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Why are some of the most beloved and frequently performed works of the late-romantic period—Mahler, Delius, Debussy, Sibelius, Puccini—regarded by many critics as perhaps not quite of the first rank? Why has modernist discourse continued to brand these works as overly sentimental and emotionally self-indulgent? Peter Franklin takes a close and even-handed look at how and why late-romantic symphonies and operas steered a complex course between modernism and mass culture in the period leading up to the Second World War. The style’s continuing popularity and its domination of the film music idiom (via work by composers such as Max Steiner, Erich Wolfgang Korngold, and their successors) bring late-romantic music to thousands of listeners who have never set foot in a concert hall. Reclaiming Late-Romantic Music sheds new light on these often unfairly disparaged works and explores the historical dimension of their continuing role in the contemporary sound world.

Polish Jewish Culture beyond the Capital: Centering the Periphery is a path-breaking exploration of the diversity and vitality of urban Jewish identity and culture in Polish lands from the second half of the nineteenth century to the outbreak of the Second World War (1899-1939). In this multidisciplinary essay collection, a cohort of international scholars provides an integrated history of the arts and humanities in Poland by illuminating the complex roles Jews in urban centers other than Warsaw played in the creation of Polish and Polish Jewish culture. Each essay presents readers with the extraordinary production and consumption of culture by Polish Jews in literature, film, cabaret, theater, the visual arts, architecture, and music. They show how this process was defined by a reciprocal cultural exchange that flourished between cities at the periphery-from Lwów and Wilno to Kraków and Łódź-and international centers like Warsaw, thereby illuminating the place of Polish Jews within urban European cultures. Companion website (https://polishjewishmusic.iu.edu)

For two centuries, Gesamtkunstwerk—the ideal of the \"total work of art\"—has exerted a powerful influence over artistic discourse and practice, spurring new forms of collaboration and provoking debates over the political instrumentalization of art. Despite its popular conflation with the work of Richard Wagner, Gesamtkunstwerk's lineage and legacies extend well beyond German Romanticism, as this wide-ranging collection demonstrates. In eleven compact chapters, scholars from a variety of disciplines trace the idea's evolution in German-speaking Europe, from its foundations in the early nineteenth century to its manifold articulations and reimaginings in the twentieth century and beyond, providing an uncommonly broad perspective on a distinctly modern cultural form.

From the bawdy audience of a Victorian Penny Gaff to the excitable crowd of an early twentieth century football match, working-class male leisure proved to be a contentious issue for contemporary observers. For middle-class social reformers from across the political spectrum, the spectacle of popular leisure offered a view of working-class habits, and a means by which lifestyles and behaviour could be assessed. For the mid-Victorians, gingerly stepping into a new mass democratic age, the desire to create a bond between the recently enfranchised male worker and the nation was more important than ever. This trend continued as those in governance perceived that 'good' leisure and citizenship could fend off challenges to social stability such as imperial decline, the mass degenerate city, hooliganism, civic and voter apathy and fascism. Thus, between 1850 and 1945 the issue of male leisure became enmeshed with changing contemporary debates on the encroaching mass society and its implications for good citizenry. Working-class culture has often been depicted as an atomised and fragmented entity lacking any significant cultural contestation. Drawing on a wealth of primary and secondary source material, this book powerfully challenges these recent assumptions and places social class centre stage once more. Arguing that there was a remarkable continuity in male working-class culture between 1850 and 1945, Beaven contends that despite changing socio-economic contexts, male working-class culture continued to draw from a tradition of active participation and cultural contestation that was both class and gender exclusive. This lively and readable book draws from fascinating accounts from those who participated in and observed contemporary popular leisure making it of importance to students and teachers of social history, popular culture, urban history, historical geography, historical sociology and cultural studies.

Brahms's self-identity and public identity as a Liberal are the basis for the two historical perspectives in this book. One reconstructs his place in Vienna. The other draws on criticism conditioned by Western Marxism, on ideas developed in response to 19th-century Liberalism. Brahms appears not to have recognized a societal problem of late Liberalism: exaggerated emphasis on the individual. He did, however, recognize a related musical problem delineated by Adorno — individualized themes at the expense of the formal whole — and made it central to his lifework. Commentary on Brahms's chamber music draws on other ideas articulated by Adorno and Lukács such as “second nature”, while discussion of ideology of the symphony applies Habermas's explanation of the “public sphere”, in both instances to move between social and musical problems associated with late Liberalism. Emphasis is placed on Brahms's diverse sources of renewal and on an under-explored facet of his music: his mastery of ways and degrees of establishing a key in this late period of tonality. With Brahms's works and his circumstances as exemplars, an addendum to late-style dialectics is proposed: late works are at once an expression of their time and alienated from the contemporary context. For better and worse, Brahms remained an orthodox Liberal. Thus, despite his allegiance to German nationalism he did not succumb to the tribalism that became critical around 1890.

