THE MUSIC CENTURY
fig. 13-3 House of the music publishing firm of Nikolaus Simrock (Bonn), which issued the first editions of many of Beethoven’s compositions.
But of course there was a Beethoven. And, owing in some large measure to that fact and to the enormous force of his example, the nineteenth century, especially in the German-speaking lands but not only there, was preeminently the music century. It was the century in which music embodied visionary philosophy, provided its audience with a medium in which they could live vicarious emotional lives, and became the object of emulation for all the other arts. It was the century in which composers could become culture heroes and political activists, could become champions of whole nations, could even define nationhood in new and powerful ways.
- Citation (MLA):
- Richard Taruskin. "Chapter 13 C-Minor Moods." The Oxford History of Western Music. Oxford University Press. New York, USA. n.d. Web. 6 Dec. 2023. <https://www.oxfordwesternmusic.com/view/Volume2/actrade-9780195384826-div1-13005.xml>.
- Citation (APA):
- Taruskin, R. (n.d.). Chapter 13 C-Minor Moods. In Oxford University Press, Music In The Seventeenth And Eighteenth Centuries. New York, USA. Retrieved 6 Dec. 2023, from https://www.oxfordwesternmusic.com/view/Volume2/actrade-9780195384826-div1-13005.xml
- Citation (Chicago):
- Richard Taruskin. "Chapter 13 C-Minor Moods." In Music In The Seventeenth And Eighteenth Centuries, Oxford University Press. (New York, USA, n.d.). Retrieved 6 Dec. 2023, from https://www.oxfordwesternmusic.com/view/Volume2/actrade-9780195384826-div1-13005.xml
