biedermeier
- 6. Realism as rebellion
- 7. Anti-romanticism
- 8. Realism in Italian opera
- 9. Literature, history and 'history'
- 10. The 'musical novel'
- 11. Realistic melody and dramaturgical construction
- 12. The natural world and the 'folklike tone'
- 13. The dialectics of the concept of reality
- 14. Conclusion
- References
- Index.
by "Nielsen BookData"