19th Century Music Criticism Research Papers (original) (raw)

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- Music History, Piano, Nineteenth Century Studies, Music Criticism

In 1877, the African American musical ensemble known as the Fisk Jubilee Singers traveled to Germany to raise money for their university. The choir’s ten-month tour provided German listeners with one of their first significant and sustained encounters with African Americans and African American culture in the nineteenth century. As listeners throughout Germany heard the ensemble perform, they began to debate the Fisk Jubilee Singers’ musical, cultural, and ethnic origins. At the heart of their growing ethnomusicological and anthropological interest in the Jubilee Singers’ music lied the question of whether or not African Americans were fulfilling the powerful promise of the civilizing mission: were they proof that people of the black diaspora were capable of accepting “Western” art music and cultural values? This article illustrates how African American music contributed to global conversations on the civilizing mission in the nineteenth century.

- by Damien Ehrhardt
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- Franz Liszt, History of music, Berlioz, Early 20th-century Music
- by Damien Ehrhardt
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- 19th Century (History), Franz Liszt, Felix Mendelssohn-Bartholdy, Robert Schumann

This article presents a case study focusing on the archives of the Massimo Mila Collection housed at the Paul Sacher Foundation in Basle. Mila (1910-1988) was one of the great intellectuals of the 20th century and an influential figure in Italian musical and cultural life. He was a music critic and historian, a multi-faceted and culturally engaged character. After a short profile of Mila and a description of his Collection, the article focuses on its most important part, namely the large amount of letters from over 600 correspondents, including musicians, painters, art and music critics, philosophers, historians, political activists, important members of the government, and numerous intellectuals from Italy and abroad. It is mostly unpublished material, with a few exceptions. My research selects all the letters that dates from 1928 to 1956, that is to say from Mila’s debut as a music critic when he was just eighteen, until around age forty-five, when he was already a well-known and established figure in the world of Italian culture. The rise of Fascism, the birth of the Republic and the first phase of reconstruction made this a period of immense upheaval for Italy and many other European nations.
The study aims to underline the immense potential of research carried out on the Massimo Mila Collection, as well as contribute to shedding further light on the wealth of interests and intellectual relationships of a figure who could quite simply be defined as “Mila the prismatic intellectual”.

- by Carla Cuomo
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- Musicology, Music Criticism, History of Musicology, Critical Musicology

This study aims to analyze the relationship between music criticism and aesthetic theory in the review of Beethoven's Fifth Symphony, published by E.T.A. Hoffmann in 1810. In defending a conception of genius as a unity of inspiration and reflection, Hoffmann uses an analytical procedure in order to show that the work is not merely the product of improvisation and enthusiasm of the genius, but it is developed in accordance with the organic laws inherent to the thematic material. Therefore, it is due to this union of a creative enthusiasm and a deep reflection that this symphony, according to Hoffmann, is able to express the Romanticism in music.

- by Mario Videira
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- Music Aesthetics, E.T.A. Hoffmann, 19th Century Music Criticism
- by Marica Bottaro
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- Music Criticism, Italian Music, 19th Century (History), Spanish Music
- by Pedro Luengo Gutierrez (龙彼得)
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- Opera, Wagner Studies, Philippine Studies, Wagnerism

The period between the outbreak of revolution in 1789 and the establishment of the Third Republic in 1871 is an age filled with the rise and fall of various political groups and philosophical deﬁnitions in France, from absolutism to communism, from classicism to romanticism. Music criticism in this period in France's history is not immune from these ebbs and flows of politics and aesthetic concerns. In this chapter, I examine three critical positions that emerge in this period, whereby the music critic serves: (1) as a self-appointed protector of the listening public in defending ‘taste’; (2) as a holder and keeper of compositional rules to ensure the viability of music as a profession and to educate the public; and (3) as a torch bearer for the past and the future of music composition (i.e. criticism as history and canon formation). By taking such a perspective on French criticism in the nineteenth century, I hope not to walk down a purely chronological path nor to argue that the age belongs entirely to one or two critics, but to present a more neutral approach to the material that highlights the collectivity of the age and its ability to present co-existing musical perspectives that stand as the critical record of a people ﬁnding their voice.

- by Mark A. Pottinger
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- Musicology, Music Criticism, 19th century France, France