Journal articles on the topic 'Musicians – History – 18th century'
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1
Pilch, Marek. "Harpsichord or piano? Different concepts in the 18th century keyboard music." Notes Muzyczny 1, no. 9 (June 20, 2018): 65–87. http://dx.doi.org/10.5604/01.3001.0012.9899.
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The article touches on the problem musicians come across while referring to compositions without a specified instrument they were meant for. This problem is particularly noticeable in the harpsichord music from the end of the 18th century when there were numerous keyboard instruments. Some of them, so to say, were at the end of their career (harpsichord, clavichord), others only at the beginning (piano). The author of the article is primarily interested in the dependency between the piano and the harpsichord, so he asks himself whether keyboard music from the Classical period can still be part of the harpsichord repertoire and to what degree harpsichord performances of Classical compositions can be justified in performance practice. The problem is discussed especially in reference to music by W.A. Mozart. The article presents the history of views on the possibility of Mozart’s works to be performed on historical instruments. It also provides the most up-to-date information on the position of the harpsichord at the end of the 18th century. The last part of the article discusses this instrument’s role in the creative output of W.A. Mozart. It is mainly based on the latest knowledge Siegbert Rampe acquired in recent years.
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Pereverzeva, Marina V., and Anna A. Davydova. "History of Piano Technique Development: Methodical Aspect." Uchenye Zapiski RGSU 20, no. 1 (March 30, 2021): 181–88. http://dx.doi.org/10.17922/2071-5323-2021-20-1-181-188.
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The history of the development of piano technique has been counting down since the 17th century. The most common keyboard instruments before the invention of the piano were the harpsichord, clavicord and organ. These early instruments had much lighter keys compared to modern ones. Therefore, performers could easily press the keys without feeling much resistance. With the advent of the piano, both the playing technique and the training technique for professional pianists and amateurs began to be reviewed. Musicians, summarizing their own performing experience, wrote treatises, textbooks and manuals, looking for the most effective method of mastering the technique of playing the keyboard instrument. In history, there are two schools of piano technique: the so-called school of “high lifting of fingers” and “playing with all the weight of the hand”. This work is devoted to the history of the development of these schools and methodological approaches to piano training. The views on piano technique that developed in the 18th–20th centuries, which were reflected in the textbooks of pianistsperformers and teachers, help to understand how to perform music of a particular period and what finger technique to use for a perfect interpretation of piano works of the past.
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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.
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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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Krokosz, Paweł, and Karol Łopatecki. "The Military Revolution of Peter I – Quantitative Measurement." Vestnik Volgogradskogo gosudarstvennogo universiteta. Serija 4. Istorija. Regionovedenie. Mezhdunarodnye otnoshenija, no. 3 (June 2022): 208–21. http://dx.doi.org/10.15688/jvolsu4.2022.3.14.
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Introduction. The article is devoted to the analysis of the processes related to the modernization of the Russian army in the times of Peter I. Owing to the magnitude and historical momentousness of these changes, we have introduced the term “revolution” in lieu of the term “reform” used hitherto in historiography. It is significant and noteworthy that these processes took place during the regular frontline military operations of the Great Northern War (1700–1721), when the tsarist army faced the perfectly organized Swedish army. Methods. So far, theories of military revolution and neo-institutional revolution have been deployed to show the transformations taking place at the time. Without denying the previous research findings, we have presented the modernization of the Russian army in the first quarter of the 18th century in quantitative terms. Hence, we have chosen three issues – recruitment, armament, and the number of officers in the army. Not only is there a sufficient source base for these issues, but they also allow for the time function in the ongoing transformations. Results. The figures under scrutiny indicate that the success of these military transformations was largely based on the recruitment system, which was superbly adapted in Russia. This made it possible not only to establish a regular national army of more than 100,000 soldiers, but also to maintain its headcount during the war despite the losses that the army suffered. In this way, almost half a million soldiers were recruited in Russia in the first quarter of the 18th century. The article emphasizes the conditions that had to be met to establish an army that could match the Swedish adversary. A key element was arming the military with modern firearms. Thanks to foreign purchases, primarily in the Netherlands, the rearmament was completed before 1709. The organizational structure of regiments, battalions, and rotas was also reorganized, so that the appropriate number of officers, non-commissioned officers, and military musicians was adjusted to the total number of soldiers. With the introduction of military discipline, it was possible to reduce the group of officers and musicians from 18.25% (1699/1700) to 10.15% (1711).
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Rossikhina, Maryna. "The influence of the Italian vocal school on the professional formation of Ukrainian singers (the end of the XVIII – the beginning of the XIX century)." Collection of scientific works “Notes on Art Criticism”, no. 39 (September 1, 2021): 219–25. http://dx.doi.org/10.32461/2226-2180.39.2021.238727.
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The purpose of the article is to study the influences of the Italian vocal school, the traditions of Italian opera performance on the professional development of Ukrainian singers in this period. Methodology. Analysis was carried out on the basis of such methods as historical and chronological to study trends and patterns of Ukrainian music at the end of the 17th – the beginning of the 19th century, analytical – for a comprehensive consideration of the influence of Italian culture on the emergence of opera in East Slavic areas, source – for elaboration and analysis of sources, bio-bibliographic – for studying creative biographies of artists, the method of systematization – for the reduction of all found facts to a logical unity. Scientific novelty. By studying the creative biographies of prominent Ukrainian musicians (M.Berezovsky, D.Bortnyansky, M.Ivanov, S.Gulak-Artemovsky) for the first time the Italian pages of their creative biography were systematized, new facts were introduced into scientific circulation, which allow to clarify the contribution of Italian vocal culture in the development of the Ukrainian opera school at the initial stage of its formation. Conclusions. The interest of the Russian Empire in Western European, especially Italian, opera led to the rapid development of a new era in the history of musical theater in the East Slavic territories. Internships of Ukrainian musicians in Italy, invitations of Italian artists, composers, vocal teachers to the Russian Empire, joint performances on stage with foreign singers give grounds to assert the influence of the Italian vocal school on the skills of Ukrainian opera singers of the end of the 18th – the beginning of the 19th century and laying of the fundamental foundations for the development of the Ukrainian vocal school.
