Cover -- Half-title -- Series-title -- Title -- Copyright -- Contents -- Notes on contributors -- Editor's preface -- PART ONE 1800 - 1850 -- 1 The musical work and nineteenth-century history -- Compositional and contextual histories -- Then and now -- The structures of history -- Bibliography -- 2 Music and the rise of aesthetics -- Music, rhetoric and representation -- Music and the sources of Romantic aesthetics -- Music in German Idealist philosophy: 'feeling' and 'mediation' (1) -- Music in German Romantic philosophy: 'feeling' and 'mediation' (2) -- Music, theology and the will -- Bibliography -- 3 The profession of music -- PART I CONTEXTS -- The music profession before 1800 -- Political and demographic developments -- The structure of concert life -- Institutional concerts -- Benefit concerts -- Salons and parties -- Opera -- Festivals -- Promenades and 'cheap' concerts -- PART II THE PROFESSIONS -- The nature of professional life -- Composers -- Solo instrumentalists -- Singers -- Conductors -- Orchestral and chamber musicians -- Church musicians -- Instrument makers -- Publishers -- Music journalists -- Teachers and scholars -- Bibliography -- 4 The opera industry -- Introduction -- Imperial opera (1800-1814) -- Rossini fever (1814-1830) -- Cross-currents (1830-1850) -- Bibliography -- 5 The construction of Beethoven -- Beethoven vs. 'Beethoven' -- Beethoven 1770-1802: pianist-composer -- Beethoven 1802-1827: composer -- Discussions of Beethoven's style, 1810-1852 -- Bibliography -- 6 Music and the poetic -- Sacred vocal music -- Song -- German song -- ballads -- Schubert and Loewe -- Song cycles: Schubert and Schumann -- French song -- Poetic instrumental music -- Use of dance measures -- Piano cycles -- Instrumental narrative: ballade, symphony and overture -- Bibliography -- 7 The invention of tradition -- An imagined past.

Envisioning a present -- Bibliography -- 8 Choral music -- The decline of traditional choral foundations -- Towards a new choral culture -- Social developments and their relation to choral practice -- Revolution, restoration and continuity -- The role of the composer and the special case of Mendelssohn -- The St Matthew Passion revival -- New conceptions of religion -- Bibliography -- 9 The consumption of music -- Social background -- Musical taste -- Folk music -- Music in private -- The dissemination of music -- Dance -- A note on community music -- Bibliography -- 10 The great composer -- On canons and spearheads -- Models of greatness -- The culture industry -- Bibliography -- PART TWO 1850 - 1900 -- 11 Progress, modernity and the concept of an avant-garde -- Progress: theories and discontents -- Liszt as forerunner of the avant-garde -- The French models of Liszt's early writings -- Liszt, Idealism and reform -- Franz Brendel and progress -- Liszt's Weimar aesthetic -- Symphony and symphonic poem: programmes and prefaces -- The 'New German chool': goals and divisions -- Liszt and Wagner: avant-garde and modernism -- Bibliography -- 12 Music as ideal: the aesthetics of autonomy -- Autonomy, expression and the decline of Romanticism -- 1848: revolution, disenchantment and the retreat into inwardness -- The aesthetics of feeling: chopenhauer and Nietzsche -- The aesthetics of form: Hanslick and Nietzsche -- Symbolism, l'art pour l'art, and the triumph of the aesthetics of autonomy -- Bibliography -- 13 The structures of musical life -- The rhythms of urban musical life -- Repertory and canon -- Elitism and exclusion -- Gender and education -- Class, populism and democratisation -- Conclusion -- Bibliography -- 14 Opera and music drama -- Paris, 1850: Wagner and Meyerbeer -- Verdi's 'middle period' (1849-1871) -- Comic opera: high and low.

Wagner and the 'music drama' -- The grand opera legacy and the colonisation of the exotic -- Nationalism, realism and natural song: Russian opera and 'the voice of the people' -- Drame lyrique and verismo: opera, literature and naturalism -- From Wagnerism to modernism -- Bibliography -- 15 Beethoven reception: the symphonic tradition -- Dilemmas of symphonic practice at mid-century -- Poetic content: the challenge of Liszt -- Between absolute and programme music -- 1. The purely abstract symphony -- 2a. Dialogues with the musical tradition -- 2b. 'Nationalistic'symphonies -- 2c. Tacit, implicit or suspected programmes throughout or for substantial sections -- 3.Programme symphony/suite, symphonic poem and overture -- Structural deformation -- Two waves of composers -- Bibliography -- 16 Words and music in Germany and France -- The German-speaking world: tradition, struggle, homage -- From romance and chanson to mélodie : French song and the French language -- Bibliography -- 17 Chamber music and piano -- The historical challenge and a black and white response -- The core compositions -- Interlude: genre/genera -- Paths to the future: two case studies -- Bibliography -- 18 Choral culture and the regeneration of the organ -- Restoring tradition in music and liturgical practice -- Composers and the religions of the later nineteenth century -- Liszt and the revolutionary restoration of religion -- Brahms and the personal definition of religion -- The professional church musician -- The organ and its rehabilitation -- Bibliography -- 19 Music and social class -- Professionalisation and commercialisation -- New markets for cultural goods -- Music, morals and social order -- The rift between art and entertainment -- Bibliography -- 20 Nations and nationalism -- Nationalisms -- Conquering the cities -- Forging the nations -- Music at the edge.

Bibliography -- 21 Styles and languages around the turn of the century -- Bibliography -- Chronology -- Institutions -- Personalia -- Index.