Nancy November - Böcker

Beethoven's String Quartet in C-sharp minor Op. 131 (1826) is not only firmly a part of the scholarly canon, the performing canon, and the pedagogical canon, but also makes its presence felt in popular culture. Yet in recent times, the terms in which the C-sharp minor quartet is discussed and presented tend to undermine the multivalent nature of the work. Although it is held up as a masterpiece, Op. 131 has often been understood in monochrome terms as a work portraying tragedy, struggle, and loss.In Beethoven's String Quartet in C-sharp Minor, Op. 13, author Nancy November takes the modern-day listener well beyond these categories of adversity or deficit. The book goes back to early reception documents, including Beethoven's own writings about the work, to help the listener reinterpret and re-hear it. This book reveals the diverse musical ideas present in Op. 131 and places the work in the context of an emerging ideology of silent or 'serious' listening in Beethoven's Europe. It considers how this particular 'late' quartet could speak with special eloquence to a highly select but passionately enthusiastic audience and examines how and why the reception of Op. 131 has changed so profoundly from Beethoven's time to our own.

Beethoven's String Quartet in C-sharp minor Op. 131 (1826) is not only firmly a part of the scholarly canon, the performing canon, and the pedagogical canon, but also makes its presence felt in popular culture. Yet in recent times, the terms in which the C-sharp minor quartet is discussed and presented tend to undermine the multivalent nature of the work. Although it is held up as a masterpiece, Op. 131 has often been understood in monochrome terms as a work portraying tragedy, struggle, and loss.In Beethoven's String Quartet in C-sharp Minor, Op. 13, author Nancy November takes the modern-day listener well beyond these categories of adversity or deficit. The book goes back to early reception documents, including Beethoven's own writings about the work, to help the listener reinterpret and re-hear it. This book reveals the diverse musical ideas present in Op. 131 and places the work in the context of an emerging ideology of silent or 'serious' listening in Beethoven's Europe. It considers how this particular 'late' quartet could speak with special eloquence to a highly select but passionately enthusiastic audience and examines how and why the reception of Op. 131 has changed so profoundly from Beethoven's time to our own.

Haydn scholarship has mirrored recent trends in musicological research with an increased interest in the cultural context and reception of his music, though he has not received the sustained consideration given to other canonical figures. Over the past decade, more consideration has been paid to Haydn's operas and oratorios which previously tended to be eclipsed by his chamber and orchestral music. These new perspectives are the focus of this collection which showcases recent approaches and allows us to re-evaluate the long-held notion that Haydn's era marked the rise of the concept of autonomous musical works. This book enriches understanding of cultural contexts in which Haydn's music is being understood, providing models for future contextual studies and allows for a more historically responsive understanding of his works. It includes analysis of less well-known compositions, especially the oratorio Il Ritorno di Tobia, Orfeo and the late canons, but also of works like the London Symphonies and The Creation.

Domestic musical arrangements of opera provide a unique window on the world of nineteenth-century amateur music-making. These arrangements flourished in especially rich variety in early nineteenth-century Vienna. This study reveals ways in which the Viennese culture of musical arrangements opened up opportunities, especially for women, for connoisseurship, education, and sociability in the home, and extended the meanings and reach of public concert life. It takes a novel stance for musicology, prioritising musical arrangements over original compositions, and female amateurs' perspectives over those of composers, and asks: what cultural, musical, and social functions did opera arrangements serve in Vienna c.1790-1830? Multivalent musical analyses explore ways Viennese arrangers tailored large-scale operatic works to the demands and values of domestic consumers. Documentary analysis, using little-studied evidence of private and semi-private music-making, investigates the agency of musical amateurs and reinstates the central importance of women's roles.