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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.
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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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Budzar, Maryna. "Music in Social and Cultural Environment in a Noble Estate in the end of the 18th — the mid of the 19th century: from the History of Serf Orchestra of Galagan’s Family." Kyiv Historical Studies 12, no. 1 (2021): 58–69. http://dx.doi.org/10.28925/2524-0757.2021.17.
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The issue of musical culture development in a noble estate in Ukraine from the end of the 18th — to the mid of the 19th century was considered in the article on the grounded source base. This objective has been realised via reconstruction of the creation and activity circumstances of serf orchestra belonged to Galagan’s family in the estates in Sokyryntsi and Digtiari. The purpose of the article is to analyse a summary of social and cultural factors that secured Galagan’s family estates as the centers of musical art in the atmosphere of which refined amateurship of the owners co-existed with high quality musical performance of the serf musicians. The author studies issues of inherited character of orchestra’s activity during the life of several generations of Galagan’s family in the estates in Sokyryntsi and Digtiari. Furthermore, the author considers in what way musical performance in the estates facilitated communication practices of the noble community. The main attention of the article is devoted to the issue of ambivalence of cultural space in the estates. Men from Galagan’s family were sincerely fond of music and simultaneously used it as a mean for their social status improving as well as for social reputation of their own estates. They provided an opportunity for the talented peasants to enhance the artistic abilities, secured their profession education. On the other hand, the serf-musicians remained slaves who were in complete power of their owners. The article is completed by a publication of two letters written during 1824–1831s by Petro Galagan, the owner of the estate in Digtiari to his brother Pavel who was the owner of Sokyryntsi. These texts depict the circumstances of Digtiari’s transformation into the representative residence where music played a crucial role as well as reveal the details of artistic atmosphere of the estate. The letters are published for the first time.
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Белянский, Д. В. "“The Poems of Ossian” in European Art: On the Origins of Danish Romanticism." Научный вестник Московской консерватории, no. 4(39) (December 7, 2019): 128–61. http://dx.doi.org/10.26176/mosconsv.2019.39.4.005.
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С тех пор, как во второй половине XVIII века шотландский поэт Джеймс Макферсон опубликовал «Поэмы Оссиана», этот литературный памятник оказывал огромное влияние на представителей всех видов искусств. Европейские писатели, поэты, художники, музыканты нередко воплощали «оссиановские» образы и сюжеты в своих произведениях. Это явление недостаточно освещено в российском искусствознании. В настоящей работе приводится подробный экскурс в историю «Поэм Оссиана» в европейском искусстве; в том числе, в связи с творчеством К. Д. Фридриха, Ф. О. Рунге, Ф. Шуберта, Ф. Мендельсона, Р. Шумана. Особое внимание уделяется оссиановским образам и сюжетам в творчестве датских мастеров— художника Н. Абильгора, выступившего главным «пропагандистом» Оссиана в Дании, и выдающегося датского композитора XIX века Н. Гаде, посвятившего Оссиану два значительных произведения— увертюру «Отзвуки Оссиана» и драматическую поэму (кантату) «Комала». Также в статье предпринята попытка выделить и обобщить приметы «оссиановского стиля» датских мастеров. Since the Scottish poet James Macpherson published “The Poems of Ossian” in the second half of the 18th century, this literary monument has had a tremendous impact on artists of all kinds of art. European writers, poets, artists, musicians often embodied the “ossianic” images and plots in their works. This phenomenon is not adequately covered in Russian art history. This work provides a detailed excursion into the history of “The Poems of Ossian” in European art; including in connection with the work of K. D. Friedrich, F. O. Runge, F. Schubert, F. Mendelssohn, R. Schumann. Particular attention is paid to “ossianic” images and plots in the works of Danish masters— the artist N. Abildgaard, who acted as the main “propagandist” of Ossian in Denmark, and the outstanding Danish composer of the 19th century N. Gade, who devoted two significant works to Ossian— the overture “Efterklange af Ossian”, and the dramatic poem (cantata) “Comala”. The article also attempts to highlight and generalize the signs of the “ossianic style” of Danish masters.
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Zohn, Steven. "Images of Telemann: Narratives of Reception in the Composer's Anecdote, 1750-1830." Journal of Musicology 21, no. 4 (2004): 459–86. http://dx.doi.org/10.1525/jm.2004.21.4.459.
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Studies of musical Rezeptionsgeschichte tend to construct and privilege an "official" history based largely upon the writings of scholars, critics, and lexicographers-sources full of authoritative opinions and verifiable facts. Often devalued in this process are "unofficial," unverifiable, and apparently less serious sources such as published anecdotes, which may in fact have no less to tell us about how posterity viewed a given composer. The posthumous reputation of Georg Philipp Telemann is a case in point. Almost universally revered during his lifetime but gradually reduced to the stature of a large Kleinmeister by late 18th- and early 19th-century critics and scholars, Telemann is featured in a number of anecdotes published between 1776 and 1830. These stories, some of which owe their origin to Telemann himself, reveal a more variegated picture of the man and his music than that crafted in contemporaneous intellectual circles. Aside from portraying Telemann as a sharp-witted musician who "thought quickly and beautifully," they illuminate several anecdotal archetypes and biographical tropes that served to demystify the nature of genius for musical Liebhaber, the main consumers of such tales.
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Stevens, D. "Musicians in 18th-century Venice." Early Music XX, no. 4 (November 1, 1992): 703. http://dx.doi.org/10.1093/em/xx.4.703-a.
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Panov, Alexei A., and Ivan V. Rosanoff. "Performing Ornaments in English Harpsichord Music. Part II." Vestnik of Saint Petersburg University. Arts 12, no. 1 (2022): 4–32. http://dx.doi.org/10.21638/spbu15.2022.101.
