{"id":{"repo_id":"uiuc","oai_identifier":"oai:www.ideals.illinois.edu:2142/85706"},"canonical_url":"https://search.dev.ndltd.org/etd/uiuc/oai:www.ideals.illinois.edu:2142/85706","repository":{"repo_id":"uiuc","name":"University of Illinois - Urbana-Champaign","base_url":"https://www.ideals.illinois.edu/oai-pmh"},"display":{"title":"William Sterndale Bennett's Fantasia in Its Historical Context","abstract":"The examination of 134 works introduced in London and Germany between 1818 and 1838 illuminates some of the contemporary styles of fantasia writing in Bennett's time, and provides a number of comparative reference points to his fantasia, Op. 16. Two fantasias of the most influential composers according to Bennett---Mozart and Mendelssohn---are also examined as plausible sources of inspiration, yet even allowing for his fervent admiration of the styles of these two composers, Bennett successfully achieved a new style and sound, as may be seen in his Fantasia, Op. 16.","abstract_html":"The examination of 134 works introduced in London and Germany between 1818 and 1838 illuminates some of the contemporary styles of fantasia writing in Bennett's time, and provides a number of comparative reference points to his fantasia, Op. 16. Two fantasias of the most influential composers according to Bennett---Mozart and Mendelssohn---are also examined as plausible sources of inspiration, yet even allowing for his fervent admiration of the styles of these two composers, Bennett successfully achieved a new style and sound, as may be seen in his Fantasia, Op. 16.","abstract_has_math":false,"creators":["Yang, Yun Chung"],"institution":"University of Illinois at Urbana-Champaign","degree_name":"A.Mus.D.","degree_level":"Dissertation","degree_discipline":"Music","degree_department":null,"school":null,"contributors":["Temperley, Nicholas"],"advisors":[],"committee_chairs":[],"committee_members":[],"year":2015,"date_issued":"2015-09-25T22:53:04Z","date_published":"2015-09-25T22:53:04Z","updated_at":"2026-07-22T22:26:25Z","subjects":["Music"],"languages":["eng"],"rights":[],"rights_urls":[],"identifier_entries":[{"key":"dc:identifier","label":"Identifier","values":["(MiAaPQ)AAI3044266"],"render_values":[{"text":"(MiAaPQ)AAI3044266","href":null,"code":true}]}]},"links":{"outbound_url":"http://hdl.handle.net/2142/85706","outbound_label":"Handle","outbound_source":"dc:identifier"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:contributor","label":"Contributor","values":["Temperley, Nicholas"]},{"key":"dc:creator","label":"Author","values":["Yang, Yun Chung"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date","label":"Dc Date","values":["2015-09-25T22:53:04Z","10000-01-01","2002"]},{"key":"dc:type","label":"Dc Type","values":["text"]},{"key":"thesis:degree_discipline","label":"Discipline","values":["Music"]},{"key":"thesis:degree_level","label":"Degree Level","values":["Dissertation"]},{"key":"thesis:degree_name","label":"Degree Name","values":["A.Mus.D."]},{"key":"thesis:institution_name","label":"Thesis Institution Name","values":["University of Illinois at Urbana-Champaign"]}]},{"id":"subjects_keywords","label":"Subjects and Keywords","entries":[{"key":"dc:subject","label":"Dc Subject","values":["Music"]}]},{"id":"language_rights","label":"Language and Rights","entries":[{"key":"dc:language","label":"Dc Language","values":["eng"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier","label":"Identifier","values":["http://hdl.handle.net/2142/85706","(MiAaPQ)AAI3044266"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description","label":"Description","values":["The examination of 134 works introduced in London and Germany between 1818 and 1838 illuminates some of the contemporary styles of fantasia writing in Bennett's time, and provides a number of comparative reference points to his fantasia, Op. 16. 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