This book investigates how education and participation shape musical identity across the amateur–professional spectrum, reframing amateurism as a space of passion, dedication and authenticity rather than deficiency. It treats the amateur–professional divide as a social construct—made in pedagogy and institutions—then shows how teaching and learning can unsettle that divide in practice.Once celebrated for their intrinsic love of music, amateurs today are often dismissed as lacking skill or seriousness. This edited collection challenges that narrative by foregrounding the unique value of amateur music-making and by demonstrating why many of the same pedagogies that empower amateurs also strengthen professional practice. Through diverse case studies and theoretical perspectives, it highlights the formative experiences, pedagogical practices and community contexts that shape musicians’ journeys. Across the chapters, this volume shows what musicians are taught, how they are taught and the dynamics that support their development in settings from secondary schools and examination systems to studio teaching and community ensembles. Topics such as motivation, repertoire and leadership appear alongside broader themes like the amateur–professional divide and the social role of music. Vocal music and choral settings—often central to amateur music-making—receive special focus in the later chapters.This book is intended for scholars and advanced students in music education, pedagogy, sociology and cultural studies. It will also resonate with music teachers, conductors and arts policymakers interested in supporting inclusive and meaningful musical engagement. While many chapters center on Aotearoa New Zealand, the themes and insights hold international relevance for contexts where amateur music-making thrives—across Europe, North America, East Asia and Australia. This volume contributes to underexplored scholarship on amateur musicianship and advocates for a more equitable and expansive view of musical life.Chapters 1 and 3 of this book are freely available as a downloadable Open Access PDF at http://www.taylorfrancis.com under a Creative Commons [Attribution-Non Commercial-No Derivatives (CC BY-NC-ND)] 4.0 license.

Cross-Cultural Musicology from Asia-Pacific Perspectives brings together thirteen scholars to consider what it means to teach, research, write and talk about music history in the context of globalization. The book is divided into essays with a more critical and theoretical emphasis (part 1) and more practically oriented chapters (part 2), with case studies and a discussion of methods. Bringing together scholars in historical musicology, historical performance practice, and cultural studies from across four continents, this book models diverse ways of carrying out cross-cultural musicology. Cross-Cultural Musicology from Asia-Pacific Perspectives will be of interest to scholars and teachers of ethnomusicology and music history, as well as those concerned with the particular context and history of the Asia-Pacific region.

Beethoven's middle-period quartets, Opp. 59, 74 and 95, are pieces that engage deeply with the aesthetic ideas of their time. In the first full contextual study of these works, Nancy November celebrates their uniqueness, exploring their reception history and early performance. In detailed analyses, she explores ways in which the quartets have both reflected and shaped the very idea of chamber music and offers a new historical understanding of the works' physical, visual, social and ideological aspects. In the process, November provides a fresh critique of three key paradigms in current Beethoven studies: the focus on his late period; the emphasis on 'heroic' style in discussions of the middle period; and the idea of string quartets as 'pure', 'autonomous' artworks, cut off from social moorings. Importantly, this study shows that the quartets encompass a new lyric and theatrical impetus, which is an essential part of their unique, explorative character.

This Companion provides orientation for those embarking on the study of Beethoven's much-discussed Eroica Symphony, as well as providing fresh insights that will appeal to scholars, performers and listeners more generally. The book addresses the symphony in three thematic sections, on genesis, analysis and reception history, and covers key topics including political context, dedication, sources of the Symphony's inspiration, 'heroism' and the idea of a 'watershed' work. Critical studies of writings and analyses from Beethoven's day to ours are included, as well as a range of other relevant responses to the work, including compositions, recordings, images and film. The Companion draws on previous literature but also illuminates the work from new angles, based on new evidence and a range of approaches by twelve leading scholars in Beethoven research.

This Companion provides orientation for those embarking on the study of Beethoven's much-discussed Eroica Symphony, as well as providing fresh insights that will appeal to scholars, performers and listeners more generally. The book addresses the symphony in three thematic sections, on genesis, analysis and reception history, and covers key topics including political context, dedication, sources of the Symphony's inspiration, 'heroism' and the idea of a 'watershed' work. Critical studies of writings and analyses from Beethoven's day to ours are included, as well as a range of other relevant responses to the work, including compositions, recordings, images and film. The Companion draws on previous literature but also illuminates the work from new angles, based on new evidence and a range of approaches by twelve leading scholars in Beethoven research.