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This article continues a series of publications on problems pertaining to performing ornaments on keyboard musical instruments in England of the 17th–18th centuries according to historical documents of that time. The authors consider the history of the publication of the ornamentation table with thirteen embellishments compiled by Charles Coleman and published in the treatises The Division-Violist by Christopher Simpson (1659) and A Brief Introduction to the Skill of Musick by John Playford (1660). Among other matters, various aspects in the Rules of Graces worded by Henry Purcell (A Choice Collection of Lessons for the Harpsichord or Spinnet, 1696) are discussed. In particular, in the table published by Simpson, special attention is paid to a comprehensive review of the realization of such ornaments as “[The] Backfall shaked” and “[The] Shaked Beat”. In “Rules of Graces” contained in Purcell’s A Choice Collection, the authors turned to the ornaments called “[The] beat” and “a plain note & shake”, as well as to the following well-known instruction formulated by the famous musician: “observe that you allway’s shake from the note above and beat from ye note or half note below, according to the key you play in <…>”. In the course of the research, numerous errors and inaccuracies were discovered and noted in the scientific and reference-encyclopedic literature of the 20th century concerning the interpretation of ornaments in England in the second half of the 17th century and in the content of English musical treatises of that time.
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Žarskienė, Rūta. "The Sound of Trumpet will Stir the World and Raise the Dead: Prayers Accompanied by Brass Instruments in the Folk Piety Tradition." Tautosakos darbai 55 (June 25, 2018): 177–97. http://dx.doi.org/10.51554/td.2018.28504.
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The article focuses on a phenomenon that has so far evaded scholarly attention and research. Apparently, in Samogitia, where brass instruments still play at traditional Catholic or even Lutheran funerals and death anniversaries, participate in the Easter morning processions and the Catholic Church feasts (Lith. atlaidai), yet another practice of folk piety involving brass instruments is thriving: i.e. prayers at the graveside in summer time, during Catholic Church feasts and All Souls’ Day (more frequently still, All Saints’ Day). During her fieldwork of 2013–2017 in various parts of Mažeikiai and Skuodas districts, the author of the article gathered material on this folk piety practice in religious feasts of Saint Mary Magdalene, Saint Roch, and Saint Anne etc. taking place in Grūstė, Ylakiai, Židikai, Vaičaičiai and elsewhere. These feasts take place in cemeteries, while the Mass, their main sacral highlight, is performed in the cemetery chapel or in a nearby church. People gather to the feasts in order to visit the graves of their diseased and meet with their relatives, inviting brass musicians to perform the ritual at the graveside. The ritual comprises several parts: intention, the sign of the cross in the beginning and at the end, prayers (the Lord’s Prayer, the Hail Mary, and “Eternal Rest”), a stanza from a popular traditional religious hymn, which is both sung and played, the prayer “Eternal Rest”, which is both sung and played antiphonally this time, and traditional Catholic greeting (“Honor be to Jesus Christ”). These parts make up a slightly varying “scenario”, which usually takes 3 to 3,5 minutes to perform. The structure of ensembles (from 2 to 4 musicians), their age (from 12 to 83 years old), the actual instruments (trumpets, tuba, tenor, baritone, saxophone, etc.), and style of performance also vary. The self-educated musicians of the elder generation usually play in the traditional way, i.e. loudly, slowly and inaccurately. The younger generation representatives, usually having acquired some professional music education, have adopted more esthetic style of performance, using reduced volume and “intermediate” fragments to fill in the pauses. In 2017, the tendency was noted of forgoing prayers and including several stanzas of a particularly popular modern hymn instead of one. This would indicate an attempt at changing the tradition in order to adapt to the popular culture, or even belonging to it. In search for roots of this custom of folk piety, the author of the article employs the historical sources from the 17th–18th centuries. According to her analysis, the main point of the ritual – the prayer “Eternal Rest” – was actively used not only in the rituals of the 19th–20th century, but also as early as the Baroque period, while its origins may reach back to the medieval teachings on purgatory. The last line of this prayer (“May they rest in peace. Amen”) was used as a quiver prayer. The arrow as symbol was highly favored in Baroque heraldic, poetry, panegyrics; it used to be compared not only to prayer, but also to the loud and powerful sound of the brass instruments. The brass instruments acted as a concurrent accompaniment of both religious and secular festivals of the time, playing an important role both in the Roman Catholic and in the Evangelical Lutheran traditions. While seeking to clarify the reasons for trumpets being played at cemeteries and the meaning of this ritual, it appeared that in the Catholic Samogitia there still survives a belief in the trumpet accompanied prayer to have the power of alleviating the suffering of souls in the purgatory. People inviting the brass musicians to play at the graveside even in the modern times believe that such prayer goes straight to heaven and easily reaches the God.
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Stevens, Denis. "ICONOGRAPHY: Musicians in 18th-century Venice." Early Music XX, no. 3 (August 1992): 403–8. http://dx.doi.org/10.1093/earlyj/xx.3.403.
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Sutulova, Nataliia. "Piano sound phenomenon in English-language scientific discourse." Aspects of Historical Musicology 27, no. 27 (December 27, 2022): 24–39. http://dx.doi.org/10.34064/khnum2-27.02.
