Contents

pp v-vi

List of Illustrations

pp vii-viii

Notes on Contributors

pp ix-xii

Introduction

pp 1-10

Part I - The Configuration of Heroic Music as a Tool for Shaping Moral and Political Identity

pp 11-12

1 - Holy Heroes: On the Varieties of a Metaphor and its Musical Expression in the Medieval Historiae

pp 13-31

2 - The Heroic in Music and the Musicality of the Hero in Late Sixteenth-Century England

pp 32-49

3 - Virtù eroica: Heroic Music, Social Norms, and Musical Reflections in Seventeenth- and Eighteenth-Century Italy

pp 50-68

4 - Handel’s Heroes

pp 69-88

Part II - Music, its Ethics and Politics – Beyond ‘Beethoven Hero’

pp 89-90

5 - Design Principles for the Musical Heroic

pp 91-109

6 - Tonal Relationships and Spiritual Heroism in Beethoven’s Late Style

pp 110-128

7 - Music, Content, and Context: The Case of Nineteenth-Century Hungarian Music in the Light of the Romantic Heroic Vision

pp 129-144

8 - The Austro-German Heroic in the Music-Hermeneutical Era: Musical Discourse in the Service of Nationalist-Patriotic Armament between 1887 and the Early 1930s

pp 145-158

Part III - Heroic Music and its Moralities in Dictatorships and Post-Heroic Democracies

pp 159-160

9 - Heroicizing Handel in the Third Reich: Towards the Collapse of Political Propaganda

pp 161-184

10 - Soviet War Symphonies and the Heroic Russian Epic

pp 185-206

11 - ‘Someone to Save the Day’: Popular Music, Springsteen, and the Circle of Hero Production

pp 207-224

12 - Émilie du Châtelet, Kaija Saariaho, and Heroes of the Twenty-First Century

pp 225-236

Afterword

pp 237-244

Bibliography

pp 245-276

Index

pp 277-290