Keywords
Alfred Julius Becher, Adolf Busch, Ludwig (Louis) Spohr, Carl Maria von Weber, Ferdinand Hiller, Vinzenz Lachner, Nicolò Celega, Adolphe Biarent, Helen Hopekirk, Ivor Gurney, Béla Bartók, Leoš Janáček, Ossian, James MacPherson, Scottish folklore, Celtic folklore, Johann Gottfried Herder, nationalism and music, modernism and music, romanticism and music, nineteenth-century music, twentieth-century music, music and war, Walt Whitman, music and poetry, art song, symphonic poem, German lieder, tonality in music, progress in music
Abstract
The author has previously published six essays, each based on a novel technique: pairing one piece each from two different composers, in an attempt at teasing out important implications of these (mostly little-known) works. These implications would have been harder to glean if one focused instead, as is normally done, on a small number of oft-performed canonical works by a few great masters.
The present “Coda” offers reflections on the implications of those six essays for a continuing exploration of important themes in the history of Western art music, including romanticism, modernism, “progress,” tonality, text-music relations, and nationalism (including the relationship of a composer to his or her land of origin).
Recommended Citation
Porter, James.
"Coda: On My Six Experiments in Conjoining (and Contrasting) Two Composers."
Music & Musical Performance: An International Journal.
Issue
7, article 6
(March 2025).
Available at:
https://scholars.unh.edu/mmp/vol1/iss7/6