Academic literature on the topic 'Music theory History 18th century'
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Journal articles on the topic "Music theory History 18th century":
1
Yeon, Sang-Chun. "A Study of Music History of the 18th Century on the Basis of Dahlhaus's Music Historical Theory." Yonsei Music Research 19 (November 30, 2012): 73–97. http://dx.doi.org/10.16940/ymr.2012.19.73.
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Protsiv, L. Y. "Music education in Ukraine: meetings in history." Musical art in the educological discourse, no. 2 (2017): 73–77. http://dx.doi.org/10.28925/2518-766x.20172.717.
Abstract:
The article describes main features of human civilization as metahistory, substantiates a view on the history of music pedagogy in Ukraine as metahistory, the contents of which is constant values, spiritual constants of the humanity, and also synchronous section of history, including such things as coincidence, similarity of certain “spiritual epochs”, meetings in history. An example of such “synchronous” dramaturgy in the history of the Ukrainian music education is seen in M. Dyletskyi’s creative activity and pedagogical legacy. In musical thinking this personality was ahead of representatives of Western European polyphonic school, and came very close to the theory of temperatio, so well presented in Bach’s art. Supporting Kyiv concept of education at Slavonic, Latin and Greek schools, which involved a combination of eastern and western elements of education, national and European cultural and educational traditions, M. Dyletskyi formulated the aesthetic principles of choral art, revealed progressive pedagogical ideas. Age of Baroque and Enlightenment was the epoch of Great Travelers and symbolic meetings. In search of truth and artistic ideal philosophers, artists, musicians traveled in Europe. Various meetings took place — real and unreal, sometimes at an interval of a century, but they determined “symbolic insight into the future”. An important meeting took place at the end of the 18th century in Vienna. The Ukrainians met a famous countryman, composer D. Bortnyanskyi. Since then, composer’s music became a model of his proficiency, the embodiment of the Ukrainians’ spiritual outlook. He was called “the Ukrainian Mozart”, “Our Palestrina”, and he became a kind of a “bridge” between the European polyphonists and “classicists”, and also composers–romanticists, who also were influenced by his works. Age of Baroque and classicism, “Golden Age” in the Ukrainian music culture has acquired the status of “epic time” aimed at eternity, when a relatively short period of time defined the future way for historical development. The presence of such parallels and “meetings in history”, actualizing the past at the request of the future, defines metahistorical nature of history of music education in Ukraine.
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Martynova, Daria O. "Formation and Development of the Iconography of the Mesmeric Seance in the Second Half of the 18th — Late 19th Centuries." Vestnik of Saint Petersburg University. Arts 11, no. 2 (2021): 224–42. http://dx.doi.org/10.21638/spbu15.2021.204.
Abstract:
Analyzing the evolution of the iconography of such a phenomenon as mesmerism in the second half of the 18th — mid-19th centuries, the author shows that the scenario of modern hypnotic representation and its gestures were established by mesmerists in the second half of the 18th century, followers of the parascientific theory that caused discussions and intrigued doctors and artists for centuries. Analyzing the development of the iconography of mesmeric seance, the author identifies two waves of popularity of this subject: the first wave in the 70–80s of the 18th century and the second wave during the first decade of the 19th century and beginning of the 20th century. Such a duration is due to the fascination with the supernatural and inexplicable, reflected in various styles and trends. In this article, the author tries to show how the development of the iconography of the mesmeric seance provoked the appearance of the hypnotist or magician trickster, who became integrated into popular culture that later began to mark the majority of hypnotic actions, spiritualistic sessions or miracle shows. The author also illustrates how the image of a “controller” in the face of a man formed and confirmed the paradigm of a powerless, mysterious and controlled woman. As a result, it is concluded that hypnosis and mesmerism became common theatrical spectacles in the 20th century, cultivating the power of men (patriarchal society) over an exhausted woman, which is reflected in the works of Georges Méliès, Alfred Hitchcock, and even in the comic book Wonder woman.
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Owczarek-Ciszewska, Joanna. "Hammer mechanism instruments and their role in shaping the composition style of pieces written for keyboard instruments in the period of 1730-1780, part 1." Notes Muzyczny 1, no. 9 (June 20, 2018): 43–64. http://dx.doi.org/10.5604/01.3001.0012.9898.
