Original Scholarly Monograph

Women in German Yearbook is a refereed publication that presents a wide range of feminist approaches to all aspects of German literary, cultural and language studies, including pedagogy. Each issue contains critical studies on the work, history, life, literature and arts of women in the German-speaking world, reflecting the interdisciplinary perspectives that inform feminist German studies.Ruth-Ellen B. Joeres is a professor of German at the University of Minnesota. Patricia Herminghouse is Fuchs Professor emerita of German Studies at the University of Rochester.

Although there were a number of women writers of the late Middle Ages, it was not thought that women composed lyric poetry. Classen's investigation, however, proves this to be a misconception, and presents a selection of secular love songs and religious hymns composed by 15th- and 16th-century German women poets.

A singer in an evening dress, a grand piano. A modest-sized audience, mostly well-dressed and silver-haired, equipped with translation booklets. A program consisting entirely of songs by one or two composers. This is the way of the Lieder recital these days. While it might seem that this style of performance is a long-standing tradition, German Song Onstage demonstrates that it is not. For much of the 19th century, the songs of Beethoven, Schubert, Schumann, and Brahms were heard in the home, salon, and, no less significantly, on the concert platform alongside orchestral and choral works. A dedicated program was rare, a dedicated audience even more so. The Lied was a genre with both more private and more public associations than is commonly recalled. The contributors to this volume explore a broad range of venues, singers, and audiences in distinct places and time periods—including the United States, the United Kingdom, Russia, and Germany—from the mid-19th century through the early 20th century. These historical case studies are set alongside reflections from a selection of today's leading musicians, offering insights on current Lied practices that will inform future generations of performers, scholars, and connoisseurs. Together these case studies unsettle narrow and elitist assumptions about what it meant and still means to present German song onstage by providing a transnational picture of historical Lieder performance, and opening up discussions about the relationship between history and performance today.

First published in 2006. Routledge is an imprint of Taylor & Francis, an Informa company.

German Lieder in the Nineteenth-Century provides a detailed introduction to the German lied. Beginning with its origin in the literary and musical culture of Germany in the nineteenth-century, the book covers individual composers, including Shubert, Schumann, Brahms, Strauss, Mahler and Wolf, the literary sources of lieder, the historical and conceptual issues of song cycles, and issues of musical technique and style in performance practice. Written by eminent music scholars in the field, each chapter includes detailed musical examples and analysis. The second edition has been revised and updated to include the most recent research of each composer and additional musical examples.

Concert halls all over the world feature mostly the works of German and Austrian composers as their standard repertoire: composers like the three "Bs" of classical music, Bach, Beethoven, and Brahms, all of whom are German. Over the past three centuries, many supporters of German music have even nurtured the notion that the German-speaking world possesses a peculiar strength in the cultivation of music. This book brings together seventeen contributors from the fields of musicology, ethnomusicology, history, and German literature to explore these questions: how music came to be associated with German identity, when and how Germans came to be regarded as the "people of music," and how music came to be designated "the most German of arts." Unlike previous volumes on this topic, many of which focused primarily on Wagner and Nazism, the essays here are wide-ranging and comprehensive, examining philosophy, literature, politics, and social currents as well as the creation and performance of folk music, art music, church music, jazz, rock, and pop. The result is a striking volume, adeptly addressing the complexity and variety of ways in which music insinuated itself into the German national imagination and how it has continued to play a central role in the shaping of a German identity. Contributors to this volume: Celia Applegate Doris L. Bergen Philip Bohlman Joy Haslam Calico Bruce Campbell John Daverio Thomas S. Grey Jost Hermand Michael H. Kater Gesa Kordes Edward Larkey Bruno Nettl Uta G. Poiger Pamela Potter Albrecht Riethmüller Bernd Sponheuer Hans Rudolf Vaget

During the Romantic era, many in Germany believed music to be the highest art form, representing the quintessence of Romanticism and able to express what could not be expressed in words. This book studies the work of composers during this period and examines the cross-over between music and literature.

The story of the first German immigrants to northern Indiana is the story of the beginnings of South Bend. The predominant immigrant group from the 1840s to the 1870s, the Germans helped build South Bend from an isolated trading post into a thriving industrial city. They also played a key role in transforming the surrounding wilderness into rich and fertile farmland. Using first-hand personal accounts and public documents, German Settlers of South Bend illustrates the lives of these pioneer immigrants and their growing city. The material has been collected from a large number of sources on both sides of the Atlantic, including more than 200 German letters from the 1840s to the 1870s that provide glimpses into the day-to-day lives of these early settlers and their families back in Germany. Descendants of immigrants from all over the United States and Germany have come forward with genealogies, stories, and pictures, providing a far-reaching portrait of the times.