The “long nineteenth century” encompasses what has been described by some authors as “newspaper civilization”. Music was fundamental for many men and women who lived during that century. Not surprisingly, at this time, music was a common theme in the press. On the one hand, news, chronicles and criticism played a central part in the musical market, since the success of that market was predicated on the dissemination of information about performers, musical events and new repertoires. On the other hand, as we have observed, the prominence of music opened the door to new types of critical reflection in longer essays. Writings about music in those years were the result of artistic aspirations and preferences; the same writings also present evidence of prejudices and modes of perception marked by specific ideological issues. This volume collects twenty-two articles that address these issues, focusing on case studies in Europe and America. The collection reflects the growing importance of music criticism in particular and the press in general as objects of study for contemporary musicology.
págs. 1-2
págs. 495-506
págs. 507-510
págs. 511-526
págs. 3-21
Barnum et les romains: critique, claque et réclame dans les Soirées de l'orchestre d'Hector Berlioz
págs. 23-32
A critic's progress: Émile-Mathieu de monter's musical reporting of the Paris 1867 and 1878 exposition universelles for the Revue et gazette musicale de Paris
págs. 33-58
págs. 59-75
págs. 77-100
Graphic humour as musical criticism: cartoon and caricature in the first wagnerian reception in Madrid
págs. 101-132
The music in the theatres of Rio de Janeiro (1890-1900): concert series, music criticism and conflicting cultural projects in the early years of the republic
págs. 133-158
The power of music criticism in the shaping of modern Uruguay: an analysis of the newspaper Montevideo Musical
págs. 159-180
The cultural biography of a music periodical: Boletín Musical (Buenos Aires, 1837)
págs. 183-206
págs. 207-236
1813, Vienna, and a re-print of the AmZ: notes on intertextuality in german music media around 1800
págs. 237-254
págs. 255-267
págs. 269-280
"La musica non imita e non esprime che lo stesso sentimento in persona": per una (mancata) teoria musicale leopardiana
págs. 281-303
Fallen angels of music: subjectivity in early 19 century philosophy and the reception of virtuosity in contemporary music criticism
págs. 305-336
págs. 337-354
Manuel de Falla at war: on race, sound and new music
págs. 355-376
"Les plaisirs de l'imagination sont les seuls réels": Grétry's writings and the expansion of critical thought at the beginning of the nineteenth century
págs. 379-402
Composer-critic and "inimitable creators": E. T. A. Hoffmann, W. A. Mozart, and the genesis of german romantic opera
págs. 403-419
Critical respnses to nineteenth-century music criticism: Johanna Kinkel's Trinklieder and her later lieder collections
págs. 421-447
Richard Wagner et La Reine de Chypre de Fromental Halévy (Paris, 1841): la critique musicale comme réflexion esthétique capitale
págs. 449-472
págs. 473-493
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