/

Oxford Handbook of Music and Intellectual Culture in the Nineteenth Century

Watt Paul Collins Sarah Allis Michael
Innbundet / 2020 / Engelsk

Produktdetaljer

ISBN
9780190616922
Publisert
2020
Utgiver
Oxford University Press Inc
Vekt
1111 gr
Høyde
249 mm
Bredde
178 mm
Dybde
38 mm
Aldersnivå
P, 06
Språk
Product language
Engelsk
Format
Product format
Innbundet
Antall sider
568

Redaktør
Watt Paul
Collins Sarah
Allis Michael

Biografisk notat

Paul Watt is Associate Professor of Musicology at Monash University, Melbourne. He has published widely on the musical, cultural, intellectual, and religious history of the nineteenth century in journals such as Music & Letters, Musicology Australia, Nineteenth-Century Music Review, the RMA Research Chronicle, and the Yale Journal of Music & Religion. He is the author of Ernest Newman: A Critical Biography (2017) and The Regulation and Reform of Music Criticism in Nineteenth-Century England (2018). He is a contributor to The Oxford Handbook of Opera (2014), The Cambridge History of Music Criticism (2019), The Cambridge History of Atheism (2020), and The Routledge Handbook of Street Culture (2020). Sarah Collins is Associate Professor of Musicology at the University of Western Australia. She is the author of Lateness and Modernism: Untimely Ideas about Music, Literature and Politics in Interwar Britain (2019), and The Aesthetic Life of Cyril Scott (2013), as well as the editor of Music and Victorian Liberalism: Composing the Liberal Subject (2019). Her work has appeared in journals including the Journal of the Royal Musical Association, Twentieth-Century Music, Music & Letters, and Musical Quarterly. Michael Allis is Professor of Musicology at the University of Leeds, UK. He is the author of Parry's Creative Process (2003) and British Music and Literary Context: Artistic Connections in the Long Nineteenth Century (2012), and has edited the music criticisms of Aldous Huxley (2013) and selected letters of Granville Bantock (2017) - which won the 2018 C.B. Oldman Award. He has published widely on music/literature connections and British music of the nineteenth and early twentieth century (Bantock, Bax, Elgar, Holbrooke, Parry, Stanford, Warlock), and is on the Editorial Board of the Journal of Victorian Culture.

Oxford Handbook of Music and Intellectual Culture in the Nineteenth Century

Watt Paul Collins Sarah Allis Michael
Innbundet / 2020 / Engelsk
Watt Paul Collins Sarah Allis Michael
Innbundet / 2020 / Engelsk
Nettpris:
2.301,-
Laveste pris siste 30 dager: 2.301,-
Levering 7-20 dager
Klikk og hent

Perhaps most crucially, the centering of social and cultural histories of music from an international perspective in a handbook of this scope and status benefits both musicology and history, offering and legitimizing exciting new directions for both.

Rosemary Golding, The Open University, VICTORIAN STUDIES

The Oxford Handbook of Music and Intellectual Culture in the Nineteenth Century provides a rich overview of current debates on nineteenth-century music scholarship. The book goes beyond the realms of traditional musicology and instead takes a more interdisciplinary approach to show how music in the nineteenth century permeated culture, intellectual practices, and a variety of disciplines, including, but not limited to, art, literature, religion, and science. While the breadth of the topics covered in this Handbook is particularly ambitious, the editors have done well to organise a cohesive edited collection that can be read from beginning to end.

Brianna Robertson-Kirkland, British Association for Victorian Studies Newsletter

The Oxford Handbook of Music and Intellectual Culture in the Nineteenth Century, edited by musicologists Paul Watt, Sarah Collins and Michael Allis, and published by Oxford University Press, is a commendable and recommendable reference work on the history of music and musical thought and feeling in Europe in the last two centuries.