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Statement of the problem. The process of achieving an aesthetically appealing and artistically true piano sound has long been a subject of research for musicians. In recent decades, domestic performance practice has relied on this issue mostly on the professional literature created back in the Soviet period. But the process of integrating Ukrainian musical education and performance into the European and world cultural space requires the study of alternative sources, primarily English-language ones, that reflect the experience of performers in different countries of the world, as well as correlations and the introduction of relevant terminology into scientific and practical circulation. Analyzing recent publications, we established that the phenomenon of the piano in general and piano sound in particular is considered from different points in the works of J. Parakilas (2000), E. Hiebert (2013), V. Raad (1977), G. Fitch (2016a,b; 2022), Shen Li and R. Timmers (2021), M. Keane (2013), Chuan C. Chang (2009), I. Masters (2021), and others. The purpose of this article was to study the approaches to the phenomenon of piano sound available in the English-language scientific literature. For the first time, a number of Englishlanguage sources dedicated to the phenomenon of piano sound have been included in domestic scientific circulation. Systematic and comparative methods, as well as terminological analysis used in the study, made it possible to distinguish different contexts, in which the phenomenon of piano sound is presented in scientific discourse: performance-practical, psychological, historical, organological (due to the structural features of the instruments). Research results. One of the approaches to the study of the piano sound phenomenon is the study of the history of the piano, its place in European culture and its social functions, as in the work of J. Parakilas (2000), where the author describes the history of the functioning of the piano during the 18th–20th centuries. The sound of the piano in the historical, stylistic and organological contexts is considered by I. Masters (2021), who investigated the structural and sound features of the London and Viennese pianos (second half of the 18th century) and their influence on the specifics of the piano texture, structure of themes, articulation and stroke palette of the works of pianists and composers of the London and Vienna schools. A purely performance and practical perspective is found in Chuan C. Chang’s book (2009), which covers most aspects of piano playing. Another example of a purely practical approach to the study of piano sound is the articles by G. Fitch (2016a,b; 2022), where he considers the process of creating an aesthetically pleasing sound. Another perspective on piano sound and playing is interdisciplinary, where musicology interacts with acoustics, psychology, and physiology (Keane, 2013; Li, & Timmers, 2021). Conclusions. A review of professional sources shows that the piano sound in the modern English-language scientific discourse is considered as a complex multifaceted phenomenon. The main and special concepts describing the sound of the piano are “tone”, “voicing”, “layering”. The first two terms have an ambiguous interpretation: some authors understand the quality of the instrument’s sound as the result of the performer’s actions, others as a certain manner of playing, and others as, first of all, the character of the sound determined by the design and technical condition of the instrument.
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MIRKA, DANUTA. "The Cadence of Mozart's Cadenzas." Journal of Musicology 22, no. 2 (2005): 292–325. http://dx.doi.org/10.1525/jm.2005.22.2.292.
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ABSTRACT The cadenzas Mozart supplied for his piano concertos are designed to close with a standard schema that conforms to the cadence as it was understood by musicians of the 18th century and described by such writers as Heinrich Christoph Koch. Melodic ingredients included the note of preparation, the cadential note, and the caesura note. The cadential schema may be elongated and manipulated in diverse ways, and in extreme cases, as witnessed in Mozart's practice, manipulations of the schema may yield sophisticated strategies that encompass several phases of approaching closure. Since the cadence of the cadenza served as a crucial means of communication between soloist and orchestra, its playful handling by the soloist presumably elicited amusing behavior among the orchestral musicians as they prepared to enter for the end of the final ritornello. This factor contributed a certain visual dimension to the communication between soloist and audience, in accordance with the aesthetic of witticism ascribed to the cadenza by 18th-century writers.
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Sheng, Yihao. "Differences Between Beethoven’s Symphony Composing Characteristics With 18th-Century Symphony Music." Asian Journal of Social Science Studies 7, no. 8 (August 29, 2022): 45. http://dx.doi.org/10.20849/ajsss.v7i8.1266.
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Compared with Mozart whose deeply influenced by J.S Bach’s music interpreted the characteristics of music, as “men serve god”. Except for the strong religious elements, both Haydn and Mozart had experiences employed as court musicians making their music more ingratiate the royalties which is so much different from Beethoven’s music realism. “Every rational person can advance society, and a person of genius can unhinge the world.” Fully expressed the enlightenment elements in his music, especially after the French revolution.
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Fleming, Simon. "Harmony and Brotherly Love: Musicians and Freemasonry in 18th-Century Durham City." Musical Times 149, no. 1904 (October 1, 2008): 69. http://dx.doi.org/10.2307/25434556.
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Vojtěšková, Jana. "Letters from the Morawetz Collection (Musicians of Czech Origin in European Centres at the Turn of the 18th and 19th Centuries)." Musicalia 13, no. 1-2 (2022): 6–45. http://dx.doi.org/10.37520/muscz.2021.001.
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The article deals with the oldest music-related documents from the Morawetz collection (most of which come from the collection of Friedrich Donebauer), which the Czech Museum of Music obtained in 2003 and 2008. Specifically, this involves letters of musicians from Bohemia who were working in German-speaking countries around the end of the 18th century and the beginning of the 19th (Jiří Antonín Benda, Leopold Koželuh, Antonín František Bečvařovský, and Jan Václav Hugo Voříšek). The study presents a critical edition of six letters and one receipt and their translations into Czech and English. On that basis, there is an examination of context within the framework of the lives of the individual musicians and of the period musical milieu. The letters document cultural exchange, tastes, and the stylistic orientation of the period as well as of the music business in Europe at the end of the 18th century and the beginning of the 19th. Voříšek’s letter documents the period reception of a Mass by Jan Václav Tomášek in Vienna in 1815.
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Burganova, Maria A. "LETTER FROM THE EDITOR." Scientific and analytical journal Burganov House. The space of culture 18, no. 1 (March 10, 2022): 6–9. http://dx.doi.org/10.36340/2071-6818-2022-18-1-6-9.
