scholarly journals Types and Applications of P3,0 Seventh-Chord Transformations in Late Nineteenth-Century Music

2016 ◽  
Vol 22 (2) ◽  
Author(s):  
Samuel Reenan ◽  
Richard Bass
Keyword(s):  
Nineteenth Century ◽  
Music Theory ◽  
The Other ◽  
Late Nineteenth Century ◽  
Voice Leading ◽  
Musical Structure ◽  
Tristan Und Isolde ◽  
Richard Strauss ◽  
Late Nineteenth

The expression P3,0refers to one class of parsimonious voice-leading transformations between seventh chords introduced in a 1998 article by Jack Douthett and Peter Steinbach as Pm,n(Journal of Music Theory42 (2): 241–63). In addition to tones that may be held in common, the subscripts indicate the number of voices that move by half step (m) or whole step (n) in connecting one seventh chord to the next. P3,0designates a transformation in which one of the chord members is held in common while each of the other three moves by half step. P3,0transformations produce some of the most striking chromatic harmonic progressions in the late Romantic repertoire. This study focuses on aspects of P3,0transformations that include 1) their place in the broader context of neo-Riemannian voice-leading transformations; 2) their properties and a specific means of notating all possible P3,0types; 3) explications of how the various types are integrated within late nineteenth-century harmonic practice and interact with traditional tonal harmony; and 4) analytic applications that demonstrate how P3,0transformations operate within and contribute to musical structure, including the opening of the Prelude to Wagner’sTristan und Isolde, and a complete song (“Ruhe, meine Seele!” op. 27 no. 1) by Richard Strauss.

The Kembles and Vocal Technique

1983 ◽  
Vol 8 (1) ◽  
pp. 23-42 ◽  
Author(s):  
Maarten van Dijk
Keyword(s):  
Nineteenth Century ◽  
The Other ◽  
Late Nineteenth Century ◽  
Vocal Technique ◽  
Late Nineteenth

Stage speech, like the other techniques of acting, such as gesture, movement, and the interpretation of character, has always been subject to the theatrical conventions of an age. The conventions, while superficially based on current fads and fashions are on a more profound level the result of an underlying creative method reflecting commonly held views about the correct or ‘natural’ methods of imitating nature on the stage. Nothing demonstrates the enormous changes in stage speech over the last hundred years more vividly than the few existing recordings made by actors who had most of their training and their careers in the mid-to-late nineteenth century.

Conflicting obituaries: the Abyssinian ‘outlaw’ Debeb as treacherous bandit and romantic hero in late nineteenth-century Italian imagination

Modern Italy ◽  
2014 ◽  
Vol 19 (4) ◽  
pp. 405-419
Author(s):  
Stephen C. Bruner
Keyword(s):  
Nineteenth Century ◽  
National Character ◽  
The Other ◽  
Late Nineteenth Century ◽  
Romantic Hero ◽  
Public Persona ◽  
Public Debates ◽  
Folk Hero ◽  
The Subject ◽  
Late Nineteenth

In 1886 the Abyssinian chief Debeb became a public figure in Italy as a rapacious colonial bandit. However, over the next five years he acquired additional public personas, even contradictory ones: as a condottiero ally, a ladies’ man, a traitor, a young Abyssinian aristocrat and pretender to an ancient throne, a chivalrous warrior, and a figure representing the frontier and an Africa mysterious and hidden to Europeans. Upon his 1891 death in combat, he was the subject of conflicting Italian press obituaries. For some commentators, Debeb exemplified treacherous and deceitful African character, an explanation for Italy's colonial disappointments and defeats. However, other commentators clothed him in a romanticised mystique and found in him martial and even chivalrous traits to admire and emulate. To this extent his persona blurred the line demarcating the African ‘other’. Although he first appeared to Italians as a bandit, the notion of the bandit as a folk hero (the ‘noble robber’ or ‘social bandit’, Hobsbawm) does not fit his case. A more fruitful approach is to consider his multi-faceted public persona as reflecting the ongoing Italian debate over ‘national character’ (Patriarca). In the figure of Debeb, public debates over colonialism and ‘national character’ merged, with each contributing to the other.

scholarly journals Visual Stereotypes of Tatars in the Finnish Press from the 1880s to the 1910s

2020 ◽  
Vol 8 (2) ◽  
pp. 25-39
Author(s):  
Ainur Elmgren
Keyword(s):  
Nineteenth Century ◽  
Russian Empire ◽  
The Other ◽  
Late Nineteenth Century ◽  
Religious Minorities ◽  
Late Nineteenth ◽  
The Russian Empire ◽  
Grand Duchy