Juan Carlos Tellechea, Mundo Clásico [translated]

Rarely studied in their own right, writings about music are often viewed as merely supplemental to understanding music itself. Yet in the nineteenth century, scholarly interest in music flourished in fields as disparate as philosophy and natural science, dramatically shifting the relationship between music and the academy. An exciting and much-needed new volume, The Oxford Handbook of Music and Intellectual Culture in the Nineteenth Century draws deserved attention to the people and institutions of this period who worked to produce these writings. Editors Paul Watt, Sarah Collins, and Michael Allis, along with an international slate of contributors, discuss music's fascinating and unexpected interactions with debates about evolution, the scientific method, psychology, exoticism, gender, and the divide between high and low culture. Part I of the handbook establishes the historical context for the intellectual world of the period, including the significant genres and disciplines of its music literature, while Part II focuses on the century's institutions and networks - from journalists to monasteries - that circulated ideas about music throughout the world. Finally, Part III assesses how the music research of the period reverberates in the present, connecting studies in aestheticism, cosmopolitanism, and intertextuality to their nineteenth-century origins. The Handbook challenges Western music history's traditionally sole focus on musical work by treating writings about music as valuable cultural artifacts in themselves. Engaging and comprehensive, The Oxford Handbook of Music and Intellectual Culture in the Nineteenth Century brings together a wealth of new interdisciplinary research into this critical area of study.
Les mer
In The Oxford Handbook of Music and Intellectual Culture in the Nineteenth Century, contributors consider the fascinating and unexpected ways that nineteenth-century writing on music contributed to debates about evolution, the scientific method, psychology, exoticism, gender, and the divide between high and low culture.
Les mer
Introduction: Music and Intellectual Culture in the Nineteenth Century Paul Watt, Sarah Collins, and Michael Allis Part I: TEXTS AND PRACTICES 1. History, Historicism, Historiography Kevin Karnes 2. Criticism Noel Verzosa 3. Figures and Forms of Analysis Practice Rémy Campos 4. Biography and Life-Writing Christopher Wiley 5. Travel Writing Michael Allis 6. Philosophy and Aesthetics Lawrence Kramer 7. Fiction and Poetry Michael Halliwell 8. Ephemera Catherine Massip Part II: NETWORKS AND INSTITUTIONS 9. Newspapers, Little Magazines, and Anthologies Paul Watt 10. Learned Societies, Institutions, Associations, and Clubs Jeremy Dibble 11. Churches and Devotional Practice Martin Clarke 12. Libraries and Archives Matthias Lundberg 13. Universities and Conservatories Peter Tregear 14. The Concert Series Simon McVeigh Part III: DISCOURSES 15. Musical Canons William Weber 16. Landscape and Ecology Daniel M. Grimley 17. The National and the Universal Sarah Collins 18. Science and Religion Bennett Zon 19. Popular Song and Working-Class Culture Gillian M. Rodger 20. Emotions Michael Spitzer 21. Time and Temporality Benedict Taylor 22. Ethics Tomas McAuley 23. Music Scholarship and Disciplinarity Michel Duchesneau
Les mer
"Perhaps most crucially, the centering of social and cultural histories of music from an international perspective in a handbook of this scope and status benefits both musicology and history, offering and legitimizing exciting new directions for both." -- Rosemary Golding, The Open University, VICTORIAN STUDIES "The Oxford Handbook of Music and Intellectual Culture in the Nineteenth Century provides a rich overview of current debates on nineteenth-century music scholarship. The book goes beyond the realms of traditional musicology and instead takes a more interdisciplinary approach to show how music in the nineteenth century permeated culture, intellectual practices, and a variety of disciplines, including, but not limited to, art, literature, religion, and science. While the breadth of the topics covered in this Handbook is particularly ambitious, the editors have done well to organise a cohesive edited collection that can be read from beginning to end." -- Brianna Robertson-Kirkland, British Association for Victorian Studies Newsletter "The Oxford Handbook of Music and Intellectual Culture in the Nineteenth Century, edited by musicologists Paul Watt, Sarah Collins and Michael Allis, and published by Oxford University Press, is a commendable and recommendable reference work on the history of music and musical thought and feeling in Europe in the last two centuries." -- Juan Carlos Tellechea, Mundo Clásico [translated]
Les mer
Paul Watt is Associate Professor of Musicology at Monash University, Melbourne. He has published widely on the musical, cultural, intellectual, and religious history of the nineteenth century in journals such as Music & Letters, Musicology Australia, Nineteenth-Century Music Review, the RMA Research Chronicle, and the Yale Journal of Music & Religion. He is the author of Ernest Newman: A Critical Biography (2017) and The Regulation and Reform of Music Criticism in Nineteenth-Century England (2018). He is a contributor to The Oxford Handbook of Opera (2014), The Cambridge History of Music Criticism (2019), The Cambridge History of Atheism (2020), and The Routledge Handbook of Street Culture (2020). Sarah Collins is Associate Professor of Musicology at the University of Western Australia. She is the author of Lateness and Modernism: Untimely Ideas about Music, Literature and Politics in Interwar Britain (2019), and The Aesthetic Life of Cyril Scott (2013), as well as the editor of Music and Victorian Liberalism: Composing the Liberal Subject (2019). Her work has appeared in journals including the Journal of the Royal Musical Association, Twentieth-Century Music, Music & Letters, and Musical Quarterly. Michael Allis is Professor of Musicology at the University of Leeds, UK. He is the author of Parry's Creative Process (2003) and British Music and Literary Context: Artistic Connections in the Long Nineteenth Century (2012), and has edited the music criticisms of Aldous Huxley (2013) and selected letters of Granville Bantock (2017) - which won the 2018 C.B. Oldman Award. He has published widely on music/literature connections and British music of the nineteenth and early twentieth century (Bantock, Bax, Elgar, Holbrooke, Parry, Stanford, Warlock), and is on the Editorial Board of the Journal of Victorian Culture.
Les mer
Selling point: Connects the relationship between music and intellectual life in a substantial way for the first time Selling point: Provides discourses and insights from outside the Anglo-American traditions Selling point: Includes contributions by scholars from Australia, France, and Sweden
Les mer