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Dear readers, We are pleased to present to you Issue 1. 2022, of the scientific and analytical journal Burganov House. The Space of Culture. Upon the recommendation of the Expert Council of the Higher Attestation Commission, the journal is included in the List of Leading Peer-reviewed Scientific Journals and Publications in which the main scientific results of theses for the academic degrees of doctor and candidate of science must be published. The journal publishes scientific articles by leading specialists in various humanitarian fields, doctoral students, and graduate students. Research areas concern topical problems in multiple areas of culture, art, philology, and linguistics. This versatility of the review reveals the main specificity of the journal, which represents the current state of the cultural space. The issue opens with the article "Al Noor Island - a Place Where Art and Culture Meet Nature" by J. Smolenkova. It is devoted to modern architecture and touches upon the philosophy of architecture ecology as a new concept of contemporary construction. On the example of a unique project implemented on the island of Al Noor in the UAE, the author considers examples of pavilions and sculptural installations, united by the theme of new aesthetics and humanistic mutual influence of nature and architecture as new realities of modern society. In her article "Glasstress: a Transparent Border Between Mimicry and Mimesis", M. Burganova analyses the modern artistic process that began in the middle of the 20th century as part of the craft + art concept using the example of "Glasstress. Window to the Future” exhibition, held in the State Hermitage Museum in St. Petersburg. The Stalinist Empire style, a unique phenomenon in the architecture of the Soviet period, is analysed by V. Slepukhin in the article "Soviet Architecture of the 1930-1950s". The author determines its place among such architectural styles and trends as Art Nouveau, Rationalism and Constructivism and gives a detailed description. In the article “Palladian Architecture of Denmark in the 17th-18th Centuries”, O. Tsvetkova considers the evolution of architecture in Denmark in the 17th-18th centuries, explores the influence of French classicism and Dutch Palladianism on national manifestations of style. On the example of specific buildings, the chronology of the classical architectural tradition development is traced. The creative continuity of architectural dynasties is studied in the context of the pan-European architectural trends of the time; the history of the Danish architecture development is traced. I. Pavlova continues the theme of dialogues in art in the article “The Role of the ‘English’ Theme in One of the Episodes of L. Tolstoy’s Novel, Anna Karenina". The author expresses the opinion that the development of the "English" theme in the episodes of the races and preparations for them serves to dispell false values, the ephemeral virtues of Tolstoy's contemporary society, pride and arrogance. The author believes that the main role of the "English" theme lies in the development and implementation of the moralistic setting of the novel, the expansion of the content space of the work and depiction of the dramatic image of the era. In the article "V. Borovikovsky’s Sketch ‘God the Father Contemplating Dead Christ’ As a Synthesis of Western European and Orthodox Traditions”, V. Makhonina considers iconographic interpretations of the plot and conducts a stylistic analysis of the work. The article "The Concept - Text - Interpretation Triad in Piano Music of the Second Half of the 20th - 21st Centuries" by O. Krasnogorova is devoted to the problems of the performing arts of modern times in the context of the general system of humanitarian thinking. The concept of interpretation from the standpoint of conceptual metaphors and research in the field of musical semiology are considered by the author. In the article, the broad interpretation of a musical text goes beyond the actual musical text into the area of ??signs, metaphors and metonyms. In the article "Instrumental Performance on Wind and Percussion Instruments in the Context of Traditional Rituals Accompanying Work in China", Huang Shuai analyses traditional Chinese wind and percussion instruments; he considers such issues as instrumental combinations and musicians. The author applies the historical research method, source study and musicological analysis of audio and video materials. The publication is addressed to professionals specialising in the theory and practice of the fine arts and philology and all those interested in the arts and culture.
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Kuzminskyi, Ivan, and Vladyslav Bezpalko. "Singers of Pereyaslav bishops in the 18th century." Text and Image: Essential Problems in Art History, no. 1 (2022): 99–122. http://dx.doi.org/10.17721/2519-4801.2022.1.08.
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The proposed article is based on the corpus of historical sources of the 18th century and is devoted to the study of the singers of bishops of Pereyaslav. We found documentary evidence of the singers in 9 of the 14 bishops of Pereyaslav. According to the traditional order at the episcopal cathedrals of the Hetmanate, during the services, only the monks (kryloshany) sang. This tradition can be eloquently traced in the Pereyaslav Ascension Cathedral and other monasteries of the Pereyaslav eparchy during the 1720-1740s. The total number of singers in the cathedral monastery ranged from 5 to 9 people. At the head of the monks were two ustavnyky, who ruled the right and left choirs. And only in 1722, by a special decree, the Most Holy Governing Synod unified the rules, which primarily concerned the Ukrainian eparches. Since then, the order for the service of 10 singers has been established in the bishop's houses. Despite this, even before the decree was issued, vicar bishop Cyryl Szumlański was served by his own singers, led by the regent. The presence of the regent can be traced in the service of the next vicar bishop Joachim Strukov. Both the church monody and the polyphony sounded in the cathedral. We draw this conclusion from the available music books. Bishop Joakim Strukov in Pereyaslav owned the Heirmologia with musical notation, and in the time of Bishop Arseniy Berlo in the cathedral the musical-theoretical treatise of Mikołaj Dilecki "Musical Grammar" was rewritten. On the cover of this manuscript it was stated that one day a solemn partesnyi concert was performed. In connection with the last musical manuscript, the bishop's intention to introduce and consolidate innovations in the field of music education can be traced, when the aim of the students was to master the art of partes singing at a qualitatively better level. In addition to the above, this thesis is confirmed by information from the life of the singer of one of the previous bishops, when the teaching of partes singing took place outside Pereyaslav. The bishops' singers were called "pivchi" in authentic terminology, which we see both in documents from the archives of the Most Holy Governing Synod in St. Petersburg and in local documents from Pereyaslav. Beginning with the act sources of 1760 and at least until 1782, the group of bishop's singers was called "vocal music". During the same period, there is another name for this vocal group, which was used for internal use - "pivcha", which probably meant primarily a separate room where the singers lived. The choir was financed, first of all, from the bishop's treasury. And the singers received additional income by collecting money from the parishioners in a "singing mug", a special container for donations. According to expenditure sources, the funds received went to sewing, repairs, as well as the purchase of clothing and footwear. Among the information found in the sources about the singers, the total number of which reaches 29 names, not counting the mentioned singers without names and monks, we find representatives of various social stratum - children of clergy, Cossacks, burghers, commoners. For many of them, singing in the cathedral choir was not only an opportunity to earn a steady income, but also served as a springboard for career growth, for the rank of priest, or a place as a singer in one of the imperial capital choirs. In the second half of the 18th century there is a certain pattern, when most singers were disadvantaged, mostly orphans. In the life of the Pereyaslav bishops there were contacts with secular musicians-instrumentalists. In the 1720s, a bandura player served to vicar bishop Joachim Strukov. In the early 1780s, Hilarion Kondratkovskyi used the services of military musicians for solemn greetings during church holidays.
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Bauman, Thomas. "Musicians in the marketplace: the Venetian guild of instrumentalists in the later 18th century." Early Music XIX, no. 3 (August 1991): 345–56. http://dx.doi.org/10.1093/earlyj/xix.3.345.
