Journal articles on the topic 'Piano music 18th century'
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1
Danilova, Yana Yu. "The Acoustic Images of Quasi-Ensemble Music-Making in the Slow Section of Mozart’s Clavier Sonata in B-flat Major, К. 570." ICONI, no. 3 (2019): 27–37. http://dx.doi.org/10.33779/2658-4824.2019.3.027-037.
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Music for clavier from the 18th century graphically recreates the acoustic images of the musical instruments and models of quasi-ensemble music making of that period. This tradition of “reflected musical texts” was typical for the Baroque period, when piano music presented a quasi-ensemble score condensed into two-staff notation. The acoustic features of the European practice of music-making in ensembles have also been universally reflected in the musical graphics of the piano sonatas of the Viennese Classicists – Haydn, Mozart and Beethoven. On the basis of the observations of this migration within the musical text of the slow movement of Mozart’s Sonata in B-flat minor K. 570, the article demonstrates the modifications of the structural dialogic models of Baroque practice and the process of their transformation into unfolded narrative-contextual signs, the peculiar features of the musical scores, and the acoustic images of the 18th century music-making practice.
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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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Tudor, Brînduşa. "The Piano, A Perfect Musical Instrument – Beginnings and Evolution (18th – 19th Centuries)." Review of Artistic Education 17, no. 1 (March 1, 2019): 100–105. http://dx.doi.org/10.2478/rae-2019-0010.
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Abstract The 18th century and the beginning of the 19th century mark the emergence, development and affirmation of the piano as a complex instrument that shall take, in turns, the role of soloist instrument, claiming and being able to reach the sound variety of the orchestra, that of partner in chamber music assemblies or that of orchestra member. The emergence, improvement and qualitative performance acquisition adventure of the piano represents a fascinating history about human creativity and ingenuity serving art, beauty, sound expressivity refinement and improvement.
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Liu, Qing. "Problems Needing Attention in Piano Playing Teaching." Lifelong Education 9, no. 5 (August 2, 2020): 93. http://dx.doi.org/10.18282/le.v9i5.1215.
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The piano originated in Italy in the 18th century. As an important instrument in Western classical music, it has always been known as the king of musical instruments. This article starts with the obstacles faced by piano playing classrooms in colleges and universities, looking for specific ways to solve the problems encountered in teaching activities, hoping to effectively improve students' learning initiative and playing skills, while promoting the vigorous development of piano education in my country.
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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.
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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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Pilch, Marek. "Performance topics in harpsichord music in the second half of the 18th century – Part 1." Notes Muzyczny 1, no. 11 (June 28, 2019): 29–42. http://dx.doi.org/10.5604/01.3001.0013.3520.
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The present article is connected in terms of its topic with the text entitled Harpsichord or piano? Different concepts in the 18th century keyboard music published by the author in “Notes Muzyczny” no. 1 (9) 2018, and it is the continuation of the discussion on the capacities and ways of performance of music from the Classical period, which is now understood as piano music, on the harpsichord. Subsequent parts will touch on peculiar performance topics connected with the role of the harpsichord in that period: the understanding and rendering of the dynamics, the performance of arpeggios, and the ornamentation. The starting point of the author’s deliberations is the textbook by Daniel Gottlob Türk entitled Klavierschule oder Anweisung zum Klavierspielen für Lehrer und Lernende mit kritischen Anmerkungen. (Leipzig, Halle 1789) and textbooks by other theoreticians of that period (J. J. Quantz, C. Ph. E. Bach), as well as modern publications (F. Neumann, C. Brown, S. Rampe, J. Trinkewitz). The possibility of the rendering of the dynamics understood as the capacity to influence the strength of single sounds is not the necessary condition for performing keyboard compositions from the second half of the 18th century. Neither is it the feature placing keyboard instruments in any particular hierarchy of values. In the 18th century sources it is hard to find any opinions stating that harpsichords were perceived as worse than other keyboard instruments due to the impossibility of shaping the dynamics of individual sounds. The most significant remarks referring to the performance are the topics connected with expression. The dynamics is not the only mean thanks to which a performance becomes expressive. It is possible to play in an expressive way on the harpsichord, yet it is achieved thanks to articulatory measures, agogic nuances, the right way of hitting keys and the proper selection of texture while playing basso continuo.