Relaterte produkter

Perhaps most crucially, the centering of social and cultural histories of music from an international perspective in a handbook of this scope and status benefits both musicology and history, offering and legitimizing exciting new directions for both.

Rosemary Golding, The Open University, VICTORIAN STUDIES

The Oxford Handbook of Music and Intellectual Culture in the Nineteenth Century provides a rich overview of current debates on nineteenth-century music scholarship. The book goes beyond the realms of traditional musicology and instead takes a more interdisciplinary approach to show how music in the nineteenth century permeated culture, intellectual practices, and a variety of disciplines, including, but not limited to, art, literature, religion, and science. While the breadth of the topics covered in this Handbook is particularly ambitious, the editors have done well to organise a cohesive edited collection that can be read from beginning to end.

Brianna Robertson-Kirkland, British Association for Victorian Studies Newsletter

The Oxford Handbook of Music and Intellectual Culture in the Nineteenth Century, edited by musicologists Paul Watt, Sarah Collins and Michael Allis, and published by Oxford University Press, is a commendable and recommendable reference work on the history of music and musical thought and feeling in Europe in the last two centuries.

Juan Carlos Tellechea, Mundo Clásico [translated]

Rarely studied in their own right, writings about music are often viewed as merely supplemental to understanding music itself. Yet in the nineteenth century, scholarly interest in music flourished in fields as disparate as philosophy and natural science, dramatically shifting the relationship between music and the academy. An exciting and much-needed new volume, The Oxford Handbook of Music and Intellectual Culture in the Nineteenth Century draws deserved attention to the people and institutions of this period who worked to produce these writings. Editors Paul Watt, Sarah Collins, and Michael Allis, along with an international slate of contributors, discuss music's fascinating and unexpected interactions with debates about evolution, the scientific method, psychology, exoticism, gender, and the divide between high and low culture. Part I of the handbook establishes the historical context for the intellectual world of the period, including the significant genres and disciplines of its music literature, while Part II focuses on the century's institutions and networks - from journalists to monasteries - that circulated ideas about music throughout the world. Finally, Part III assesses how the music research of the period reverberates in the present, connecting studies in aestheticism, cosmopolitanism, and intertextuality to their nineteenth-century origins. The Handbook challenges Western music history's traditionally sole focus on musical work by treating writings about music as valuable cultural artifacts in themselves. Engaging and comprehensive, The Oxford Handbook of Music and Intellectual Culture in the Nineteenth Century brings together a wealth of new interdisciplinary research into this critical area of study.
Les mer
In The Oxford Handbook of Music and Intellectual Culture in the Nineteenth Century, contributors consider the fascinating and unexpected ways that nineteenth-century writing on music contributed to debates about evolution, the scientific method, psychology, exoticism, gender, and the divide between high and low culture.
Les mer
Introduction: Music and Intellectual Culture in the Nineteenth Century Paul Watt, Sarah Collins, and Michael Allis Part I: TEXTS AND PRACTICES 1. History, Historicism, Historiography Kevin Karnes 2. Criticism Noel Verzosa 3. Figures and Forms of Analysis Practice Rémy Campos 4. Biography and Life-Writing Christopher Wiley 5. Travel Writing Michael Allis 6. Philosophy and Aesthetics Lawrence Kramer 7. Fiction and Poetry Michael Halliwell 8. Ephemera Catherine Massip Part II: NETWORKS AND INSTITUTIONS 9. Newspapers, Little Magazines, and Anthologies Paul Watt 10. Learned Societies, Institutions, Associations, and Clubs Jeremy Dibble 11. Churches and Devotional Practice Martin Clarke 12. Libraries and Archives Matthias Lundberg 13. Universities and Conservatories Peter Tregear 14. The Concert Series Simon McVeigh Part III: DISCOURSES 15. Musical Canons William Weber 16. Landscape and Ecology Daniel M. Grimley 17. The National and the Universal Sarah Collins 18. Science and Religion Bennett Zon 19. Popular Song and Working-Class Culture Gillian M. Rodger 20. Emotions Michael Spitzer 21. Time and Temporality Benedict Taylor 22. Ethics Tomas McAuley 23. Music Scholarship and Disciplinarity Michel Duchesneau