Early nineteenth-century composers, publishers and writers evolved influential ideals of Beethoven's symphonies as untouchable masterpieces. Meanwhile, many and various arrangements of symphonies, principally for amateur performers, supported diverse and 'hands-on' cultivation of the same works. Now mostly forgotten, these arrangements served a vital function in nineteenth-century musical life, extending works' meanings and reach, especially to women in the home. This book places domestic music-making back into the history of the classical symphony. It investigates a largely untapped wealth of early nineteenth-century arrangements of symphonies by Beethoven - for piano, string quartet, mixed quintet and other ensembles. The study focuses on three key agents in the nineteenth-century culture of musical arrangement: arrangers, publishers and performers. It investigates significant functions of those musical arrangements in the era: sociability, reception and canon formation. The volume also explores how conceptions of Beethoven's symphonies, and their arrangement, changed across the era with changing conception of musical works.

Early nineteenth-century composers, publishers and writers evolved influential ideals of Beethoven's symphonies as untouchable masterpieces. Meanwhile, many and various arrangements of symphonies, principally for amateur performers, supported diverse and 'hands-on' cultivation of the same works. Now mostly forgotten, these arrangements served a vital function in nineteenth-century musical life, extending works' meanings and reach, especially to women in the home. This book places domestic music-making back into the history of the classical symphony. It investigates a largely untapped wealth of early nineteenth-century arrangements of symphonies by Beethoven - for piano, string quartet, mixed quintet and other ensembles. The study focuses on three key agents in the nineteenth-century culture of musical arrangement: arrangers, publishers and performers. It investigates significant functions of those musical arrangements in the era: sociability, reception and canon formation. The volume also explores how conceptions of Beethoven's symphonies, and their arrangement, changed across the era with changing conception of musical works.

This Element considers the art and culture of arranging music in Europe in the period 1780-1830, using Haydn's London symphonies and Mozart's operas as its principal examples. The degree to which musical arrangements shaped the social, musical, and ideological landscape in this era deserves further attention. This Element focuses on Vienna, and an important era in the culture of arrangements in which they were widely and variously cultivated, and in which canon formation and the conception of musical works underwent crucial development. Piano transcriptions (for two hands, four hands, and two pianos) became ever more prominent, completely taking over the field after 1850. For various reasons, principal composers of the era under consideration, including Haydn, Mozart, and Beethoven, participated directly in the practice of arrangement. Motivations to produce arrangements included learning the art of composition, getting one's name known more widely, financial gain, and pedagogical aims.

Beethoven's middle-period quartets, Opp. 59, 74 and 95, are pieces that engage deeply with the aesthetic ideas of their time. In the first full contextual study of these works, Nancy November celebrates their uniqueness, exploring their reception history and early performance. In detailed analyses, she explores ways in which the quartets have both reflected and shaped the very idea of chamber music and offers a new historical understanding of the works' physical, visual, social and ideological aspects. In the process, November provides a fresh critique of three key paradigms in current Beethoven studies: the focus on his late period; the emphasis on 'heroic' style in discussions of the middle period; and the idea of string quartets as 'pure', 'autonomous' artworks, cut off from social moorings. Importantly, this study shows that the quartets encompass a new lyric and theatrical impetus, which is an essential part of their unique, explorative character.

The fifteen essays of Performing History glimpse the diverse ways music historians "do" history, and the diverse ways in which music histories matter. This book's chapters are structured into six key areas: historically informed performance; ethnomusicological perspectives; particular musical works that "tell," "enact," or "perform" war histories; operatic works that works that "tell," "enact," or "perform" power or enlightenment; musical works that deploy the body and a broad range of senses to convey histories; and histories involving popular music and performance. Diverse lines of evidence and manifold methodologies are represented here, ranging from traditional historical archival research to interviewing, performing, and composing. The modes of analyzing music and its associated texts represented here are as various as the kinds of evidence explored, including, for example, reading historical accounts against other contextual backdrops, and reading "between the lines" to access other voices than those provided by mainstream interpretation or traditional musicology.