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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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Radzetskaya, Olga V. "Educational and Methodical Literature for the Clavier and Piano in the History of Russian Music Publishing of the Second Half of the 18th — Early 20th Century." Observatory of Culture 17, no. 6 (February 10, 2021): 657–68. http://dx.doi.org/10.25281/2072-3156-2020-17-6-657-668.
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The Russian piano school is a unique phenomenon in the global cultural space, a multifaceted and creative phenomenon, a source of creative insights and vivid interpretations. The history of Russian piano performance is deeply and comprehensively studied and is characterized by a wide semantic range. A special place in it is occupied by educational and methodical literature produced by major music publishers in Moscow and St. Petersburg during their formation and development.The appeal to this topic is connected with the need to create a primary idea of the activities of music publishers for the production of educational materials in the historical dynamics and perspective. This complex process can be perceived as a synthesis of European traditions and Russian experience — a multidimensional multifunctional landscape of the era, illustrative reflection of important events in the cultural life of the country.The specificity of the problem has an impressive demonstration volume. It includes the strategy and tactics of development of Russian music publishing companies, production of educational and scientific-methodical literature by Russian and foreign authors, stages in the development of piano art, increase in the production output, achievements of the Russian piano school and its unique pedagogical experience.“P. Jurgenson” company’s catalogues, stored in the Russian State library, reflect the trends and directions that were dominant in the educational literature for piano. They include well-established, tested methods of piano playing, collections of exercises, and anthologies that enriched the pedagogical repertoire with compositions to develop of the technical base of students and expand the arsenal of its expressive means. The study aims at a primary classification of “P. Jurgenson” publishing house’s educational resources recorded in its catalogues of the late 19th — early 20th century.
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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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Wald, Melanie. "„Ein curios melancholisches Stückchen“: Die düstere Seite von Haydns fis-Moll Sinfonie Hob. I:45 und einige Gedanken zur pantomime in der Instrumentalmusik." Studia Musicologica 51, no. 1-2 (March 1, 2010): 79–90. http://dx.doi.org/10.1556/smus.51.2010.1-2.6.
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Haydn’s symphony no. 45, especially the final Farewell -Andante, has been looked at puzzlingly twofold: More recent understandings emphasize the wit and humour of the finale, while reports of the late 18th and early 19th century tend to notice a gloomier, even melancholic tint. This perception here is taken as a starting point for an interpretation of that symphony in terms of the 18th-century notion of melancholy as noble suffering of princes, intellectuals, and artists. Since musical works of melancholy are normally for piano or a soloist to allow for an identification of the player and the melancholic, a symphony leads us to ask anew for the melancholy persona of that orchestral piece. Answers are tried that highlight the respective roles of the orchestra, Haydn, and his most eminent listener, Prince Esterházy, within that game of deciphering melancholy. In addition, the different anecdotes concerning the Farewell -finale are analysed as tokens of an aesthetic irritation that try to tame the bewildering musical language of that symphony by linking it with extra-musical narratives. Finally, the often mentioned pantomimic aspect of the finale is taken into account and is interpreted as an important aspect of Haydn’s effort to produce meaning in the instrumental genres.
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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 3 – Keyboard instruments in concert halls and in the high society." Notes Muzyczny 1, no. 11 (June 28, 2019): 43–64. http://dx.doi.org/10.5604/01.3001.0013.3521.
