Titlebook: Richard Wagner for the New Millennium; Essays in Music and Matthew Bribitzer-Stull,Alex Lubet,Gottfried Wagne Book 2007 Matthew Bribitzer-

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Subverting the Conventions of Number Opera from Within: Hierarchical and Associational Uses of Tonalmeans that some, but not all, of the separate movements we will hear are in that key. We are probably also aware that the music will move to other keys within those B. major movements, but that those other keys are somehow subordinate to B., which will act as the point of departure and return, a con

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Naming Wagner’s Themeson Wolzogen’s . (. The Ring of the Nibelung [1867]), the first thematic catalogue for Wagner’s epic . cycle. While audiences long to learn of the associative meanings borne by Wagner’s musical utterances, scholars have often condemned theme naming as a misleading exercise in futility. Not only does

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Richard Wagner and Disability Studiesbecome political as well—that I begin. When Matthew Bribitzer-Stull and I started this project, to be joined later by Gottfried Wagner, my role on the team was simply that of the only University of Minnesota faculty member with appointments in both Music and Jewish Studies—a Jew playing the not unch

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Anti-Semitism in Music: Wagner and the Origins of the Holocaustsm and the problem of his relationship to Nazism and Hitler. The first block is an aesthetic one. Yes, admittedly Wagner was an anti-Semite (though Daniel Barenboim seems to have difficulty in admitting even that), and he wrote anti-Semitic articles, but that is as far as we can go with the anti-Sem

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Tracing Mathilde’s A♭ Majorsical or emotional state of their creator. Thus, Beethoven’s idyllic Second Symphony was contemporary with his agonizing “Heiligenstadt Testament.” On the other hand, students of Tchaikovsky have convincingly demonstrated the close ties that, on occasion, link that composer’s personal life with his music.