Abstract:
The article constitutes the first part of a cycle devoted to keyboard instruments with hammer mechanism made between 1730 and 1780. The author’s intention is presenting a wide perspective of selected topics on keyboard instrument making in the 18th century and the influence of how instruments were made on music practice at that time. The aim seems justified due to scarce publications on this subject available in Polish, among other reasons. The first chapter briefly outlines general aspects of the 18th century music culture which was the background of the development of instrument making. As far as the theory of aesthetics was concerned, despite the predominance of vocal and instrumental music which used lyrics and their meaning, it was the period when rapid development of purely instrumental genres such as symphony or instrumental concerto took place. Also the popularisation of public and concert life, as well as home music-making gave an impulse for the development of instrument making. The second chapter touches on the invention of Bartolomeo Cristofori, its earlier reception and the role of Domenico Scarlatti in the popularisation of that instrument. Attempts to construct a keyboard instrument with a mechanism making the strings vibrate by striking them date back to the 15th century. However, the turning point in the history of all family of string keyboard instruments was only when in 1698 Cristoforti constructed a technically advanced hammer action mechanism, with enabled nuancing piano e forte dynamics on the traditional cembalo. Probably, among first promoters of the new instrument was Scarlatti and it was through him that grand pianos appeared on Portuguese and Spanish courts. Despite certain stylistic features proving that he was inspired by the capacities of the new instrument, there is no explicit evidence that Scarlatti’s Sonatas were meant for the piano. Nevertheless, the name pianoforte (piano e forte) does appear on title pages of works written by two other composers of that time, i.e., Lodovico Giustini and Sebastián de Albero, and their pieces have been briefly analysed at the end of the article.
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Kholodova, Mariya Vladimirovna. "Russian musical “Petersburgiana”: a historical journey." PHILHARMONICA. International Music Journal, no. 4 (April 2020): 1–10. http://dx.doi.org/10.7256/2453-613x.2020.4.33543.
Abstract:
The article considers one of the most important topics of Russian discourse - the issue of St.Petersburg, particularly the understanding of the phenomenon of Petersburg in the works of composers. The purpose of the research is to trace back the process of formation of Russian musical “Petersburgiana”. The main task is to reconstruct segmentary materials related to the aspects of manifestation of Petersburg in the works of Russian composers. The research methods are determined by the interdisciplinary nature which synthesizes the approaches of comparative history, culturology, and music theory. As the key works, the author chooses the works related to the “Petersburg text”, particularly the work by V.Toporov who was the first to introduce this term into the literature studies. It serves as a basis for the understanding of the phenomenon of Petersburg in other forms of art. The scientific novelty of the research consists in the fact that it is the first to study the evolution of Russian musical “Petersburgiana”, which started in the 18th century and during its 300-year history produced more than 800 opuses. The author outlines the key topics and images of Petersburg embodiment using the examples of the works of the composers of the 18th - 21st centuries, organized according to their genre and chronologically. These materials are the result of the research work; they outline promising concepts and aspects for the further comprehensive analysis of Petersburg in Russian music culture in terms of the works of its creators.
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Bocharov, Yury S. "Sinfonia and Ouverture in the Baroque Era: Terminological Aspect." Vestnik of Saint Petersburg University. Arts 11, no. 3 (2021): 354–80. http://dx.doi.org/10.21638/spbu15.2021.301.
Abstract:
This article focuses on the use of sinfonia and ouverture as terms in the Baroque era. Its relevance is due to the fact that an objective picture of the Baroque musical culture is impossible without studying authentic terminology, including terms used as names of musical works or their sections. Since there have been no special musicological publications on this topic, information obtained as a result of the study can expand the traditional ideas about what the terms sinfonia and ouverture meant in the 17th and the first half of the 18th century. Sheet music and manuscripts as well as articles from the largest European dictionaries of that time indicate that the terms had different meanings. They were used not only in orchestral, but also in solo and ensemble music and even vocal compositions could be regarded as symphonies. Moreover, musical compositions or their sections, called sinfonias and overtures were intended not only for theatrical and concert practice, but also for performance at court and in even at church. According to the author, the terms sinfonia and ouverture in the Baroque era, in contrast to modern practice, were used as genre names only in regard to so-called Neapolitan opera symphonies and French overtures. Thus, these terms were generally used much more diversely than it follows from those traditional perceptions on which the modern theory of musical genres is largely based.
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ATHANASSOPOULOU (Φ. ΑΘΑΝΑΣΟΠΟΥΛΟΥ), F. "The history of development of medicine through time: a repeated case." Journal of the Hellenic Veterinary Medical Society 60, no. 2 (November 20, 2017): 125. http://dx.doi.org/10.12681/jhvms.14921.