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The present text is the third and last part of the cycle of articles devoted to keyboard instruments with hammer mechanism in the 18th century published in subsequent issues of the magazine “Notes Muzyczny”. The first two parts primarily touched on the history of keyboard instrument making in the 18th century: first pianos and other original inventions. The third part is in turn devoted to the changing position of the piano in the musical life of that period, namely – concerts, publications and compositions. The crowning of this part is the chronological and topic-related list (in a form of a reference chart) of the most significant phenomena and events discussed in the whole cycle of articles. The first mentions of a wider presence of keyboard instruments with hammer mechanism on the music market and concert life date back to the 1760s. In the 1770s there was a fast growth in the popularity of these instruments in the life of the high society, first of all in England and France (table instruments), as well as in Germany, even though there it took slightly more time because of the domination of the traditional clavichord. Due to the imprecise nomenclature used as long as until the 1780s and 1790s, it is often hard to decide which keyboard instrument was meant in a given case, hence it is impossible to assess how popular a specific instrument was. Some academics suggest that the presence of instruments with hammer mechanism in the musical life of that period was much greater than in might seem. Probably both hammer and tangent pianos and their other variants were not opposed to harpsichords but were treated as a special type within the same group of instruments. In the 1780s musical pieces written for both keyboard instruments, i.e., “for harpsichord or piano”, became the norm. Despite the increase in popularity of pianos (as compared to harpsichords) in the 1790s, such designation would remain on title pages of compositions until the end of that century. The period between the 1780s and 1790s was also the time when the first piano playing textbooks appeared. Expanding expressive capacities of keyboard instruments was the response to the changing needs of the galant and Empfindsamkeit styles. On the other hand, the presence of pianos had a significant influence on the styles of specific compositions. In order to illustrate these processes, the annex presents the analyses of two representative cycles of works from the 1760s written for the new instrument: Sonatas op. 1 by Johann Gottfried Eckard and Sonatas op. 5 by Johann Christian Bach.
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Lewandowski, Stephan. "Ambros Rieder (1771‒1855) and the Art of Preluding." Scientific herald of Tchaikovsky National Music Academy of Ukraine, no. 134 (November 17, 2022): 101–11. http://dx.doi.org/10.31318/2522-4190.2022.134.269621.
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Ambros (or Ambrosius) Mathias Rieder (1771‒1855) is perhaps one of the most underrepresented personalities of the music centre Vienna in the late 18th and first half of the 19th century in contemporary musicological and music-theoretical discourse. Both his achievements as a composer and in the field of music theory are remarkable. In particular, Rieder is to be valued and appreciated as a preserver of the tradition of prelude playing, which became increasingly less important in the late 18th and early 19th centuries. In the course of his life, he not only wrote several theoretical-practical textbooks dealing with this tradition, but with his own compositions he also provided excellent examples for the implementation of the rules presented in his theory books. With his “fugal preludes”, Rieder furthermore made a weighty contribution to the development of the genre.
With the help of the music theory presented in Riederʼs Anleitung zum Präludiren auf der Orgel oder dem Piano-Forte, Op. 84, Vienna, undated [1826], this text examines the Präludien und Fughetten für die Orgel oder das Pianoforte, Op. 82, Vienna 1826 with regard to harmony, counterpoint and form-determining modulation processes. An almost striking, rarely found interlocking of theory and compositional practice is revealed. Further and more comprehensive studies on this topic are desirable.
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Bashmakova, N. V., and K. V. Kravchenko. "CAPRICCIOʼS GENRE IN MANDOLIN MUSIC AT THE END OF THE 19th – THE EARLY OF THE 20th CENTURIES (for example of the concert pieces by С. Munier)." Музикознавча думка Дніпропетровщини, no. 14 (January 21, 2019): 60–71. http://dx.doi.org/10.15421/221822.
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The purpose of this article is process of analyzing in reference to concert capriccio by C. Munier for mandolin with piano («Bizzarria», op. 201, Spanish сapriccio, op. 276) from the point of view of their genre specificity. Methodology. The research is based on the historical approach, which determines the specifics of the genre of Capriccio in the music of the late 19th and early 20th centuries and in the work of C. Munier; the computational and analytical methods used to identify the peculiarities of the formulation and the performing interpretation of the original concert pianos for mandolins with piano that, according to the genre orientation (according to the composerʼs remarks), are defined as capriccio. Scientific novelty. The creation of Florentine composer,61mandolinist-vertuoso and pedagog C. Munier, which made about 300 compositions, is exponential for represented scientific vector. Concert works by C. Munier for mandolin and piano, created in the capriccio genre, were not yet considered in the art of the outdoors, as the creativity and composer’s style of the famous mandolinist. Conclusions. Thus, appealing to capriccio by С. Munier, which created only two works, embodied in them virtually all the evolutionary stages of the development of genre. In his opus of this genre there are a vocal, inherent in capriccio of the 17th century solo presentation, virtuosity, originality, which were embodied in the works of 17th – 18th centuries and the national color of the 19th century is clearly expressed. Thus, the Spanish capriccio is a kind of «musical encyclopedia» of national dance, which features are characteristic features of bolero, tarantella, habanera, and so forth. The originality of opus number 201 – «Bizzarria», is embodied in the parameters of shaping (expanded cadence of the soloist in the beginning) and emphasized virtuosity, which is realized in a wide register range, a variety of technical elements.
