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Contributors

Contributors COMMUNICATIONS Adrian Daub is assistant professor of German Studies at Stanford University. He is the author of a German-language monograph on fourhand piano-playing in the nineteenth century and is currently completing a project on the metaphysics of marriage in German Idealism and Romanticism. Steven Rings is an assistant professor of music and the humanities at the University of Chicago. His book Tonality and Transformation is forthcoming from Oxford University Press. Benedict Taylor is currently Alexander von Humboldt Research Fellow at the Humboldt University, Berlin. He studied music at Cambridge, King's College London and Heidelberg and subsequently held the Proctor Fellowship at Princeton University. His research concentrates on the idea of musical temporality in the nineteenth and twentieth centuries and its implications for conceptions of subjectivity, memory, and musical history. 19th-Century Music invites submissions for a special issue on film music, conceived broadly as music for moving pictures. As our regular readers know, the journal's interests go well beyond the chronological limits of the nineteenth century. The presence of nineteenth-century music in twentieth-century music and culture is a topic we have explored before and would like to explore further. The development of cinema offers an especially rich opportunity because this preeminently twentieth-century medium was deeply engaged from the outset with the previous century's music. Articles submitted for the special issue may have a historical, analytical, or critical focus. The range of topics available includes (but is not limited to) the archeology of film in nineteenth-century dioramas, panoramas, and tableaux vivants; the ongoing influence of late-Romantic music on film scoring; the extradiegetic use of nineteenth-century music in film generally or in specific films; and the diegetic appearance of nineteenth-century works, composers, and performers in motion pictures from the silent era until today. There is no fixed deadline for submissions; articles on this topic are welcome at any time. 19th-Century Music, vol. 32, no. 2, p. 209. ISSN: 0148-2076, electronic ISSN 1533-8606. © 2008 by the Regents of the University of California. All rights reserved. Please direct all requests for permission to photocopy or reproduce article content through the University of California Press's Rights and Permissions Web site, at http://www.ucpressjournals.com/ reprintInfo.asp. DOI: 10.1525/ncm.2008.32.2.209. http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png 19th-Century Music University of California Press

Contributors

19th-Century Music , Volume 32 (2) – Oct 1, 2008

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Publisher
University of California Press
Copyright
Copyright © by the University of California Press
ISSN
0148-2076
eISSN
1533-8606
DOI
10.1525/ncm.2008.32.2.209
Publisher site
See Article on Publisher Site

Abstract

COMMUNICATIONS Adrian Daub is assistant professor of German Studies at Stanford University. He is the author of a German-language monograph on fourhand piano-playing in the nineteenth century and is currently completing a project on the metaphysics of marriage in German Idealism and Romanticism. Steven Rings is an assistant professor of music and the humanities at the University of Chicago. His book Tonality and Transformation is forthcoming from Oxford University Press. Benedict Taylor is currently Alexander von Humboldt Research Fellow at the Humboldt University, Berlin. He studied music at Cambridge, King's College London and Heidelberg and subsequently held the Proctor Fellowship at Princeton University. His research concentrates on the idea of musical temporality in the nineteenth and twentieth centuries and its implications for conceptions of subjectivity, memory, and musical history. 19th-Century Music invites submissions for a special issue on film music, conceived broadly as music for moving pictures. As our regular readers know, the journal's interests go well beyond the chronological limits of the nineteenth century. The presence of nineteenth-century music in twentieth-century music and culture is a topic we have explored before and would like to explore further. The development of cinema offers an especially rich opportunity because this preeminently twentieth-century medium was deeply engaged from the outset with the previous century's music. Articles submitted for the special issue may have a historical, analytical, or critical focus. The range of topics available includes (but is not limited to) the archeology of film in nineteenth-century dioramas, panoramas, and tableaux vivants; the ongoing influence of late-Romantic music on film scoring; the extradiegetic use of nineteenth-century music in film generally or in specific films; and the diegetic appearance of nineteenth-century works, composers, and performers in motion pictures from the silent era until today. There is no fixed deadline for submissions; articles on this topic are welcome at any time. 19th-Century Music, vol. 32, no. 2, p. 209. ISSN: 0148-2076, electronic ISSN 1533-8606. © 2008 by the Regents of the University of California. All rights reserved. Please direct all requests for permission to photocopy or reproduce article content through the University of California Press's Rights and Permissions Web site, at http://www.ucpressjournals.com/ reprintInfo.asp. DOI: 10.1525/ncm.2008.32.2.209.

Journal

19th-Century MusicUniversity of California Press

Published: Oct 1, 2008

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