Music and Sentimentalism in the Nineteenth and Twentieth Centuries

1.Introduction: Getting Sentimental

Part 1: Spaces

2. Sentimental virtues in the Victorian Salon: Joseph Joachim on the lawn and in the lounge.

3. Feeling and Design Magnified: the place and status of sentimental music in the nineteenth-century concert hall.

Part 2: Genres

4. Sentimental Waltzes: tender steps from Goethe to Ravel.

5. Longing to Belong: Nationalism, sentimentalism, and the Second Violin

Concertos of Bartok and Szymanowski.

Part 3: Psychologies

6. Sentimentalism and Masochism: Barthes's Schumann and Schumann's 'Chopin'.

7. Two Sentimental English Gentlemen: 'screen memories', a Schubert lied and the

voice of Gracie Fields in Merchant-Ivory's The Remains of the Day.

Part 4: Appropriations

8. Ellington, Liszt, and Chopin's Death Bed.

9. Chopin on the Beach: Bossa nova, Tom Jobim's 'Insensatez', and sentimental

ecology.

10. Chopin and the Power Ballad: Barry Manilow's 'Could it be Magic?'

Part 5: Sympathies

11. Make it 'Easy'? Sentimental subject positions in songs of Burt Bacharach and Hal

David.

12. Homes and Roads: the song writing of Carole King and Jimmy Webb.

Coda: Compassion, Mediation and the Consumer

13. Gorecki's Tears/ Our Tears.

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• Música romântica (desde ~1830 até ~1900)
• Século 20 e música clássica contemporânea

James Fox;Musical communities;Chopin;Listening practices;Queen's Hall;Merchant-Ivory adaptation;Young Man;Sentimentalism;Wichita Lineman;La Valse;Bossa Nova;Gerry Goffin;Luther Vandross;Chopin's Music;Minor Prelude;Sentimental Music;Chopin's Prelude;Violin Concerto;Chopin's Death;Chromatic Colour;War Time;Schumann's Music;Sei Mir;Chopin's Funeral March;Peasant Music;Ravel's Music;Valses Nobles;Power Ballad;Female Singer Songwriter