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Ursachi, Doina Dimitriu. "9. The Romantic German Lied – An Overview." Review of Artistic Education 21, no. 1 (June 1, 2021): 71–77. http://dx.doi.org/10.2478/rae-2021-0009.
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Abstract The lied represents a fundamental form of expression of the cantability and of the relation of the melody with the poetic. And, although the model of the cultural lied could still be heard in the music of the 18th century in the compositions of the Viennese classical school - in Haydn folk songs and, especially, in forms somewhat akin to the aria of Mozart or Beethoven – the landmarks of this genre were established precisely by the romantics of the 19th century, representatives in most of the German school. Schubert, Schumann, Franz, Mendelssohn-Bartholdy, Wagner, Brahms, Wolf etc. transformed the song into a cultural art form, incorporating images of popular origin into literary-musical structures for voice and piano making use of technical possibilities and expressiveness specific to romanticism.
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Shumilina, Olha. "PIANO SONATS BY SIGNOR BER FROM KRAKOW MANUSCRIPTS AND CZECH MUSIC CULTURE OF THE SECOND HALF OF 18TH CENTURY." Ukrainian music 41, no. 3 (2021): 24–32. http://dx.doi.org/10.32782/2224-0926-2021-3-2.
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Perry, Jeffrey. "The Wanderer's Many Returns: Schubert's Variations Reconsidered." Journal of Musicology 19, no. 2 (2002): 374–416. http://dx.doi.org/10.1525/jm.2002.19.2.374.
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Franz Schubert composed four instrumental movements that form a distinct repertoire: the "Trout" Quintet D. 667/iv; the Octet D. 803/ iv; Piano Sonata in A minor, D. 845/ii; and the Impromptu in B-flat, D. 935/iii. Each of them comprises a set of variations on a major-key theme. Each includes (not unexpectedly) one variation in the parallel minor and (more remarkably) a variation in VI followed by a retransition leading to a dominant interruption that prepares the final tonickey variation. Examination of these movements reveals the intimate relationship and common derivation of variation set, sonata form, character piece, Lied, and aria in Schubert. Schubert's formal integrations are made in the service of a Romantic sensibility of distance, loss, memory, and regret. He joins musical aspects of distance (from the theme, from a home key, from a home register) to distance in its poetic aspects: from the past, from home, from old loves and places. Schubert not only continues the 18th-century tradition of musical depictions of distance, he transforms and expands them in unprecedented ways. The result is a poignant intersection of formal innovation and musical poetics.
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Hwi, L. P., and J. W. Ting. "36. Practicing medicine and music II: Ophthalmology and music." Clinical & Investigative Medicine 30, no. 4 (August 1, 2007): 46. http://dx.doi.org/10.25011/cim.v30i4.2796.
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Cecil Cameron Ewing (1925-2006) was a lecturer and head of ophthalmology at the University of Saskatchewan. Throughout his Canadian career, he was an active researcher who published several articles on retinoschisis and was the editor of the Canadian Journal of Ophthalmology. For his contributions to Canadian ophthalmology, the Canadian Ophthalmological Society awarded Ewing a silver medal. Throughout his celebrated medical career, Ewing maintained his passion for music. His love for music led him to be an active member in choir, orchestra, opera and chamber music in which he sang and played the piano, violin and viola. He was also the director of the American Liszt Society and a member for over 40 years.
The connection between music and ophthalmology exists as early as the 18th Century. John Taylor (1703-1772) was an English surgeon who specialized in eye diseases. On the one hand, Taylor was a scientist who contributed to ophthalmology by publishing books on ocular physiology and diseases, and by advancing theories of strabismus. On the other hand, Taylor was a charlatan who traveled throughout Europe and blinded many patients with his surgeries. Taylor’s connection to music was through his surgeries on two of the most famous Baroque composers: Johann Sebastian Bach (1685-1750) and George Frederick Handel (1685-1759). Bach had a painful eye disorder and after two surgeries by Taylor, Bach was blind. Handel had poor or absent vision prior to Taylor’s surgery, and his vision did not improve after surgery. The connection between ophthalmology and music spans over three centuries from the surgeries of Taylor to the musical passion of Ewing.