Abstract:
At all times, man was interested in the therapy of diseases in any possible way. In the Hellenic world, that is generally regarded as the spiritual predecessor of recent Europe, two distinct traditions existed: the first had a true sacred origin and was practiced from a corporation or guild of healers/priests named zsAsklipiades. Asklipios, son of Apollo, was considered by them as their generic leader. The second, practiced by Vakhes, comes from indigenous populations of Eastern Aegean area approx. at 2000 B.C. During its practice patients went into a sacred mania ie., with dancing, music, or body exertion went into an extended consciousness from which, when they recovered, they showed a peaceful state and a new identity again due to moral comprehension. The first liberation from sacred ceremonies occurs in ancient Greece from Hippocrates and thus the first step towards scientific medicine occurs and it is practiced by cosmic healers. To Hippokrates we owe the meaning of "method" for the observation and development of the disease and its symptoms (there is a distinction between them). He believed in "the self healing capability of nature" that had to be taken into account, because medicine comes from the disruption of the balance between man and environment. After Hippocrates there is a gap of approx. 7 eons (till 3rd century D.C.) during which period important developments occur that will determine later the path of medicine: 1. During the 1st century B.C., Dioscouridis from Alexandria and in the 2ndcentury D.C. Asklipiadis and the great healer and surgeon from Pergamos, Galinos, transplanted the "absolute medical orthodoxy" in Rome where it remained as a dogma until the 16th century D.C. This is similar to Arab and recent European medicine. Hippocrates and Galinos beliefs have a lot in common with the growth of medicine in China and India. 2.Arab philosophers and healers reconnect medicine with politics and their base is the healthy society. 3. In Christianity, in the Middle Ages, the human body is discarded as not * worthy and surgery and anatomy are prohibited. In 1130 D.C. the practice of medicine by monks isprohibited and this is passed on to "cosmic clergy" from where the first schools of medicine and recent Universities originate (Paris, Oxford, Bologna, Montpellier). With Renaissance starts the questioning of the Galino's theory. The main archetype of the healer of this period was undoubtedly Paracelsus. He brings back the correlations of symptoms and moral attitude and his whole comprehension was "ecosystematic" and "psychosomatic". The healing ideas and practices of the Middle Ages and Eastern world are various and come from different origins without being an identical philosophical model, but they have the following similar points changed eventually by the "scientific medicine" born after the Cartesian debate: a) there is a bond between body and psyche, b) there is a bond of interaction between the human body and the environment, c) there is a mutual bond of equality and trust between the patient and the healer. The important developments between the 17th - 18th centuries (discovery of the microscope, growth of laboratories and clinics) will give a tremendous push to this scientific medicine and will allow to discard the patient as a whole person for the favour of the diagnosis and the manipulation of "diseases and syndromes". Another disruption from this course of scientific medicine occurs with the emergence of biology as a distinct science, which brought the uprising of the usual vitalistic beliefs that during in the 18th century did not totally stop to exist (G. Stahl-anima, S. Hahneman- homeopathy). However, due to the positivistic direction that the great physiologist of the 19th century, C. Bernard (who established in medicine the quantification according to the prototype of positive Sciences) and finally L. Pasteur established with the discovery of the bacterial role, strengthened again the self confidence of the classical/ scientific medicine. In 20th century, medicine gains also powers and is connected socially also with the growing pharmaceutical, but still is unable to heal satisfactory the mental / psychological illnesses; meantime, the recent specialization opened up a new horizon of medical applications (molecular biology, neurochemistry, clear understanding of the immunological-nervous-endocrinological mechanism) that are, however, part of the same mechanical model. The malpractice of this model involved attachment of medicine and politics in a programme that experimentally was performed in the Nazis camps. Again, three subsequent currents of developments questioned the medical orthodox theory during most of 20th century: S. Freud and psychoanalysis, the phenomenological medicine of E. Husserl and modern alternative medicines (homeopathy, acupuncture).
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Tsiuliupa, S. D. "Doctoral dissertations of wind instruments musicians in Ukraine (the end of XX – early XXI century)." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 54, no. 54 (December 10, 2019): 24–39. http://dx.doi.org/10.34064/khnum1-54.02.
Abstract:
This paper is the first attempt to lay out the major scientific achievements of teachers of faculties of wind and percussion instruments of Ukrainian universities with 3-4 accreditation levels, for the period from second half of XX – to beg. of XXI century. This article systematizes and precisely analyzes the content of obtained PhD dissertations on musical art, theory and methodic of professional education, musical art, theory, the methodic and organization of cultural and educational activities. In the period of Ukraine’s integration into the European entities, scientific work becomes the leitmotif of the activity of a teacher of a higher art educational institution. The works of the leading scientists of Ukraine became the fundamental scientific researches of the evolution of spiritual musical performance. V. Apatsky in the doctoral dissertation “Theoretical foundations of playing the wind instruments (on the example of bassoon)” examines the acoustic nature of the instrument and the specificity of sound formation on it, the structure and functioning of the executive apparatus and methods of its formation, the basic means of expressiveness of the bassoonist and methods of development of performing skill. I. Yakustidi in the dissertation “The value of horn tone in the learning process” and by the method of numerical laboratory measurements explored the work of the sound-forming apparatus of the horn performer. Along with the experimental experiments, the dissertation covers the issues of performance history, theory and practice, methods of teaching horn performance. P. Krul in his study “Genesis of Wind and Percussion Instrumental Performance of Ukraine” traces the genesis of wind and percussion music in Ukraine. V. Posvaluk in the dissertation “Ways of Formation and Problems of Development of the Ukrainian Trumpet Performance School: Historical, Professional-Performing, Theoretical and Methodological Aspects” for the first time reveals the peculiarity of the historical way of formation and development of the national trumpet performance school and its regional peculiarities. V. Bohdanov dedicates his dissertation “Ways of Development of the Wind Musical Art in Ukraine (from the Origins to the Beginning of the XX Century) to the Study of the Wind Musical Art of Ukraine. Based on the systematization of actual data, the main directions of its evolution are highlighted. V. Kachmarchyk. The priority areas of the dissertation research “German flute art of the 18th – 19th centuries” were the creation of the historical periodization of the German flute art of the 18th – 19th centuries, and defining the role of J. J. Kwanz, J. G. Tromlits, A. B. Furstenau and T. Bohm in the formation of the German flute school. Y. Sverlyuk in his work “Theoretical and methodological bases of vocational training of conductor of an orchestra collective in higher art establishments” he explored methodological, theoretical and methodical bases of vocational training of conductor taking into account the specifics of future professional activity. A. Karpyak. In his Doctoral dissertation “Flutist’s Artistic Thesaurus as the Basis of Performing Skills” and for the first time in Ukrainian musicology, he provided a reasoned critical analysis of the key issues and problems in the development of contemporary flute art.
