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Analysis and interpretation of Fanny...

Brickman, Scott Thomas.

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Analysis and interpretation of Fanny Hensel's "Italien", "Notturno" and Piano Trio (first movement).

Record Type:	Electronic resources : Monograph/item
Title/Author:	Analysis and interpretation of Fanny Hensel's "Italien", "Notturno" and Piano Trio (first movement)./
Author:	Brickman, Scott Thomas.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 1996,
Description:	102 p.
Notes:	Source: Dissertations Abstracts International, Volume: 57-11, Section: A.
Contained By:	Dissertations Abstracts International57-11A.
Subject:	Music. -
Online resource:	https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=9614426

Analysis and interpretation of Fanny Hensel's "Italien", "Notturno" and Piano Trio (first movement).
Brickman, Scott Thomas.

Analysis and interpretation of Fanny Hensel's "Italien", "Notturno" and Piano Trio (first movement). - Ann Arbor : ProQuest Dissertations & Theses, 1996 - 102 p.

Source: Dissertations Abstracts International, Volume: 57-11, Section: A.

Thesis (Ph.D.)--Brandeis University, 1996.

This item must not be sold to any third party vendors.

The emergence of feminist musicology is producing a questioning of the musicological canon. Historically women composers have been assessed according to the stylistic dichotories of public music (professional/male) and private music (amateur/female). In addition the critical perspective of music theory has been metaphorically marked as masculine. As a result, some feminist musicologists are skeptical of the validity of using music theory as a resource for analyzing music conposed by women This dissertation discusses both the life and music of Fanny Hensel (1805-47) to provide an in-depth analysis of three of her compositions. Unfortunately, Hensel is remembered by most scholars only as a musical confidante to her brother, composer Felix Mendelssohn. Using traditional music theory and analysis enriched with both history and criticism when appropriate, the dissertation shows how Hensel originally a follower of the conservative romantic tradition (as her brother was), was later influenced by the progressive romantic tradition. Viewing Hensel's compositional work as the product of a new historical style, that of connoisseur music, the dissertation shows how traditional music theory can be used to explain categories of difference. Considering the relationship between events in her life and changes in her musical style, the dissertation assesses Hensel within the larger context of nineteenth century German musical life as an autonomous figure, a composer who was not merely the imitation of her brother.Subjects--Topical Terms:

516178
Music.
Subjects--Index Terms:

Germany

Analysis and interpretation of Fanny Hensel's "Italien", "Notturno" and Piano Trio (first movement).
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245 1 0 $a Analysis and interpretation of Fanny Hensel's "Italien", "Notturno" and Piano Trio (first movement).
260 1 $a Ann Arbor : $b ProQuest Dissertations & Theses, $c 1996
300 $a 102 p.
500 $a Source: Dissertations Abstracts International, Volume: 57-11, Section: A.
500 $a Publisher info.: Dissertation/Thesis.
502 $a Thesis (Ph.D.)--Brandeis University, 1996.
506 $a This item must not be sold to any third party vendors.
506 $a This item must not be added to any third party search indexes.
520 $a The emergence of feminist musicology is producing a questioning of the musicological canon. Historically women composers have been assessed according to the stylistic dichotories of public music (professional/male) and private music (amateur/female). In addition the critical perspective of music theory has been metaphorically marked as masculine. As a result, some feminist musicologists are skeptical of the validity of using music theory as a resource for analyzing music conposed by women This dissertation discusses both the life and music of Fanny Hensel (1805-47) to provide an in-depth analysis of three of her compositions. Unfortunately, Hensel is remembered by most scholars only as a musical confidante to her brother, composer Felix Mendelssohn. Using traditional music theory and analysis enriched with both history and criticism when appropriate, the dissertation shows how Hensel originally a follower of the conservative romantic tradition (as her brother was), was later influenced by the progressive romantic tradition. Viewing Hensel's compositional work as the product of a new historical style, that of connoisseur music, the dissertation shows how traditional music theory can be used to explain categories of difference. Considering the relationship between events in her life and changes in her musical style, the dissertation assesses Hensel within the larger context of nineteenth century German musical life as an autonomous figure, a composer who was not merely the imitation of her brother.
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