The Cambridge History of Nineteenth-Century Music

By Jim Samson | Go to book overview

Notes on contributors

ANDREW BOWIE is Professor of German at Royal Holloway, University of London. He is the author of Aesthetics and Subjectivity: from Kant to Nietzsche (1990; rev. edn 2000), Schelling and Modern European Philosophy (1993) and From Romanticism to Critical Theory: The Philosophy of German Literary Theory (1997). He has also made editions and translations of Schelling, On the History of Modern Philosophy (1994), Manfred Frank, The Subject and the Text (1997) and Schleiermacher, 'Hermeneutics and Criticism' and Other Texts (1998). He is at present writing a book on Music, Meaning and Modernity.

JOHN BUTT is author or editor of four books for Cambridge University Press, including The Cambridge Companion to Bach (1997) and Music Education and the Art of Performance in the German Baroque (1994). His latest monograph, Playing with History: The Historical Approach to Musical Performance will be published by Cambridge University Press in 2002. He is also active as a performer, having released more than ten discs on organ and harpsichord for Harmonia Mundi France. Having been an Associate Professor at the University of California at Berkeley and a Lecturer at Cambridge, he took up the Gardiner Chair of Music at the University of Glasgow in 2001.

DEREK CAREW is Lecturer in Music at Cardiff University. His principal interests are keyboard music, the long nineteenth century, analysis, and music in its social and cultural setting. He has contributed to the Mozart Compendium (1990) and The Cambridge Companion to Chopin (1992), and is currently preparing a book on piano music in the late eighteenth and early nineteenth centuries.

JONATHAN DUNSBY has been the Professor of Music at the University of Reading since 1985. A prize-winner in international piano competitions, he became founding editor of the journal Music Analysis, and has written extensively on the history and theory of nineteenth- and twentieth-century music.

-ix-

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The Cambridge History of Nineteenth-Century Music
Table of contents

Table of contents

  • Title Page *
  • Contents vii
  • Notes on Contributors ix
  • Editor's Preface xiii
  • Part One - 1800–1850 1
  • 1 - The Musical Work and Nineteenth-Century History 3
  • Bibliography *
  • 2 - Music and the Rise of Aesthetics 29
  • Bibliography *
  • 3 - The Profession of Music 55
  • Bibliography 85
  • 4 - The Opera Industry 87
  • Bibliography *
  • 5 - The Construction of Beethoven 118
  • Bibliography *
  • 6 - Music and the Poetic 151
  • Bibliography *
  • 7 - The Invention of Tradition 178
  • Bibliography *
  • 8 - Choral Music 213
  • Bibliography *
  • 9 - The Consumption of Music 237
  • Bibliography 258
  • 10 - The Great Composer 259
  • Bibliography 283
  • Part Two - 1850–1900 285
  • 11 - Progress, Modernity and the Concept of an Avant-Garde 287
  • Bibliography *
  • 12 - Music as Ideal: the Aesthetics of Autonomy 318
  • Bibliography *
  • 13 - The Structures of Musical Life 343
  • Bibliography *
  • 14 - Opera and Music Drama 371
  • Bibliography *
  • 15 - Beethoven Reception: the Symphonic Tradition 424
  • Bibliography *
  • 16 - Words and Music in Germany and France 460
  • Bibliography *
  • 17 - Chamber Music and Piano 500
  • Bibliography *
  • 18 - Choral Culture and the Regeneration of the Organ 522
  • Bibliography *
  • 19 - Music and Social Class 544
  • Bibliography *
  • 20 - Nations and Nationalism 568
  • Bibliography *
  • 21 - Styles and Languages Around the Turn of the Century 601
  • Bibliography 620
  • Chronology 621
  • Institutions 659
  • Personalia 689
  • Index 747
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