This article explores Ahmet Avni Konuk’s (1870–1938) dual role as a composer and theorist, highlighting his significant contributions to the reimagination of Turkish music during a period of profound transformation. Not a mere preservationist, Konuk’s contributions to the late Ottoman soundscape actively engaged with the intellectual and cultural currents of his time, particularly through his involvement with figures such as Zekāī Dede (d. 1897), his music master which represented a pivotal moment in the revival and restructuring of Ottoman-Turkish music. Konuk was closely involved with the revivalist efforts of other Ottoman intellectuals and Mevlevī music circles to reconnect with the core elements of Turkish music, particularly Raūf Yektā (d. 1935). His work focuses on the revival of forgotten modes ( maḳāms ) and ancient musical forms, breathing new life into traditions that had been overshadowed by the later developments in Ottoman music. By examining Konuk’s compositions, theoretical insights, and teaching methodologies, this article seeks to address how Konuk’s work reinforced Ottoman classical music in the face of the Western musical ascendancy, as well as how his dedication to maḳām (i.e., modal) theory aligned with contemporary intellectual currents that sought to uphold Ottoman cultural identity amid growing European influence. Examining Konuk’s oeuvre provides a lens into strategies adopted by late Ottoman musicians and intellectuals to uphold their cultural legacy, positioning Ottoman Turkish classical music not as a mere artifact but as a dynamic, living tradition. Following a discussion of Konuk’s historical context, this article examines his life and literary legacy, with a close examination of his major theoretical writings, most notably the Hānende and Konuk’s magnum opus, the Fihrist-i Maḳāmāt (The Index of Modes). This article concludes by examining Konuk’s compositional legacy and contributions to classical Ottoman Turkish music, examining his rhythmic, modal, and ceremonial ( āyin ) compositions.

This book is a scientific anthology and a text mosaic on the modern interior, its origins and its historic development.In recent years, science has increasingly focused on the subject of the interior; this book investigates the subject from different perspectives, the resumé of a symposium at the Sigmund Freud Museum in Vienna.

The present paper is a corpus-based study which examines social roles as constructed in British nineteenth-century children's literature. Both gender roles overall as well as the more specific roles of mother and father are investigated. The main approach is to systematically study adjectival descriptions of characters both quantitatively and qualitatively in order to find recurring patterns of description that function as part of defining a social role. The method of classification is primarily through semantic domains. The study shows that the female social role is defined as involving few mental qualities, whereas a pleasant appearance is important. In contrast, social status and positive mental characteristics are important defining factors for the male social role.

This book explores the idea of expression and meaning in Mahler's music by examining its plural voices—their tone, manner, and historical resonance. Ranging across all the symphonies and songs, it considers how these works foreground the idea of artifice and irony while at the same time presenting themselves as acts of authentic expression and disclosure. While this music is shaped by strategies of calling forth its own mysterious voice—as if from nature or the Unconscious—at other times it reveals itself as something constructed, often self‐consciously assembled from familiar and well‐worn materials. It plays constantly with different musical genres and styles, moving between them in a way that often bewildered audiences. The result is that Mahler's symphonies exacerbate to breaking point their own inherited ideals of symphonic unity, narrative struggle, and transcendent affirmation. Their quality of radical self‐critique creates a link between the late‐18th‐century idea of romantic irony and the late‐20th‐century idea of deconstruction. But Mahler's music is not easily subsumed by either idea. While it acknowledges the conventionality of all its voices, at the same time, through the intensity of its tone, it speaks “as if” what it said were true. The urgency of this act, bound up with the Viennese modernism that Mahler prefigured, remains powerfully resonant for our own age.