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Liepiņa-Šarkovska, Ilze. "Contribution of the Latvian Brethren Congregations to the Musical Culture of the 18th Century: Preliminary Research Results, Basic Research Directions and Perspectives." Letonica, no. 46 (August 2022): 100–117. http://dx.doi.org/10.35539/ltnc.2022.0046.i.l.s.100.117.
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Ito, John Paul. "Koch’s Metrical Theory and Mozart’s Music." Music Perception 31, no. 3 (December 2012): 205–22. http://dx.doi.org/10.1525/mp.2014.31.3.205.
Abstract:
Mirka (2009) has recently argued that the 18th-century metrical theories of Heinrich Christoph Koch can be revelatory for a reconstruction of contemporary ways of hearing Viennese high classicism. Koch’s claims revolve around interactions between the metrical placement of cadences and the articulation of specific beat levels, and these claims are most specific and testable for common time and 6/8. This paper reports two statistical surveys of works by Mozart that were designed to gauge the fit between the corpus and Koch’s theory. In the works examined, the theory was strongly supported for common time, strongly disconfirmed for 6/8, and weakly supported for the other meters encountered. It is argued that these results point toward caution regarding the use of Koch’s theories but not toward their outright rejection, and that unexpected statistical contrasts within the corpus indicate the need for a fine-grained approach to meter in music of the later 18th century.
Dissertations / Theses on the topic "Music theory History 18th century":
1
Flores, Carlos A. (Carlos Arturo). "Music Theory in Mexico from 1776 To 1866: A Study of Four Treatises by Native Authors." Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc331988/.
Abstract:
This investigation traces the history and development of music theory in Mexico from the date of the first Mexican treatise available (1776) to the early second half of the nineteenth century (1866). This period of ninety years represents an era of special importance in the development of music theory in Mexico. It was during this time that the old modal system was finally abandoned in favor of the new tonal system and that Mexican authors began to pen music treatises which could be favorably compared with the imported European treatises which were the only authoritative source of instruction for serious musicians in Mexico.
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Rusak, Helen Kathryn. "Rhetoric and the motet passion." Title page, table of contents and introduction only, 1986. http://web4.library.adelaide.edu.au/theses/09ARM/09armr949.pdf.
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Parker, Mark M. (Mark Mason). "Transposition and the Transposed Modes in Late-Baroque France." Thesis, University of North Texas, 1988. https://digital.library.unt.edu/ark:/67531/metadc331880/.
Abstract:
The purpose of the study is the investigation of the topics of transposition and the transposed major and minor modes as discussed principally by selected French authors of the final twenty years of the seventeenth century and the first three decades of the eighteenth. The sources are relatively varied and include manuals for singers and instrumentalists, dictionaries, independent essays, and tracts which were published in scholarly journals; special emphasis is placed on the observation and attempted explanation of both irregular signatures and the signatures of the minor modes. The paper concerns the following areas: definitions and related concepts, methods for singers and Instrumentalists, and signatures for the tones which were identified by the authors. The topics are interdependent, for the signatures both effected transposition and indicated written-out transpositions. The late Baroque was characterized by much diversity with regard to definitions of the natural and transposed modes. At the close of the seventeenth century, two concurrent and yet diverse notions were in evidence: the most widespread associated "natural" with inclusion within the gamme; that is, the criterion for naturalness was total diatonic pitch content, as specified by the signature. When the scale was reduced from two columns to a single one, its total pitch content was diminished, and consequently the number of the natural modes found within the gamme was reduced. An apparently less popular view narrowed the focus of "natural tone" to a single diatonic pitch, the final of the tone or mode. A number of factors contributed to the disappearance of the long-held distinction between natural and transposed tones: the linking of the notion of "transposed" with the temperament, the establishment of two types of signatures for the minor tones (for tones with sharps and flats, respectively), the transition from a two-column scale to a single-column one, and the recognition of a unified system of major and minor keys.
