ORCID Profile
0000-0003-1773-6404
Current Organisation
University of Adelaide
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Musicology and Ethnomusicology | Performing Arts and Creative Writing
Music |
Publisher: Cambridge University Press (CUP)
Date: 06-2013
DOI: 10.1017/S1479409813000074
Abstract: Ernest Newman (1868–1959) first proposed a biography of Berlioz in the 1890s. A schedule for its research and writing was hatched, an agreement was made with a publisher for its manufacture, and Newman promptly set to work on the project. Alas, like so many other book projects Newman commenced in the 1890s, the Berlioz biography was never completed. Even though sketches or drafts of the book do not survive, there is plenty of evidence of the methodology and structure that Newman proposed for the book, for a work-in-progress article, ‘The prose of Berlioz,’ was published in the Chord in June 1899. It is a remarkable essay for its engagement with Berlioz's prose works and for its theorizing on musical biography. I illustrate that Newman's biographical method was partly inspired by the work of Emile Hennequin (1858–93), and was an approach that Newman had previously used in some of his literary criticism. However, I argue that despite Newman's claim of Hennequin's influence, the article's wider influence came from a larger pool of writers working on style theory, including Walter Pater, Walter Raleigh and J.A. Symonds.
Publisher: Informa UK Limited
Date: 02-01-2014
Publisher: Masaryk University Press
Date: 2017
DOI: 10.5817/MB2017-1-11
Publisher: Informa UK Limited
Date: 07-2010
Publisher: Cambridge University Press (CUP)
Date: 04-2017
DOI: 10.1017/S1479409816000252
Abstract: This article examines the idea of ‘Critical Networks’ as a way of studying the relational structures that shaped music criticism in the long nineteenth century. We argue that the personal, institutional and international networks that supported the dissemination of critical ideas about music are worthy of study in themselves, as they can yield insights beyond prevailing methodologies that centre on in idual cases. Focusing on the institutional culture of music criticism means looking beyond the work of in idual critics and the content or influence of their views, towards the structures that determined the authoritativeness of those views and the impact of these structures in shaping the operation of critical discourse on music at the time. Examining these networks and how they operated around particular periodicals, tracing transnational exchanges of both ideas and critics, and uncovering the various ideological alliances that were forged or contested within critical networks, can not only provide a thicker context for our understanding of historical ideas about music, but it can also challenge current views about the history of our discipline and the kinds of structures that condition our own ideas about music and music history.
Publisher: Cambridge University Press (CUP)
Date: 03-02-2018
DOI: 10.1017/S1479409817000040
Abstract: What evidence is there that street music was widespread, problematic and immoral in nineteenth-century London? This article re-examines a substantial literature that has been used to build a case or argument of the pervasive notion that street music was a curse in nineteenth-century London. Looking at a variety of sources afresh the article argues that historical evidence has often been misunderstood, misread or misconstrued in establishing historical narratives about street music in nineteenth-century London.
Publisher: Cambridge University Press (CUP)
Date: 10-01-2017
DOI: 10.1017/S1479409816000276
Abstract: Published in 1903 and 1904 the Weekly Critical Review was a typical ‘little magazine’: it was produced on a shoestring with a small readership, with big editorial ambition. Its uniqueness lay in its claim to be a literary tribute to the entente cordiale (and it enjoyed the imprimatur of King Edward VII), but more importantly, it was a bilingual journal, which was rare at the time even for a little magazine. The Weekly Critical Review aimed to produce high-quality criticism and employed at least a dozen high-profile English and French writers and literary critics including Rémy de Gourmont (1858–1915), Arthur Symons (1865–1945) and H.G. Wells (1866–1946). It also published articles and musical news by four leading music critics: English critics Alfred Kalisch (1863–1933), Ernest Newman (1868–1959) and John F. Runciman (1866–1916) and the American James Huneker (1857–1921). Why did these critics write for the Weekly Critical Review ? What did the articles in the WCR reveal about Anglo-French relations, about the aspirations of the English and French music critics who wrote for it, and about the scholarly style of journalism it published – a style that was also characteristic of many other little magazines? And in what ways were those who wrote for it connected? As a case study, I examine the ways in which Ernest Newman’s literary and musical networks brought him into contact with the journal and examine the style of criticism he sought to promote.
Publisher: Informa UK Limited
Date: 16-08-2019
Publisher: Routledge
Date: 15-03-2018
Publisher: Cambridge University Press (CUP)
Date: 03-04-2018
DOI: 10.1017/S1479409817000039
Abstract: This article highlights the paucity of musicological scholarship on street music in the nineteenth century but examines narratives of noise, music and morality that are situated in studies of street music in related literature. The article argues that a new history of street music in the nineteenth century is overdue and charts ways in which such studies may be undertaken given the substantial primary source material to work with and the proliferation and usefulness of theoretical studies in related disciplines.
Publisher: Oxford University Press (OUP)
Date: 05-2014
DOI: 10.1093/ML/GCU036
Publisher: Informa UK Limited
Date: 2005
Publisher: University of Melbourne
Date: 31-01-2023
DOI: 10.46580/CX49792
Abstract: The 2022 World Fair (aka ‘Expo’) held in Dubai has recently drawn to a close. The next Expo will be hosted by Buenos Aires in 2023 the one after that will be staged in Osaka in 2025. These Expos are all linked to the first Expo of them all: the Great Exhibition staged in London in 1851. To be sure, the term ‘great’ is an understatement. The 1851 event, and those that followed it, were—and remain—colossal undertakings. They take years of planning, attract millions of visitors, and serve a variety of cultural and political purposes. These Expos are built and designed to ‘dazzle’—a word that Sarah Kirby uses in her book to describe the at times overwhelming effect of Expos on the senses (p. 52). […]
Publisher: Cambridge University Press
Date: 23-03-2017
Publisher: Cambridge University Press
Date: 23-03-2017
Publisher: Cambridge University Press
Date: 23-03-2017
Abstract: This book is a cultural history of the nineteenth-century songster: pocket-sized anthologies of song texts, usually without musical notation. It examines the musical, social, commercial and aesthetic functions songsters served and the processes by which they were produced and disseminated, the repertory they included, and the singers, printers and entrepreneurs that both inspired their manufacture and facilitated their consumption. Taking an international perspective, chapters focus on songsters from Ireland, North America, Australia and Britain and the varied public and private contexts in which they were used and exploited in oral and print cultures.
Publisher: Informa UK Limited
Date: 02-01-2019
Publisher: Informa UK Limited
Date: 02-10-2019
Publisher: Informa UK Limited
Date: 02-04-2016
Publisher: Informa UK Limited
Date: 02-01-2020
Publisher: Informa UK Limited
Date: 1998
Start Date: 01-2012
End Date: 09-2016
Amount: $375,000.00
Funder: Australian Research Council
View Funded Activity