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Carroll, Jerome. "William James and 18th-century anthropology." History of the Human Sciences 31, no. 3 (May 9, 2018): 3–20. http://dx.doi.org/10.1177/0952695118764060.
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This article discusses the common ground between William James and the tradition of philosophical anthropology. Recent commentators on this overlap have characterised philosophical anthropology as combining science (in particular biology and medicine) and Kantian teleology, for instance in Kant’s seminal definition of anthropology as being concerned with what the human being makes of itself, as distinct from what attributes it is given by nature. This article registers the tension between Kantian thinking, which reckons to ground experience in a priori categories, and William James’s psychology, which begins and ends with experience. It explores overlap between James’s approach and the characteristic holism of 18th-century philosophical anthropology, which centres on the idea of understanding and analysing the human as a whole, and presents the main anthropological elements of James’s position, namely his antipathy to separation, his concerns about the binomial terms of traditional philosophy, his preference for experience over substances, his sense that this holist doctrine of experience shows a way out of sterile impasses, a preference for description over causation, and scepticism. It then goes on to register the common ground with key ideas in the work of anthropologists from around 1800, along with some references to anthropologists who come in James’s wake, in particular Max Scheler and Arnold Gehlen, in order to reconceptualise the connection between James’s ideas and the tradition of anthropological thinking in German letters since the late 18th-century, beyond its characterisation as a combination of scientific positivism and teleology.
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Marker, Gary. "The Ambiguities of the 18th Century." Kritika: Explorations in Russian and Eurasian History 2, no. 2 (2001): 241–52. http://dx.doi.org/10.1353/kri.2008.0094.
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Rjéoutski, Vladislav. "Key Concepts in 18th-Century Russia." Kritika: Explorations in Russian and Eurasian History 21, no. 2 (2020): 319–25. http://dx.doi.org/10.1353/kri.2020.0014.
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Speck, W. A. "Will the Real 18th Century stand up?" Historical Journal 34, no. 1 (March 1991): 203–6. http://dx.doi.org/10.1017/s0018246x00014011.
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Hewson, John. "An 18th-century Missionary Grammarian." Historiographia Linguistica 21, no. 1-2 (January 1, 1994): 65–76. http://dx.doi.org/10.1075/hl.21.1-2.04hew.
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Summary Until the publication of the Micmac grammar of Father Pacifique (1939, 1990), the only published grammar of Micmac was that of Father Pierre-Antoine Maillard (c. 1710–1762), which although it was written early in the 18th century, was not published until the middle of the 19th century (1864). This work has formed the basis of all subsequent linguistic analysis of Micmac, since the missionary priests used it to help them learn the language, and Father Pacifique, in his 1939 grammar (which is today used as a handbook by those learning the language) acknowledges his profound debt to his distinguished predecessor.
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Schalow, Paul, and C. Andrew Gerstle. "18th Century Japan: Culture and Society." Monumenta Nipponica 45, no. 3 (1990): 363. http://dx.doi.org/10.2307/2384912.
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Vekerdi, József. "An 18th-century Transylvanian Gypsy Vocabulary." Acta Orientalia Academiae Scientiarum Hungaricae 59, no. 3 (September 2006): 347–60. http://dx.doi.org/10.1556/aorient.59.2006.3.5.
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Simon, Jonathan. "A material perspective on 18th-century chemistry." Metascience 19, no. 1 (March 2010): 71–73. http://dx.doi.org/10.1007/s11016-010-9355-x.
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Weiller, Kenneth J., and Philip Mirowski. "Rates of interest in 18th century England." Explorations in Economic History 27, no. 1 (January 1990): 1–28. http://dx.doi.org/10.1016/0014-4983(90)90002-g.
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Chamczyk, Ewa. "Pojedynki dźwiękiem pisane. Pietro Antonio Locatelli versus Jean-Marie Leclair." Kwartalnik Młodych Muzykologów UJ, no. 47 (4) (2020): 71–104. http://dx.doi.org/10.4467/23537094kmmuj.20.018.13204.
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Duels of the Sound: Pietro Antonio Locatelli Versus Jean-Marie Leclair The tradition of musical duels harkens back to the days of the ancient Greece. One of the earliest examples of a musical rivalry is the myth of Marsyas and Apollo, which ends tragically for the satyr. Without doubt, the battles of the ancients served as an inspiration for the next generations of musicians. In each era, they took a different form, tailored to the prevailing norms and customs. In the 16th century the singing competitions of the Meistersingers became extremely popular, and along with the development of instrumental music in 17th century, duels, in which the main subject-matter of the dispute was the superiority of one of the performers in terms of interpretation and fluidity in playing a given instrument, gained increased importance. A real boom of musical duels did not came along until 18th century, in which public concerts bloomed and along with it, the demand for virtuoso instrumentalists increased. During that era, musical duels were not only confrontations between specific musicians or their patrons, but also contributed to the exchange of experiences between the artists and the spread of musical news and the works themselves. Additionally, the battles symbolised a confrontation of musical styles, in particular the Italian and French styles. Jean-Marie Leclair, known as the French Corelli, is considered by many researches as the founder of the French violin school. Pietro Antonio Locatelli, an heir to the legacy of Arcangelo Corelli is justifiably considered the Paganini of the 18th century. Their music has shared roots in the tradition of the Italian violin school, yet it differs both in terms of its formality as well as expressiveness. At first glance the French music of J.M. Leclair bears the imprint of standards of the violin concerts of Antonio Vivaldi, whereas the typically Italian works of P.A. Locatelli significantly transcend the norms accepted at that time in terms of requirements imposed on violinists. We know that the first confrontation of the violinists took place on 22 December 1728 at the manor in Kassel. However, some speculate that it was not the only meeting of the musicians. The preserved information suggest that both of them stirred strong emotions among the audiences with their playing. The profiles of the aforementioned composers, despite their immense importance on the development of violin music, still remain underrated. This article outlines the short story of musical duels and sheds light on violin concerts in the first half of the 18th century. Additionally, the author made an attempt of a comparative analysis of selected violin concerts, i.e. Locatelli’s Violin Concerto in G major, Op. 3, No. 9 and Violin Concerto in A minor Op. 7, No. 5 by Jean-Marie Leclair’s from a similar artistic period of both composers and close in terms of the time of their creation to their famous duel.