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Keuchguerian, Anait. "Haydn's early symphonic development sections and eighteenth-century theories of modulation." Thesis, McGill University, 1998. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=20894.
Abstract:
The tonal organization of the first-movement development sections of ten Haydn symphonies (nos. 1, 4, 6, 10, 13, 15, 19, 24, 31 and 72), all in D major composed between 1758 and 1765, is directly linked to eighteenth-century theories of modulation. The recent theoretical or musicological literature, with the exception of H. C. Robbins Landon's Haydn: Chronical and Works (1976--1980), has concentrated on Haydn's later high classical style generally ignoring these earlier works composed during his largely self-didactic, most formative years. After evaluating the analytical procedures established by Webster (1991), Wheelock (1992), Sisman (1993) and Haimo (1995) in chapter one, chapter two reviews tonal theories of some eighteenth-century writers. Chapter three presents analytical observations on the Morzin Symphonies (nos. 1, 15, 4, 10). Chapter four extends the discussion of chapter two and focuses on theoretical concepts that determine rank ordering of scale-steps in relation to the tonic. Chapter five focuses on tonal procedures employed in the developments of early Esterhazy symphonies (nos. 6, 13, 72, 24, 31) all of which feature cadentially-confirmed tonicizations of scale-step vi paired with recapitulatory from the main theme. (Abstract shortened by UMI.)
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Yau, Shek Fung. "Theory and practice : controversies in Rameau's theory of harmony and thoroughbass practice." HKBU Institutional Repository, 1998. http://repository.hkbu.edu.hk/etd_ra/152.
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McAfee, Kay Roberts. "Rhetorical Analysis of the Sonatas for Organ in E Minor, BWV 528, and G Major, BWV 530, by Johann Sebastian Bach a Lecture Recital, Together with Three Recitals of Selected Works of J. Alain, D. Buxtehude, C. Franck, and Others." Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc331342/.
Abstract:
This dissertation is an analysis of two of the six sonatas for organ using rhetorical-musical prescriptions from seventeenth and eighteenth-century German theorists. It undertakes to examine the way in which lines are built by application of figurae, to observe the design of each of the six movements, and to draw conclusions concerning implications for performance based upon the use of figurae in specific contexts. The period source on melodic design and the ordering of an entire movement based upon principles of rhetoric is Johann Mattheson's Per volkommene Capelmeister (1739). Guidelines for categorization of figures derive from the twentieth-century writers Timothy Albrecht, George Buelow, Lena Jacobson, and Peter Williams. Chapter I provides justification for the rhetorical approach through a brief description of the rise of the process as applied to composition during the Baroque period by relating Bach's own familiarity with the terminology and processes of rhetorical prescription, and by describing the implications for performance in observing the sonatas from the rhetorical viewpoint. Chapter II deals with the process of composition by rhetorical prescription in (1) the invention of the subject and its figural decoration and (2) the elaboration of the subject through the sixpart discourse of an entire movement. Specific figures of decoration are defined through examples of their use within the context of the sonatas. Chapter III constitutes the analysis of the six sonata movements. Chapter IV reinforces the justification of this type of analysis. The figures, as aids for inflection and punctuation, affect decisions concerning articulation of events and assist in effecting convincing performance.
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Telesco, Paula Jean. "Enharmonicism in theory and practice in 18th-century music /." The Ohio State University, 1993. http://rave.ohiolink.edu/etdc/view?acc_num=osu148784688577955.
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Perinetti, Dario. "Hume, history and the science of human nature." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=38509.
Abstract:
This thesis sets out to show that a philosophical reflection on history is, in the strongest possible way, an essential feature of Hume's project of a science of human nature: a philosophical investigation of human nature, for Hume, cannot be successful independently of an understanding of the relation of human beings to their history. Hume intended to criticize traditional metaphysics by referring all knowledge to experience. But it is almost always assumed that Hume means by "experience" the result of an individual's past sense perception or personal observation. Accordingly, Hume's criticism of traditional metaphysics is taken to lead to an individualistic conception of knowledge and human nature. In this thesis I claim that this picture of Hume's "empiricism" is simply wrong. He is not a philosopher who reduces "experience" to the merely private happenings within a personal psychology. On the contrary, Hume has a wider notion of experience, one that includes not only personal observation and memory, but, fundamentally, one that includes implicit knowledge of human history. Experience, so understood, brings about what I term a historical point of view, namely, the point of view of someone who seeks to extend his experience as far as it is possible in order to acquire the capacity to produce more nuanced and impartial judgments in any given practice. It is precisely this historical point of view that enables us to depart from the individualistic perspective that we would otherwise be bound to adopt not only in epistemology but, most significantly, in politics, in social life, in religion, etc.Chapter 1 presents the historical background against which Hume elaborates his views of history's role in philosophy. Chapter 2 discusses and criticizes the individualist reading of Hume by showing that he had a satisfactory account of beliefs formed via human testimony. Chapter 3 presents a view of Hume on explanation that underscores his interest in practical and informal explanations as those of history. Chapter 4 provides a discussion of Hume's notion of historical experience in relation both to his theory of perception and to his project of a "science of man."