Ewing E. Cecil Cameron Ewing. BMJ 2006; 332(7552):1278.
Jackson DM. Bach, Handel, and the Chevalier Taylor. Med Hist 1968; 12(4):385-93.
Zegers RH. The Eyes of Johann Sebastian Bach. Arch Ophthalmol 2005; 123(10):1427-30.
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Monti, Alessandro. "Mozart und seine Subskription der drei Klavierkonzerte KV 413-415 von 1783." Jahrbuch für Wirtschaftsgeschichte / Economic History Yearbook 61, no. 2 (November 25, 2020): 297–318. http://dx.doi.org/10.1515/jbwg-2020-0013.
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AbstractThe research on the history of pricing strategies and decisions by companies and individuals has not received much attention up to now. This is surprising, as pricing is the most important profit driver, and thus an inquiry into the historic origins of price-related decisions by the early modern market operators can yield important insights for both historians and current practitioners on successful marketing strategies. The following article contributes to the research on business history by proposing, first of all, a framework for the conceptual definition between a revenue and a price model. Furthermore, it is shown that subscription-based revenue was generated as early as 1617. The revenue model of the subscription – an early antecedent of today’s crowdfunding scheme – will then be covered in detail by investigating the case of Wolfgang Amadeus Mozart’s piano concertos KV 413-415. The influential composer decided to appeal to a broader target group by using a subscription-based pricing scheme for these three piano concertos in 1783. The subscription however was unsuccessful, and the major reason for this failure as well as Mozart’s probable economic reasoning are elaborated. Finally, the rising modern market forc es, that steered the Viennese music market of the late 18th century towards modern*structures, made sure that market operators at that time tried to adapt to these forces by offering modern and innovative revenue and price models, such as highly differentiated, content-based and time-definite subscriptions.
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Kopeliuk, Oleh. "THE “24 PRELUDES” FOR THE PIANO BY IVAN KARABYTS AS AN ENCYCLOPAEDIA OF THE UKRAINIAN RENAISSANCE OF THE 1970S." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 58, no. 58 (March 10, 2021): 65–95. http://dx.doi.org/10.34064/khnum1-58.05.
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Background. The research is devoted to revealing the semantic analysis of the dramaturgy of one of the large-scale compositions in the creative work of IvanKarabyts – the cycle “24 Preludes” for the piano. The composition was written by Ivan Karabyts in 1976 and today it is of great interest to concert performers and fans of modern piano music. The attention of pianists to the cycle “24 Preludes” by I. Karabyts is attracted, firstly, by the distinctive, original musical language, secondly – by a wide range of performing capabilities and means of expression, and thirdly – by vivid images that inspire pianists to reproduce artistic ideas, hidden philosophical implications. The object of research is the cycle “24 preludes” for the piano as a musical encyclopaedia, reflecting the artistic era in the context of the Ukrainian renaissance of tthe 1970s, and the aim is to identify stylistic patterns by means of the semantic analysis of the dramaturgy of the cycle, finding the intersection in a kind of dialogue with a diverse, significant fund of the music of the 20th century. The methodology of research is focused on the relationship of special methods of analysis: functional-structural, intonation, genre, style, semantic and interpretative one. Results. Ivan Karabyts chooses for his cycle a model of tonal dramaturgy of the cycle “24 Preludes”, introduced by F. Chopin and later by D. Shostakovich, namely – the movement along the circle of fifths in the ratio of major-minor. From the point of view of musical semantics of the preludes of the cycle they can be divided into 5 thematic groups (contemplative and introspective lyrics; grotesque and dance; sound imitation and spatial-visual; stylistic allusions; and tragedy ones), varied in genre-stylistic sense (according to the criteria of modelling the awareness of the lyrical hero (I – the world around me.) The dramaturgy of the cycle is built through their correlation, while forming a certain plot, which begins with the image of the lyrical hero, and ends with a demonstration of the society which is ambiguous and problematic for a human. The composer chooses the prelude as a genre with a historical memory of culture, which allows performers and listeners to experience the range of psychological moments of the human spirit in the