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Stimson, S. C. "Political and economic theory in the 18th century." History of the Human Sciences 21, no. 1 (February 2008): 161–65. http://dx.doi.org/10.1177/09526951080210010104.
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Świtalska, Alicja. "IN BRIEF POLICE CITY HISTORY TO THE 18TH CENTURY." space&FORM 2018, no. 33 (March 30, 2018): 287–300. http://dx.doi.org/10.21005/pif.2018.33.e-02.
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Pichugin, Pavel V. "History of Theological Seminary Library in Novgorod (18th century)." Bibliotekovedenie [Russian Journal of Library Science], no. 6 (December 12, 2011): 94–99. http://dx.doi.org/10.25281/0869-608x-2011-0-6-94-99.
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Ratto, Adrián. "Voltaire, Diderot, and Russian History in the 18th Century." Eidos 36 (August 19, 2021): 318–42. http://dx.doi.org/10.14482/eidos.36.194.03.
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En las primeras páginas de la Histoire de l’empire de Russie sous Pierre le Grand, publicada entre 1759 y 1763, Voltaire presenta una serie de reflexiones acerca del método que se debería seguir al escribir un trabajo histórico y de las características que debería tener un historiador ideal. El objetivo de este trabajo es evaluar en qué medida el texto se ajusta a la metodología que Voltaire se propone seguir. Se intenta mostrar que el autor se aleja por momentos de la misma, poniendo en riesgo el plan de la obra. Por otra parte, el artículo pone de relieve ciertas diferencias ideológicas y epistemológicas entre Voltaire y Diderot a propósito de la historia rusa, algo que puede resultar llamativo, en la medida en que sus textos son colocados, en general, bajo las mismas categorías historiográficas. En un plano más general, el texto arroja algunas luces acerca de la teoría de la historia en el siècle des Lumières.
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Gerstle, C. Andrew. "The Sense of History in 18th Century Jōruri Drama." Maske und Kothurn 35, no. 2-3 (September 1989): 39–54. http://dx.doi.org/10.7767/muk.1989.35.23.39.
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Helgason, Jon. "Why ABC Matters: Lexicography and Literary History." Culture Unbound 2, no. 4 (November 4, 2010): 515–27. http://dx.doi.org/10.3384/cu.2000.1525.10230515.
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The purpose of this article is twofold. First, I wish to discuss the origins of The Swedish Academy Dictionary against the backdrop of the social and cultural history of lexicography in 18th and 19th century Europe. Second, to consider material aspects of lexicography – the dictionary as interface – in light of German media scientist Friedrich Kittler’s “media materialism”. Ultimately, both purposes intend to describe how letters and writing have been constructed and arranged through-out the course of history. In Kittler’s view, “the intimization of literature”, that took place during second half of the 18th century, brought about a fundamental change in the way language and text were perceived. However, parallel to this development an institutionalization and disciplining of language and literature took place. The rise of modern society, the nation state, print capitalism and modern science in 18th century Europe necessitated (and were furthered by) a disciplining of language and literature. This era was for these reasons a golden age for lexicographers and scholars whose work focused on the vernacular. In this article the rise of the alphabetically ordered dictionary and the corresponding downfall of the topical dictionary that occurred around 1700 is regarded as a technological threshold. This development is interesting not only within the field of history of lexicography, but arguably also, since information and thought are connected to the basic principles of mediality, this development has bearings on the epistemo-logical revolution of the 18th century witnessed in, among other things, Enlightenment thought and literature.
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Shore, Heather. "Print Culture, Crime and Justice in 18th-Century London." Social History 41, no. 1 (January 2, 2016): 111–13. http://dx.doi.org/10.1080/03071022.2015.1112987.
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Hilaire-Perez, Liliane. "Invention and the State in 18th-Century France." Technology and Culture 32, no. 4 (October 1991): 911. http://dx.doi.org/10.2307/3106156.
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Høst-Madsen, Lene. "An 18th-century timber wharf in Copenhagen Harbour." Post-Medieval Archaeology 40, no. 2 (September 2006): 259–71. http://dx.doi.org/10.1179/174581306x160107.
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Blanco, Mónica. "Thomas Simpson: Weaving fluxions in 18th-century London." Historia Mathematica 41, no. 1 (February 2014): 38–81. http://dx.doi.org/10.1016/j.hm.2013.07.001.
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Božić Bogović, Dubravka, and Mihaela Komar. "Demographic Indicators in the Registers of Marriages of the 18th Century Parish of Miholjac." Review of Croatian history 16, no. 1 (August 1, 2020): 159–75. http://dx.doi.org/10.22586/review.v16i1.11340.
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This paper, using historical demography methods, as well as quantitative, analytical and descriptive methods, determines, analyses and interprets the demographic indicators contained in the registers of marriages of the 18th century Parish of Miholjac. In addition to identifying the corpus of the data contained in the registers of marriages, to be potentially used as indicators of certain demographic facts relating to the past of the population of the 18th century Donji Miholjac and its immediate surroundings, the paper also determines the annual, seasonal, monthly and daily distribution of marriages and examines the level of the impact which social, religious, cultural, and economic factors had on entering into marriage. The assumption that the population of the 18th century Parish of Miholjac did not enter the demographic transition phase, in other words that it exhibits characteristics specific to pre-transitional societies, is verified by determining the age of newlyweds when entering marriage and by analysing remarriages.
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González Vázquez, Araceli, and Montserrat Benítez Fernández. "British 18th-Century Orientalism and Arabic Dialectology." Historiographia Linguistica 43, no. 1-2 (June 24, 2016): 61–97. http://dx.doi.org/10.1075/hl.43.1-2.03gon.