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Kotze, Hanneli. "Agogiek in historiese perspektief met spesiale verwysing na die 18de eeu." Thesis, Stellenbosch : Stellenbosch University, 1987. http://hdl.handle.net/10019.1/65460.
Abstract:
Thesis(M.Mus.) -- Stellenbosch University, 1987.VOORWOORD Die twintigste eeu beleef 'n besondere belangstelling in die outentieke uitvoering van ou musiek en dit is 'n studieveld wat reeds uitgebreid nagevors is. Desondanks bestaan daar steeds baie vraagstukke aangaande sekere uitvoeringspraktyke en styltipes en hoe ouer die musiek, hoe meer problematies word 'n outentieke uitvoering, veral as gevolg van die groot verskille tussen die moderne en ou instrumente, die speeltegnieke en die dikwels ontoereikende notasie. Die teoriee wat die twintigste eeuse musici aangaande die uitvoeringspraktyke geformuleer het, is hoofsaaklik gebaseer op ou geskrifte, verhandelinge en onderrigboeke uit die onderskeie styltydperke. Daar bestaan baie teenstrydighede tussen hierdie teoriee, veral met betrekking tot die musiek van die Barokperiode. Die uitvoering van musiek van die Klassieke en veral die Romantiese periodes is minder problematies en die redes hiervoor is hoofsaaklik die volgende: Die notasiesisteem het reeds tydens die Hoog-Klassieke tydperk tot sy huidige vorm ontwikkel. Verder het musiekkritiek en -geskiedskrywing segert die agtiende eeu toenemend meer aandag geniet en bestaan daar dus meer inligting aangaande uitvoeringspraktyke. Ten spyte daarvan dat hierdie na vorsing reeds dekades gelede begin het, is daar steeds groot onkunde daaromtrent en word daar dikwels min aandag gegee aan die outentieke uitvoering van ou musiek. Hierdie studie is 'n paging om die navorsing wat reeds gedoen is krities te ondersoek en 'n moontlike samevatting daarvan te gee.
Digitized at 300 dpi B/W PDF format (OCR), using ,KODAK i 1220 PLUS scanner. Digitised, Rebecca Patterson on 28 August 2013. Digitization of Music Thesis Project
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Jang, Laurie. "Music's debt : a study of poetic influence in mid-eighteenth century German instrumental music." Thesis, University of British Columbia, 1988. http://hdl.handle.net/2429/28075.
Abstract:
The aim of this study is to examine the correspondences of style, technique and aesthetic in poetry and music as it pertains to the musical thought and works of composers centered in Berlin 1740-1760. With the trend toward rational enquiry, the re-affirmation of the Aristotelian theory of imitation, and a return to the ideal of a union of the arts, 18th-century theorists and composers were once again preoccupied with the consanguinity of the "sister" arts of poetry and music. In particular, analogies were made between their materials of expression and the methods by which they achieved their ultimate goal of the imitation of human passions. The "problem" of textless music--i.e., its lack of semantic content--became a primary issue for aesthetic discussion and led to a re-evaluation of music's intrinsic qualities as a medium of expression.
Berlin composers working in mid-century were especially susceptible to such aesthetic developments. Led by writer/critics Lessing, Nicolai, and Mendelssohn, a unique literary renaissance characterizing the city was generating wide-spread critical debate on matters concerning the significance and meaning of art. Two major points of discussion among the literati were 1) that since classical times the arts of poetry and music had strayed too far apart, and 2) that music especially needed the support and cognitive power of a poetic text to remain a viable artistic medium. The consequences of these ideas on Berlin composers is immediately apparent in the development of the lied. In this new musical genre which achieved great popularity in Berlin, expression through text and music were considered synonymous as composers worked to close the gap between the two in their technique and methodry. However, the impact of these aesthetic beliefs is not as easily discernible in the instrumental music of mid-eighteenth century Berlin. While it was undisputed that musical tones in themselves contained some indeterminate expressive force, the rationalists' demand for concrete meaning in art led composers to develop and assess their music in terms of poetic criteria. An analysis of their works will illustrate that poetic structure, technique, and materials of expression assumed a primary role in the creation of their art. This study hopes to clarify the relationship between poetry and music through an examination of mid-eighteenth century Berlin's lied aesthetic, and selected instrumental works by J.J. Quantz and C.P.E. Bach composed in Berlin during this period.Arts, Faculty of
Music, School of
Graduate
Books on the topic "Music theory History 18th century":
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Lester, Joel. Compositional theory in the eighteenth century. Cambridge, Mass: Harvard University Press, 1992.