turbulent world of events of the last third of the 20th century. The composer is fascinated by this genre not by chance, because the prelude allows reflecting in miniature numerous states of “fixed” moments of existence, the inner balance of the artist and the world. Each prelude in the cycle is a kind of creative laboratory, a field of creative experiments. It reflected both already developed and new methods and principles of the composer’s thinking. While performing one prelude after another as a whole composition, one realizes that this genre expresses the freedom of creativity, the element of existence: it is a fantasy, and a story of the heart, and the revelation of the spirit, and at the same time – bright genre sketches. Conclusions. The analysis of the musical semantics of I. Karabyts’s piano cycle “24 Preludes” testified to the presence of 5 genre-stylistic groups in the cycle (according to the criterion of the dual world notion “psychology I – the world around”). Thus, the genre-semantic analysis of the piano cycle “24 Preludes” has shown that I. Karabyts does not lose touch with history and time, by paying tribute to the masters of the 18th–20th centuries, continuing to develop the type of tonal dramaturgy, laid down by J. S. Bach. In the cycle there is a special “counterpoint” of the “blues” stylistic. The dramaturgy of the cycle has a detailed plot, which begins with the image of the lyrical hero, and ends with a demonstration of the society ambiguous and problematic for a human (“I – World”). The dramaturgy of the romantic dual world turns into a harmony of the modern world with multiple images, echoes of time and inner drama. The genre semantics and its analysis allow the performer to comprehend the large-scale cycle as an artistic picture of the world, and its stylistic unity – as a spiritual universe which belongs to the Ukrainian art of the 21st century.
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Susidko, Irina P. "Topoi and Narratives in Classical Instrumental Music: Ideen and il filo in Mozart’s Clavier Sonata KV 311/284c." Music Scholarship / Problemy Muzykal'noj Nauki, no. 2 (2022): 123–33. http://dx.doi.org/10.33779/2782-3598.2022.2.123-133.
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The article deals with the thematicism and thematic work in the first movement of Mozart’s Piano Sonata KV 311/284c (1777). The analysis of thematical process in this instrumental composition is examined under the angle of correlation between the contemporary and historical approaches: 1. the correspondence of the music theory concepts that were part of the lexicon of Wolfgang Amadeus and Leopold Mozarts (Ideen, il filo), with a complex of musical-analytical terms of our time, formed both in line with the historically informed theory, and in the context of the general theory of musical composition and form; 2. the comparison of research methods of the musical-thematic plan in the English-language and Russian musicology of the last half century. Sonata KV311/284c does not pertain to the number of Mozart’s compositions that have already been studied earlier from the point of view of the theory of topoi, which makes its analysis of additional interest. The article defines the topoi in the first Allegro, demonstrates their distribution in the sonata form, traces the logic of motivic and thematic transformations. The similarity of the “plotline”, which is formed from the relationship of the elements of the musical text (tonal, harmonic, melodic, textural, dynamic, etc.), began to be examined in musicology during the last third of the 20th and the early 21st centuries through the prism of the concept of narrative analysis. Such a plotline in Mozart’s sonata unfolds on two levels. The first is the typical for the sonata form “deducibility” of all themes from the main theme, that is, a certain “obligatory tonefabula” of the sonata composition (a term by Rostislav Berberov). The second level is the presence of an individual “intonation fabula” (a term by Inna Barsova), which is realized through the correlation of motives. In this plot, the archetypal narrative of comedy described by Almén (Byron Almén, 2003, 2008) gets its original embodiment. Thus, when considering the works of Mozart, both narratological analysis and the identification of a “common” classical musical language have significant prospects. At the same time, the relationship between the concepts that have been brought into scholarly use in our time and the concepts that have come from the 18th century is by no means unambiguous. The modern terms “narrative” and “topos” primarily define typological models, while the terms taken from the personal communication of Wolfgang and Leopold Mozarts fix individual of such models specific compositions.
