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Between Romanticism and Modernism: Four Studies in the Music of the Later Nineteenth Century by Carl Dahlhaus at Abbey's Bookshop,
Between Romanticism and Modernism: Four Studies in the Music of the Later Nineteenth Century
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Carl Dahlhaus Mary Whittall

Between Romanticism and Modernism

Four Studies in the Music of the Later Nineteenth Century

Carl Dahlhaus,  Mary Whittall

$44.95

Paperback

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German
University of California Press
12 October 1989
Romantic music (c 1830 to c 1900)
Series: California Studies in 19th-Century Music
"Carl Dahlhaus here treats Nietzsche's youthful analysis of the contradictions in Wagner's doctrine (and, more generally, in romantic musical aesthetics); the question of periodicization in romantic and neo-romantic music; the underlying kinship between Brahms's and Wagner's responses to the central musical problems of their time; and the true significance of musical nationalism. Included in this volume is Walter Kauffman's translation of the previously unpublished fragment, ""On Music and Words,"" by the young Nietzsche."
By:  
Translated by:  
Imprint:   University of California Press
Country of Publication:   United States
Volume:   1
Dimensions:   Height: 216mm,  Width: 146mm,  Spine: 10mm
Weight:   136g
ISBN:   9780520067486
ISBN 10:   0520067487
Series:   California Studies in 19th-Century Music
Pages:   129
Publication Date:  
Audience:   College/higher education ,  Professional and scholarly ,  Professional & Vocational ,  A / AS level ,  Further / Higher Education
Format:   Paperback
Publisher's Status:   Active

Until his death in March, 1989, Carl Dahlhaus was Professor of Music at the Technische Universitat in Berlin and general editor of the complete edition of Wagner's works. He is the author of Nineteenth-Century Music (California, 1989).

Reviews for Between Romanticism and Modernism: Four Studies in the Music of the Later Nineteenth Century

"""[""Between Romanticism and Modernism] is more comprehensive in scope than its modest size and essayistic style disclose at first sight; while on the vexed question of historical method it makes, both in theory and in practice, a pronouncement of policy that goes beyond the confines of ""belles-lettres. . . . In themselves, the topics he broaches are the concern of any literate musician; but the familiar terrain is surveyed as if for the first time, and every turn reveals original perspectives.""--Roger Hollinrake, ""Music and Letters"


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