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Lester, Joel. Compositional theory in the eighteenth century. Cambridge, Mass: Harvard University Press, 1994.
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Street, Christensen Thomas, Beelaert Sylvester, Dejans Peter 1964-, Snyers Kathleen, and International Orpheus Academy for Music Theory, eds. Towards tonality: Aspects of Baroque music theory. Leuven: Leuven University Press, 2007.
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Street, Christensen Thomas, and Dejans Peter 1964-, eds. Towards tonality: Aspects of Baroque music theory. Leuven: Leuven University Press, 2007.
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1917-, Mann Alfred, and Parker Mary Ann 1951-, eds. Eighteenth-century music in theory and practice: Essays in honor of Alfred Mann. Stuyvesant, NY: Pendragon Press, 1994.
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Lester, Joel. Between modes and keys: German theory, 1592-1802. Stuyvesant, NY: Pendragon Press, 1989.
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Daube, J. F. The musical dilettante: A treatise on composition. Cambridge: Cambridge University Press, 2006.
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Daube, J. F. The musical dilettante: A treatise on composition. Cambridge [England]: Cambridge University Press, 1992.
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Curry, Robert, 1952 Sept. 26-, Gable David 1955-, and Marshall Robert Lewis, eds. Variations on the canon: Essays on music from Bach to Boulez in honor of Charles Rosen on his eightieth birthday. Rochester, NY: University of Rochester Press, 2008.
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Christensen, Thomas Street. Rameau and musical thought in the Enlightenment. Cambridge [England]: Cambridge University Press, 1993.
Book chapters on the topic "Music theory History 18th century":
1
Tietz, Manfred. "El teatro del Siglo de Oro y su paulatina presencia en la cultura y la literatura teatrales en los países de habla alemana durante los siglos XVII y XVIII." In Studi e saggi, 77–114. Florence: Firenze University Press, 2020. http://dx.doi.org/10.36253/978-88-5518-150-1.7.
Abstract:
The presence of the theatre of the Spanish Siglo de Oro in the theatre and literary culture of Germany (or the German-speaking countries) in the 17th and 18th centuries is a multifaceted one, and was influenced by many factors. We have to take in account that in the second half of the 17th century and in a large part of the 18th century Spain had been a terra incognita for the Germanic world. This long lack of basic knowledge led to a decontextualization of the Golden Age theatre and sometimes to an unconditional enthusiasm that was not based on historical realities. The protagonists of the ‘construction’ of a ‘Spanish national theatre’ included Lessing, Herder, Goethe, the Schlegel brothers and the philosopher Schelling, the most prominent German intellectuals of the time. Within this ‘construction’ Lope de Vega, Rojas Zorrilla and, above all, Calderón de la Barca are the three icons that will guide both the theory and the practice of drama during the ‘two most Spanish decades’ of German literary history (1790-1810), even reaching - in the secularized world of the classics and the first generation of German Romantics - the ‘deification’ of Calderón as perfect poet and author of modern tragedies (without paying much attention to his comedias in a stricter sense and without taking account of his autos sacramentales).
2
Walker, Margaret E. "The ‘Nautch’, the Veil and the Bayadère: The Indian Dance as Musical Nexus." In The Music Road, 213–35. British Academy, 2019. http://dx.doi.org/10.5871/bacad/9780197266564.003.0011.
Abstract:
During the early period of mercantile contact with India, the exotic spectacle of the Bayadères or Nautch Girls seized the imagination of western sojourners and inspired an abundance of artistic production back in Europe. The ‘dancing girl’ is found everywhere in late 18th- and 19th-century orientalist paintings, poetry, novels, and of course, ballets, operas and other musical compositions. Although there are substantial studies exploring musical orientalisms in western art music, little attention has been paid to the role of real-life performances in such musical creation. This chapter explores the influence of the colonial interaction with Indian dance performances over the long 19th century. It argues not only for a nuanced and historicised approach to musical encounter but also, given the centrality of the Nautch in the Indian context, for the crucial inclusion of dance in the global history of music.
3
Christensen, Thomas. "Music Theory and Pedagogy." In The Cambridge History of Sixteenth-Century Music, 414–38. Cambridge University Press, 2019. http://dx.doi.org/10.1017/9780511675874.013.
4
London, Justin. "Rhythm in twentieth-century theory." In The Cambridge History of Western Music Theory, 695–725. Cambridge University Press, 2002. http://dx.doi.org/10.1017/chol9780521623711.024.
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Lester, Joel. "Rameau and eighteenth-century harmonic theory." In The Cambridge History of Western Music Theory, 753–77. Cambridge University Press, 2002. http://dx.doi.org/10.1017/chol9780521623711.026.
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Barnett, Gregory. "Tonal organization in seventeenth-century music theory." In The Cambridge History of Western Music Theory, 407–55. Cambridge University Press, 2002. http://dx.doi.org/10.1017/chol9780521623711.015.