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Kutluieva, Daria. "Piano quartets by F. Mendelssohn as a phenomenon of the Romantic era." Aspects of Historical Musicology 16, no. 16 (September 15, 2019): 143–57. http://dx.doi.org/10.34064/khnum2-16.08.
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Background. Nowadays, the typology of the piano quartet is actively studied by the modern scientists. The genesis of this genre is becoming more contentious. As pointed out by L. Tsaregorodtseva (2005), and earlier I. Byaly (1989), a connection of concerts for clavier solo accompanied by a string ensembles and a string quartet form a foundation for a genre of the piano quartet. N. Samoilova (2011) sees the origin of this genre in ensembles with clavier, L. Tsaregorodtseva (2005) ‒ in the historical and cultural situation of the last third of the 18th century, including the genre (string quartet and piano concerto), structural and compositional (sonata form), organological (instrument condition), performing (pianism development). I. Byaly (1989) and I. Polskaya (2001) consider the trio principle as the basis of ensemble genres, including the piano quartet. A conjunction of these opinions let us perceive the piano quartet as the result of the synthesis of various compositional and genre principles of ensembles, which formed the basis of the classical structure of the genre. Its creators are believed to be W. A. Mozart, the author of two piano quartets: No. 1 g-moll KV478 and No. 2 Es-dur KV493 (1785; 1786), and L. Beethoven, who composed four piano quartets: WoO 36 № 1 Es-dur, № 2 D-dur, № 3 C-dur (1785) and op. 16 Es-dur (1801). In these compositions of the classical era the defining attributes of the genre were multitimbrality, which manifests in keyboard and string instruments; ensemble players equality; signs of various types of utterance, including those inherent in a string quartet and clavier concerto involving a group of strings; sonatas and symphonies; as well as the type of composition, built on the model of “fast-slow-fast” with the obligatory sonata Allegro in the first position. In the romantic era, the boundaries of the genre expand in terms of content, structure, interpretation of the ensemble. The first attempt to increase the scale of the cycle belongs to C. M. Weber, who brought it closer to the composition of the string quartet through the introduction of Menuetto. However, the final fourpart cycle is set by F. Mendelssohn, who replaced Menuetto with Scherzo, which becomes the normative model for the romantic tradition of the genre. Objectives. The purpose of this article is to determine the role of F. Mendelssohn’s piano quartets in the evolution of the genre in general, and in the romantic era in particular. Results. Three piano quartets by F. Mendelssohn present a picture of his youthful attitude. The musician’s early composing ability allowed him to turn to the creation of works of this genre without fear. This genre usually attracts the attention of artists in their mature period of creativity, having mastered various genres, including chamber-instrumental ensembles (W. A. Mozart, R. Schumann, J. Brahms). It is easy to observe the commonalities of F. Mendelssohn and young Beethoven, who also composed the piano quartets in the early days of his oeuvre. F. Mendelssohn has composed three piano quartets: No. 1 c-moll (1882), dedicated to Prince Antoine Radziwill, No. 2 f-moll (December 1823), dedicated to Karl Zelter, and No. 3 h-moll (January 1823) – to Goethe. The skill of using large structures, the depth of musical thought, and even the sings of his future style are starting to find expression in Mendelssohn’s youth compositions. The four-part structure of the composition cycles reveals the young composer’s interest in the works of L. Beethoven, in particular in his piano sonatas. Distinctly clear analogies are also found in «Aurora» op. 53 and «Appassionata» op. 57. R. Larry Todd (2003) also points to the similarity of the original themes of the Piano quartet No. 1 c-moll by F. Mendelssohn and the piano sonata in the same key KV457 by W. A. Mozart. It defined by the initial course of the sounds of the basic triad, as well as the use of symmetrical question-answer constructions, contrasting in mood. The connections between these two compositions are even more evident in the finale, which begins with a theme directly borrowed from the last part of W. A. Mozart’s sonata (as identified by the author of this article). In Quartet No. 2 f-moll, connections with the music of L. Beethoven are not limited to allusions to the famous piano sonatas of the Viennese classic. The first part of F. Mendelssohn’s cycle contains several definite signs of Beethoven’s influences: the development of the code is significantly expanded in the sonata form, and in a monumental reprise the young author defines the extreme dynamic level fff. In Adagio (Des-dur) there is a wide enharmonic palette, including several sharp keys. The next part, labeled as