String Quartets in Beethoven’s Europe is the first detailed study of string quartets in late-eighteenth- and early-nineteenth-century Europe. It brings together the work of nine scholars who explore little-studied aspects of this multi-faceted genre. Together, this book’s chapters deal with compositional responses to Beethoven’s string quartets and the prestige of the genre; varied compositional practices in string quartet writing, with a particular emphasis on texture and performance elements; and the reception of Beethoven’s string quartets ca. 1800. They include discussions of quartets composed for the amateur and connoisseur markets in Beethoven’s Europe; virtuosity, the French Violin School, and the quatuor brillant; the relationship between quartet composers and their audiences during Beethoven’s era; and the cross-pollination of quartet styles in Europe’s musical centers such as Vienna, Paris, and St. Petersburg.

The first detailed contextual study of chamber music in Beethoven's Vienna, at a time when the string quartet reigned supreme among the different chamber genresThis book is the first detailed contextual study of string quartets in Beethoven's Vienna, at a time when that genre reigned supreme among the different chamber genres. Focusing on a key transition period in the early nineteenth century, which bore witness to fundamental shifts in the 'private' sphere of music-making, it explores the 'cultivation' of string quartets by composers, critics, listeners, performers, publishers and patrons. The book highlights these parties' interactions, ideas and ideals, which were central to defining the unique cultures of chamber music arising at this time.We gain fresh insights into publishing and marketing, performance venues and practices, review culture, listening theories and practices, and composition in early nineteenth-century Vienna. Until now, the unique theatricality of chamber music, and the 'social' nature of its discourse, has been poorly appreciated. Cultivating String Quartets in Beethoven's Vienna addresses this misconception and enriches our understanding of this crucial period of change, in which concert life began and previously 'private' music was moved out onto the stage.NANCY NOVEMBER is Associate Professor in Musicology at the University of Auckland.

Details the wide, integral and influential role played by 'amateur' participants in early nineteenth-century Vienna's musical life.During Franz Schubert's lifetime in early nineteenth-century Vienna, amateurs and dilettantes were a vital part of the music scene, so much so that Eduard Hanslick considered it the high point of musical dilettantism in Vienna. Schubert himself participated extensively in this rich world of domestic music-making. Around 1800 terms such as "amateur" and "dilettante" had broader and more positive connotations than today, and "amateurs" could indeed often portray a high skill level. The book considers the amateurs' and dilettantes' identities and motivations for making music, and their various roles in the musical life of early nineteenth-century Vienna. It dives deeply into contexts, performance practices and spaces, as well as instruments that have so far been little explored. Musical Amateurs in Schubert's Vienna uncovers new key agents in early nineteenth-century Viennese musical life who have so far remained invisible.

By carefully piecing together musical and documentary evidence, Amateur Musicians in the Nineteenth Century reveals the musicians that have so far been largely invisible in histories of music.Musical amateurs occupy an indistinct, low-status, peripheral place in musical life today. Often defined by what they are not and compared unfavorably to professionals, amateurs are found to lack expertise, qualifications, and status. This book critiques these exclusionary ideologies, interrogating the historical amateur as a clear identity, role, and status within musical life.The focus of this edited collection spans across Europe and out to New Zealand and Australia, covering a wide range of repertoire and genres and providing a comprehensive survey of amateur music-making and its significance in the broader musical culture of the nineteenth century. Rather than being opposed to professionals, amateurs were considered to overlap with them in terms of skill. Far from learning by rote a narrow selection of canonical studies and works, such amateurs cross-trained on various instruments, freely adapted popular tunes to their own purposes and skills, improvised on scores, and composed afresh. In not just an exploration of the past, but of the future, Amateur Musicians in the Nineteenth Century offers insights that are relevant today, particularly to the project of raising the status of amateurism in the best sense.