Les mer
"Perhaps most crucially, the centering of social and cultural histories of music from an international perspective in a handbook of this scope and status benefits both musicology and history, offering and legitimizing exciting new directions for both." -- Rosemary Golding, The Open University, VICTORIAN STUDIES "The Oxford Handbook of Music and Intellectual Culture in the Nineteenth Century provides a rich overview of current debates on nineteenth-century music scholarship. The book goes beyond the realms of traditional musicology and instead takes a more interdisciplinary approach to show how music in the nineteenth century permeated culture, intellectual practices, and a variety of disciplines, including, but not limited to, art, literature, religion, and science. While the breadth of the topics covered in this Handbook is particularly ambitious, the editors have done well to organise a cohesive edited collection that can be read from beginning to end." -- Brianna Robertson-Kirkland, British Association for Victorian Studies Newsletter "The Oxford Handbook of Music and Intellectual Culture in the Nineteenth Century, edited by musicologists Paul Watt, Sarah Collins and Michael Allis, and published by Oxford University Press, is a commendable and recommendable reference work on the history of music and musical thought and feeling in Europe in the last two centuries." -- Juan Carlos Tellechea, Mundo Clásico [translated]
Les mer
Paul Watt is Associate Professor of Musicology at Monash University, Melbourne. He has published widely on the musical, cultural, intellectual, and religious history of the nineteenth century in journals such as Music & Letters, Musicology Australia, Nineteenth-Century Music Review, the RMA Research Chronicle, and the Yale Journal of Music & Religion. He is the author of Ernest Newman: A Critical Biography (2017) and The Regulation and Reform of Music Criticism in Nineteenth-Century England (2018). He is a contributor to The Oxford Handbook of Opera (2014), The Cambridge History of Music Criticism (2019), The Cambridge History of Atheism (2020), and The Routledge Handbook of Street Culture (2020). Sarah Collins is Associate Professor of Musicology at the University of Western Australia. She is the author of Lateness and Modernism: Untimely Ideas about Music, Literature and Politics in Interwar Britain (2019), and The Aesthetic Life of Cyril Scott (2013), as well as the editor of Music and Victorian Liberalism: Composing the Liberal Subject (2019). Her work has appeared in journals including the Journal of the Royal Musical Association, Twentieth-Century Music, Music & Letters, and Musical Quarterly. Michael Allis is Professor of Musicology at the University of Leeds, UK. He is the author of Parry's Creative Process (2003) and British Music and Literary Context: Artistic Connections in the Long Nineteenth Century (2012), and has edited the music criticisms of Aldous Huxley (2013) and selected letters of Granville Bantock (2017) - which won the 2018 C.B. Oldman Award. He has published widely on music/literature connections and British music of the nineteenth and early twentieth century (Bantock, Bax, Elgar, Holbrooke, Parry, Stanford, Warlock), and is on the Editorial Board of the Journal of Victorian Culture.
Les mer
Selling point: Connects the relationship between music and intellectual life in a substantial way for the first time Selling point: Provides discourses and insights from outside the Anglo-American traditions Selling point: Includes contributions by scholars from Australia, France, and Sweden
Les mer