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Bernstein, David W. "Nineteenth-century harmonic theory: the Austro-German legacy." In The Cambridge History of Western Music Theory, 778–811. Cambridge University Press, 2002. http://dx.doi.org/10.1017/chol9780521623711.027.
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Klumpenhouwer, Henry. "Dualist tonal space and transformation in nineteenth-century musical thought." In The Cambridge History of Western Music Theory, 456–76. Cambridge University Press, 2002. http://dx.doi.org/10.1017/chol9780521623711.016.
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Chesnokova, Tatiana G. "Alexander Pope: History in Theory and Theory in History." In “The History of Literature”: Non-scientific sources of a scientific genre, 220–60. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2022. http://dx.doi.org/10.22455/978-5-9208-0684-0-220-260.
Abstract:
The article examines the seeds of the historical approach to the description of literary and critical phenomena in A. Pope’s literary heritage. The focus is on the mechanisms of formation and the links of those “historical” elements with the poet’s theoretical views. Basing on classicist’s points, Pope transfers his attention from the rules’ matter to their source (seen in the experience of writing) and the way of applying them to the sphere of literary criticism. It conditioned special importance for Pope of the categories of judgement, taste and “Nature methodiz’d” and formed his interest to the issues of literary criticism. Demanding that both poets and judges of poetry satiate their practice with theory, Pope starts the opposite movement as well: from ready critical formulas to their test and improvement in the process of writing and reviewing. This leads to the widening of the scope of historical description within the framework of theoretical comprehension of such subjects as criticism and poetry. Pope’s most ambitious theoretical “utterances” (such as An Essay on Criticism and The First Epistle of the Second Book of Horace, Imitated) have the form of a treatise in verse or an epistle, and the “historization” of poet’s theoretical concepts affects their poetic structure, which introduces the elements of historical description. Preparing the ground for the first histories of literature in the late 18th century, such historical reviews remain the essential element of Pope’s theoretical views and poetic works and the part of his age mental culture.
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Smith, Stuart. "Jazz and Jazz Theory." In Advances in Media, Entertainment, and the Arts, 228–309. IGI Global, 2021. http://dx.doi.org/10.4018/978-1-7998-5753-2.ch010.
Abstract:
The question “what is jazz?” has been asked regularly since the origins of this music in the early 20th century. Over this time, jazz has undergone many changes, but certain characteristics—such as a particular kind of syncopated rhythm, improvisation, and tonal harmony—have remained more or less constant. The central theme of this chapter is that these constant features constitute a common jazz practice analogous the common practice that underlay European art (“classical”) music from the mid-18th century to the end of 19th century. While the common practice in jazz is no longer at the creative cutting edge, the tradition it represents is alive and well. All of the major styles within this tradition are still performed by skilled jazz artists around the world. Jazz Theory follows.
Conference papers on the topic "Music theory History 18th century":
1
Sahnov, A., A. Klyuev, and Yuliya Litvinova. "SCOTLAND AND ITS GEOGRAPHICAL NAMES THROUGH LINGUISTICS." In Manager of the Year. FSBE Institution of Higher Education Voronezh State University of Forestry and Technologies named after G.F. Morozov, 2022. http://dx.doi.org/10.34220/my2021_281-286.
Abstract:
The article is devoted to Scotland, describes its geographical location, and also gives the most general information on the modern large cities and other settlements of Scotland as well as their most famous attractions. A brief overview of the history of Scotland, presented after a modern description of the country, gives the best idea on the creating the Scots as a nation and their national character and their national language. Some characteristic features of education, music and musical instruments, and clothing are also described in the article. The linguistic aspect explores toponyms, i.e. the major cities in Scotland, its capital Edinburgh, Aberdeen, Perth, a small but famous historical city, on the information from the dictionaries of the English language of the 18th century. The analysis of the linguistic material indicates a close connection between the language, history and culture of the nation.
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Lee, Raymond L. "Mie Theory, Airy Theory, and the Natural Rainbow." In Light and Color in the Open Air. Washington, D.C.: Optica Publishing Group, 1997. http://dx.doi.org/10.1364/lcoa.1997.lmb.1.
Abstract:
A commonplace of optics history is that Newton’s (and Descartes’) geometrical optics dominated 18th-century rainbow theory. Similarly, George Airy’s 1838 interference/diffraction theory built on Thomas Young’s work and held sway for several decades in the 19th century, although not without early detractors. The ascendance of these theories clearly depended on their ability to explain naked-eye features of the natural rainbow (i.e., bows seen in rain, clouds, or spray). However, Airy theory was soon held to a different standard: predicting the angular positions of intensity maxima and minima for spheres and cylinders illuminated by nearly monochromatic light (Boyer 1987, pp. 304-310). Despite early success with such predictions, Airy theory was found wanting by 1888, when one experimenter said that his measurements showed it to be “but a first approximation” (Boyer 1987, p. 313).