Visual stereotypes constitute a set of tropes through which the Other is described and depicted to anaudience, who perhaps never will encounter the individuals that those tropes purport to represent.Upon the arrival of Muslim Tatar traders in Finland in the late nineteenth century, newspapers andsatirical journals utilized visual stereotypes to identify the new arrivals and draw demarcation linesbetween them and what was considered “Finnish”. The Tatars arrived during a time of tension inthe relationship between the autonomous Grand Duchy of Finland and the Russian Empire, withthe Finnish intelligentsia divided along political and language lines. Stereotypical images of Tatarpedlars were used as insults against political opponents within Finland and as covert criticism ofthe policies of the Russian Empire. Stereotypes about ethnic and religious minorities like the Tatarsfulfilled a political need for substitute enemy images; after Finland became independent in 1917,these visual stereotypes almost disappeared.

Redaction Criticism on Trial: The Cases of A. B. Bruce and Robert Gundry

2014 ◽  
Vol 86 (3) ◽  
pp. 195-209
Author(s):  
Michael Strickland
Keyword(s):  
Nineteenth Century ◽  
The Other ◽  
Synoptic Gospels ◽  
Late Nineteenth Century ◽  
Redaction Criticism ◽  
Church Of Scotland ◽  
Free Church ◽  
Late Twentieth ◽  
Late Nineteenth

This article deals with the trials of two evangelical scholars, one from the late nineteenth century, Alexander B. Bruce, and the other from the late twentieth, Robert Gundry. Both faced accusation and judgment from their peers because of their redaction-critical remarks about the synoptic gospels. Bruce was tried by the Free Church of Scotland, while Gundry’s membership in the Evangelical Theological Society was challenged. After considering the cases of both, consideration is given to potential lessons that evangelical scholars who use redactioncritical methods may learn from the experiences of both men.

The Book as Waste: Henry Mayhew and the Fall of Paper Recycling

2012 ◽  
Author(s):  
Leah Price
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Electronic Media ◽  
Wood Pulp ◽  
The Other ◽  
Late Nineteenth Century ◽  
Pulp Paper ◽  
Late Twentieth ◽  
Late Nineteenth ◽  
Late Twentieth Century

This chapter suggests that two phenomena that usually get explained in terms of the rise of electronic media in the late twentieth century—the dematerialization of the text and the disembodiment of the reader—have more to do with two much earlier developments. One is legal: the 1861 repeal of the taxes previously imposed on all paper except that used for printing bibles. The other is technological: the rise first of wood-pulp paper in the late nineteenth century and then of plastics in the twentieth. The chapter then looks at Henry Mayhew's London Labour and the London Poor (1861–62), the loose, baggy ethnography of the urban underclass that swelled out of a messy series of media. Mayhew's “cyclopaedia of the industry, the want, and the vice of the great Metropolis” so encyclopedically catalogs the uses to which used paper can be turned.

Two Treatments of a Subject: Proust's “La Regarder Dormir” and Valéry's La Dormeuse

PMLA ◽  
1956 ◽  
Vol 71 (5) ◽  
pp. 900-909
Author(s):  
Henry A. Grubbs
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Present Status ◽  
The Other ◽  
Recent Survey ◽  
Late Nineteenth Century ◽  
The Novel ◽  
Prose Fiction ◽  
Figure Of Speech ◽  
Late Nineteenth

A critical cliché often heard today is that Proust was fundamentally a poet rather than a novelist. The historians of literature and the critics do not put it quite as crudely as that, but their remarks frequently permit such an assumption on the part of the reader. Thus the Castex and Surer manual, in its twentieth-century volume, finds in “toute l'œuvre [de Proust] un climat d'intense Poesie” (p. 82). And Georges Cattaui, in his recent survey of the present status of Proust, though he does not in so many words call Proust a poet or his novel a poem, does say that Proust is above all the heir “de Nerval, de Baudelaire, de Mallarmé,—de ces poètes qui lui ont enseigné l'art de transfigurer les choses, l'art de délivrer la beauté prisonnière … ” Now all this is true if it is merely taken as a vivifying figure of speech, if it merely means that Proust was not a realistic novelist, and that he shows the influence of the great French poets of the late nineteenth century, or that, to use a convenient term, he was a symbolist, like his contemporaries, Claudel, Gide, and Valéry. But it has so often been said in our time that the twentieth century has seen the breaking down of the distinctions between the novel and poetry, that it seems to me useful to demonstrate, by studying two treatments of the same subject, one that of a novelist, Proust, the other that of a poet, Valéry, that there remains a fundamental and profound difference between the intent and the method of prose fiction and of poetry, at least the type that is today called “pure” poetry.