Tanzimat dönemini tanımlayan batılılaşma, yenileşme veya modernleşme gibi kavramların Osmanlı toplumundaki etkisini, eğlenceler ve mekanlarındaki değişim üzerinden gözlemlemek mümkündür; çünkü eğlence etkinliği, modernleşmenin mekana yansımasını görülebilir kılan bir yaşam biçimi ve bir modernite pratiğidir. Modernleşme kavramının ortaya çıkışında etkili olan Sanayi devrimi, Fransız devrimi, aydınlanma düşüncesi gibi hem ekonomik hem siyasi hem sosyal olayların somut ürünlerinin tüm dünyaya duyurulmasının bir yolu ve yöntemi şeklinde görülebilecek, 19. yüzyılın ikinci yarısında gerçekleştirilen Dünya Fuarları; modernite kavramından yansıyanların gözlemlenebileceği dolayısıyla bir modernite pratiği şeklinde değer-lendirilen eğlence faaliyetine ve mekanlarına dair çıkarımların da yapılabileceği uygun bir vaka mecrası olanağı sunmaktadır. Bu uygunluğun başka bir yönü; gerek yerli gerek yabancı yayınlarda neşredilmelerin-den ötürü, ulaştığı kitle açısından yadsınamaz öneme sahip fuarlarda sunulanların, spontane gelişen bir sürecin değil bir tanıtım politikasının ürünü olmasıdır. Geleneksel yaklaşımlardan uzaklaşmayı esas alan yönüyle kültürel bir proje ile ilişkilendirilen, seküler yaşam ve laiklik üzerine temellendirilmiş; batının değerlerinin yansıtıcısı konumundaki modernite kavramının; Osmanlı eğlence faaliyetlerine ve mekanlarına, geleneksel tarzların dönüşmesi veya daha batılı türlerle ikame olması şeklinde yansıdığı görülmektedir: Osmanlı toplumunun önemli bir sosyalleşme mekanı ve eğlence merkezi addedilebilecek kahvehanelerin; 19.yüzyılda meddahlar, karagözcüler, orta oyuncular, kuklacılar vb. yoluyla halkın eğlence gereksinimine cevap verdiği, müzikli eğlencelerden geleneksel halk tiyatrosu gösterimlerine kadar pek çok eğlence faali-yetinin bu mekanlarda sunulduğu bilinmektedir. Tamamıyla batıdan gelen yeni bir tür şeklinde tanımlanan tiyatronun ve opera, operet gibi batı menşeli yeni eğlence ve mekanlarının, Osmanlı sosyal yaşamında yer edinmesi ile birlikte, tüm toplumu ilgilendiren çeşitli sebeplerle, 19. yüzyılın ikinci yarısında geleneksel halk tiyatrosu öğelerine olan talep azalmış; bu süreçte doğuş gerekçesi batı tiyatrosu etkisine de dayandırılan, orta oyununun farklı bir yorumlanış biçimi, batıdan mülhem Tuluat Tiyatrosu ortaya çıkmıştır. Tuluat Tiyatrosu, orta oyunundan izler taşıdığı için ne tam modern ne de batıya öykünen yönüyle yerel veya geleneksel olarak değerlendirilebilecek bir eğlence faaliyet ve mekanıdır. Osmanlı eğlence pratiğine dair belirtilen gelişmeler, Dünya fuarlarında, Osmanlı’nın pavyonlarında yer vermeyi tercih ettiği eğlence mekanlarındaki farklılaşma ile paralellik göstermektedir. 19. yüzyılın ikinci yarısında eğlence faaliyetindeki değişim üzerinden Osmanlı modernitesinin yorumlanabildiği temsil süreci; 1873 Viyana Sergisi’ndeki kahvehane mekanında müzikli eğlencelerle başlamış, 1893 Chicago Dünya Fuarı’nda batıdan mülhem Tuluat Tiyatrosu ile devam etmiş ve 20. yüzyılın hemen başında 1900 Paris Sergisi’nde operetlerin sunulduğu bir tiyatro şeklinde son bulmuştur. Bu süreç, hem yönetim, dönem aydınları, seyirciler hem performans yapanlar gibi toplumun tümünü kapsayan çeşitli aktörlerin eğlence etkinliklerinde tecrübe ettiği veya bazılarının bizzat yönlendirdiği yaşanmışlıkların bir tezahürü olduğundan, Osmanlı toplumunun moderniteye dair yaklaşımlarını da yani Osmanlı modernitesini de gözlemlenebilir kılmıştır