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Summary This article examines a relatively unknown 18th century European source on Moroccan Arabic. It is the article entitled “Dialogues on the vulgar Arabick of Morocco”, published in London in 1797 by William Price (1771–1830), a self-taught linguist and orientalist from Worcester, England. Price’s work is one of the few European texts predating 1800 focused on Moroccan Arabic, and providing some information about this linguistic variety. As we explain, Price obtained these “Dialogues” from “some natives of Barbary”, who happened to be in London. In the first four sections of the article, we examine the life and works of William Price, we place his activities as an expert in Arabic and other of the so-called “Oriental languages” in the context of 18th century British Orientalism, and we analyse the contents of the “Dialogues” provided in his article. These “Dialogues” consist of a conversation between two interlocutors who are taking a stroll in a walled coastal town of the Moroccan Atlantic strip. The fifth section of our contribution is a linguistic dialectological analysis of both the Arabic and Latin character transcriptions of Moroccan Arabic provided by Price. We analyse different issues concerning the transcriptions given, and we focus our linguistic study on phonological, morphological and syntactical issues.
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Popova, Ludmila. "The Vision of a Human in the History of the Concept of «Law»: Lexicographic and Functional Aspects." Philology & Human, no. 3 (September 9, 2022): 123–33. http://dx.doi.org/10.14258/filichel(2022)3-09.
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The vision of a person in the historical structure of the concept of «law» is considered on the basis of subject nominations in the lexical family «law» as the core of the concept. In the language of the 11th–19th centuries the thematic groups of nominations are singled out in lexicography as follows: subjects establishing laws; subjects implementing laws and subjects monitoring the implementation of laws; subjects aware of laws and interpreting them; subjects violating the law; household members in relation to the law. The predominantly religious nature of the nominations until the 18th century is noted. Since the 18th century a tendency to differentiation of religious and legal semantics was recorded as well as a decrease in the number religious nominations. In the 18th–19th centuries the dominance of nominations with legal semantics is revealed. The use of many nominations of the 18th century for the political-legal and religious realias of other nations is noted. A different scope of the nominations of subjects in relation to the law of the 18th–19th centuries is revealed in the National Corpus of the Russian Language, the tendency to transfer the nominations to non-religious spheres is confirmed.
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Pandey, Uma Shanker. "French Academic Forays in the Eighteenth-Century North India." Indian Historical Review 46, no. 2 (December 2019): 195–206. http://dx.doi.org/10.1177/0376983619889515.
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French adventurers’ academic forays in the 18th century in India has so far received little scholarly attention. Except some stray remarks and mentioning, it has not been taken up systematically. The present article is an exercise to show that some of the French military adventurers had been touched and impressed by Indian culture and civilization. They, therefore, carried out passionate explorations of Indian books and manuscripts, not only to understand India better but also to acquaint the Occident more. in the process, some them emerged as great collectors. they were pioneers also, in the sense that they were forerunners to the British Indologists who appeared on Indian academic horizon in the last quarter of the 18th century. Anquetil Duperron, Polier, and Gentil were among the the great collectors of books and manuscripts during the time.
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Paczkowski, Szymon. "Research on 18th Century Music in Poland. An Introduction." Musicology Today 13, no. 1 (December 1, 2016): 41–52. http://dx.doi.org/10.1515/muso-2016-0008.
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Abstract Research on 18th-century music has been one of the key areas of interest for musicologists ever since the beginnings of musicological studies in Poland. It initially developed along two distinct lines: general music history (with publications mostly in foreign languages) and local history (mostly in Polish). In the last three decades the dominant tendency among Polish researchers has been, however, to relate problems of 18th-century Polish musical culture to the political history of the Polish-Lithuanian Commonwealth and more generally – to the political history of Central Europe at large. The most important subjects taken up in research on 18th-century music include: the musical cultures of the royal court in 18th-century Warsaw (primarily in the works of Alina Żórawska-Witkowska) as well as Polish aristocratic residences (e.g. studies by Szymon Paczkowski and Irena Bieńkowska), the ecclesiastical and monastic circles (publications by Alina Mądry, Paweł Podejko, Remigiusz Pośpiech and Tomasz Jeż); problems of musical style (texts by Szymon Paczkowski); research on sources containing music by European composers (e.g. by Johann Adolf Hasse); the musical culture of cities (of Gdańsk, first and foremost); studies concerning the transfer of music and music-related materials, the musical centres and peripheries, etc.
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pelli, Moshe. "Literature of Haskalah in the Late 18th Century." Zeitschrift für Religions- und Geistesgeschichte 52, no. 4 (2000): 333–48. http://dx.doi.org/10.1163/15700739-90000092.
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Rutten, Gijsbert. "‘Lowthian’ Linguistics across the North Sea." Historiographia Linguistica 39, no. 1 (March 22, 2012): 43–60. http://dx.doi.org/10.1075/hl.39.1.04rut.
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Summary This paper focuses on Dutch grammar-writing in the 18th century so as to put the linguistic works of Robert Lowth (1710–1787) in an international, comparative perspective. It demonstrates that certain characteristics of the “Lowthian” approach to grammar and of 18th-century English linguistics in general are parallelled by similar developments in the history of Dutch linguistics. The transition from normative grammar to prescriptive grammar which characterises the English late 18th century has a counterpart in the Dutch development from ‘civil’ to national grammar. Lowth’s recognition of different stylistic levels with corresponding levels of grammatical acceptability has a Dutch counterpart as well. The transition towards prescriptivism and the relevance of different stylistic levels are closely connected, which is exemplified by a case study on the treatment of adnominal inflection in 18th-century grammars of Dutch.
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Sánchez-Raygada, Carlos. "Confraternities’ Constitutions and Patronato Real in 18th-century Lima." Rechtsgeschichte - Legal History 2020, no. 28 (2020): 324–25. http://dx.doi.org/10.12946/rg28/324-325.
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DOMONEY, K., A. J. SHORTLAND, and S. KUHN. "CHARACTERIZATION OF 18TH-CENTURY MEISSEN PORCELAIN USING SEM-EDS*." Archaeometry 54, no. 3 (August 22, 2011): 454–74. http://dx.doi.org/10.1111/j.1475-4754.2011.00626.x.
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