Produktdetaljer

ISBN
9780190616922
Publisert
2020
Utgiver
Oxford University Press Inc
Vekt
1111 gr
Høyde
249 mm
Bredde
178 mm
Dybde
38 mm
Aldersnivå
P, 06
Språk
Product language
Engelsk
Format
Product format
Innbundet
Antall sider
568

Redaktør
Watt Paul
Collins Sarah
Allis Michael

Biografisk notat

Paul Watt is Associate Professor of Musicology at Monash University, Melbourne. He has published widely on the musical, cultural, intellectual, and religious history of the nineteenth century in journals such as Music & Letters, Musicology Australia, Nineteenth-Century Music Review, the RMA Research Chronicle, and the Yale Journal of Music & Religion. He is the author of Ernest Newman: A Critical Biography (2017) and The Regulation and Reform of Music Criticism in Nineteenth-Century England (2018). He is a contributor to The Oxford Handbook of Opera (2014), The Cambridge History of Music Criticism (2019), The Cambridge History of Atheism (2020), and The Routledge Handbook of Street Culture (2020). Sarah Collins is Associate Professor of Musicology at the University of Western Australia. She is the author of Lateness and Modernism: Untimely Ideas about Music, Literature and Politics in Interwar Britain (2019), and The Aesthetic Life of Cyril Scott (2013), as well as the editor of Music and Victorian Liberalism: Composing the Liberal Subject (2019). Her work has appeared in journals including the Journal of the Royal Musical Association, Twentieth-Century Music, Music & Letters, and Musical Quarterly. Michael Allis is Professor of Musicology at the University of Leeds, UK. He is the author of Parry's Creative Process (2003) and British Music and Literary Context: Artistic Connections in the Long Nineteenth Century (2012), and has edited the music criticisms of Aldous Huxley (2013) and selected letters of Granville Bantock (2017) - which won the 2018 C.B. Oldman Award. He has published widely on music/literature connections and British music of the nineteenth and early twentieth century (Bantock, Bax, Elgar, Holbrooke, Parry, Stanford, Warlock), and is on the Editorial Board of the Journal of Victorian Culture.

Relaterte produkter