Origins and assessment of snowball Earth hypotheses

2007 ◽  
Vol 144 (4) ◽  
pp. 633-642 ◽  
Author(s):  
W. BRIAN HARLAND
Keyword(s):  
Nineteenth Century ◽  
The Other ◽  
The Arctic ◽  
Snowball Earth ◽  
Late Nineteenth Century ◽  
Personal View ◽  
Tropical Environments ◽  
Palaeomagnetic Data ◽  
Marine Facies ◽  
Late Nineteenth

Brian Harland was for many years an editor of this journal. He was also a seminal figure in the origins of the current ‘snowball Earth’ debate, having recognized in 1964 the significance of coupling emerging palaeomagnetic data on palaeolatitude with his interpretations of diamictites. Harland worked extensively in the Arctic and knew well many of the workers involved in the arguments surrounding the origin of diamictites. He thus had a unique perspective on the evidence and the disputes surrounding it. This was his last paper but he was not able to complete it before he died. However, with the help of Professor Ian Fairchild to whom we are indebted, the editors have lightly revised this work which is presented as the personal view of one of the key figures with a very broad stratigraphic appreciation of the problems of ‘snowball Earth’.Records of Precambrian glaciation onwards from the late nineteenth century led to the concept of one or more major ice ages. This concept was becoming well advanced by the mid 1930s, particularly through the compilation of Kulling in 1934. Even so tillite stratigraphy shows that glaciation was exceptional rather than typical of Earth history. Some Proterozoic tillites, sandwiched between warm marine facies, indicate low, even equatorial palaeolatitudes as determined magnetically, and more recently led to ideas of a snow- and ice-covered ‘snowball Earth’. However, interbedded non-glacial facies as well as thick tillite successions requiring abundant snowfall both militate against the hypothesis of extreme prolonged freezing temperatures referred to here as an ‘iceball Earth’ in which all oceans and seas were sealed in continuous ice cover. On the other hand tropical environments were interrupted by glaciation several times in the Proterozoic, something that did not recur in the Phanerozoic. The term ‘snowball Earth’ is consistent with the established view of extremely widespread Proterozoic glaciation, but the ‘iceball Earth’ version of this is not compatible with the geological record.

scholarly journals The Meat City: urban space and provision in industrial Copenhagen, 1880–1914

Urban History ◽  
2017 ◽  
Vol 45 (2) ◽  
pp. 233-252
Author(s):  
MIKKEL THELLE
Keyword(s):  
Nineteenth Century ◽  
Urban Space ◽  
The Other ◽  
Late Nineteenth Century ◽  
The Public ◽  
Production And Consumption ◽  
Late Nineteenth ◽  
Ambivalent Attitude ◽  
The One ◽  
The City

ABSTRACT:This article investigates the emergence of the Copenhagen slaughterhouse, called the Meat City, during the late nineteenth century. This slaughterhouse was a product of a number of heterogeneous components: industrialization and new infrastructures were important, but hygiene and the significance of Danish bacon exports also played a key role. In the Meat City, this created a distinction between rising production and consumption on the one hand, and the isolation and closure of the slaughtering facility on the other. This friction mirrored an ambivalent attitude towards meat in the urban space: one where consumers demanded more meat than ever before, while animals were being removed from the public eye. These contradictions, it is argued, illustrate and underline the change of the city towards a ‘post-domestic’ culture. The article employs a variety of sources, but primarily the Copenhagen Municipal Archives for regulation of meat provision.

Aspects of Nationalist Propaganda in the Late Nineteenth-Century Romanian Musical Press

2017 ◽  
Vol 14 (3) ◽  
pp. 339-365
Author(s):  
Florinela Popa
Keyword(s):  
Nineteenth Century ◽  
The Other ◽  
Late Nineteenth Century ◽  
Musical Life ◽  
Effect Relationship ◽  
Music Scene ◽  
Inferiority Complex ◽  
Late Nineteenth ◽  
And Performance ◽  
Harsh Criticism

In the last decades of the nineteenth century, two widely different attitudes regarding local music were evident in the Romanian musical press. One viewpoint had an obviously nationalist character, and was manifested in an apologetic idealization of Romanian music – especially folklore – but also in calls for the improvement of composition and performance in the local music scene. The other attitude revealed a pronounced inferiority complex connected to everything that contemporary Romanian music represented. This was manifested especially in the (sometimes harsh) criticism of Romanian musical life, and in a hostile position towards or ignorance of Romanian musicians, composers or interpreters, except when they attained success and recognition abroad – and sometimes not even then. The two extreme attitudes are not mutually exclusive, but complement each other; essentially, they can be seen to be in a cause–effect relationship.These two faces of nationalist propaganda are reflected by publications such as Lyra română – foaie musicală şi literară, a weekly magazine published between 2 December 1879 and 31 October 1880, and România musicală, which appeared twice a month between 1 March 1890 and 28 December 1904.

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