Intermezzo, provides a transition to the «explosive» finale, which opens with a «rocket-like» theme, driven by an ascending line of chromatic bass. Piano Quartet No. 3 h-moll is the work that determined the choice of F. Mendelssohn’s professional composer career, which was highly appreciated by L. Kerubini. Mastery of the musical form is manifested in a significant expansion of the scope of the cycle and each of its parts. Adhering to the strategy of virtuoso interpretation of the piano part, which was chosen in the first two opuses, the author, at the same time, subordinates the tasks of demonstrating the pianist’s instrumental possibilities to the purpose of disclosure the dramatic idea of the work. At the same time, he does not brake the principle of equality of ensemble members, borrowed from his predecessors in any of his piano quartets. Conclusions. The analysis revealed the following indicators of the romanticization of the piano quartet genre in the work of F. Mendelssohn. These are: the scale of the content and composition of the cycle; the large coda sections in the first and final parts; the poetic completion of the lyrical second parts, as it is in “songs without words”; brilliance of the final parts; dominance of minor keys; equality of ensemble members with the “directorial” function of the piano and others. The high artistic qualities of F. Mendelssohn’s piano quartets attract the attention of many performers, among which the Foret Quartet demonstrates the most adequate interpretation of these works.
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Yang, Fuyin. "“Passatempi musicali” by GuillaumeLouis Cottrau as the way Neapolitan song actualization in 19th century music." Aspects of Historical Musicology 19, no. 19 (February 7, 2020): 268–84. http://dx.doi.org/10.34064/khnum2-19.15.
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Background. In 19th century European music has been enriched by national phenomena, such as Polish mazurka, Austrian waltz, Hungarian czardas, which went into the academic genres system, expanded the boundaries of its intonational fund and audience perceptions. The Neapolitan song participated in this process. It was a real discovery for music lovers in different countries. Canzone Napoletana conquered the music salons area in France, from where it spread in all the Europe, and was reflected in the work of many composers. This genre phenomenon is not fully unraveled, probably due to the distortion of the ingrained ideas about it. This theme is mainly reflected in the publications of Italian experts in the second half of the 20 century D. Carpitella, E. De Martino, R. De Simone, and in the 21 century R. Di Mauro (2013). Interest in this genre intensified in the musical science of China also. This is due to the extraordinary melody of Neapolitan songs, which is consonant with Chinese samples. Chinese singers increasingly include the popular canzone Napoletana in their repertoire. In the musical science of China, this topic has been developed since the last decades of the 20th century in the studies of Song Jing (1985), Wu Shikai (1997), Pei Yisi (2011), Liu Shanshan (2007), Fang Yahong (2011), Chang Jinge (2018). However, many scientific works are of the same type, which is caused by the lack of direct access to the study of musical, poetic, bibliographic material. In the same time, the 19th century deserves attention as a period of the rapid spread of Neapolitan folk songs in the musical art of Europe. The outstanding role in these processes belongs to the representatives of the creative dynasty – Teodoro Cottrau (1827–1879), the author of the famous “Santa Lucia”, and his father Guillaume-Louis Cottrau (1797–1847). Given the current lack of knowledge on this topic, as the research goal of this article, we consider it necessary to get acquainted with the creative figure of G.-L. Cottrau, which contributed to the spread of Neapolitan folk songs in the European music of the 19th century. For the first time in the musical science of Ukraine and China, the collection of Neapolitan songs “Passatempi musicali” / “Musical entertainments” is used as an object of research compiled by G.-L. Cottrau, as well as selected fragments of operatic works by G. Paisiello and D. Cimarosa. In this work, the historicalcomparative and biographical research methods are used, as well as generally accepted models of musicological and performing analysis of music. Results. When studying the Canzone Napoletana, the research problem lies in the difficulties of reconstructing song samples of the 16th–19th centuries. It is necessary to restore their exact chronology, authorship, conduct a comparative analysis of numerous editions, and comprehend the processes of historical evolution. This situation is known to most ethnological scholars, who are actually engaged in musical archeology and bring back almost lost samples of the past from oblivion. Thanks to the processes of national self-determination that swept Italy in the second half of the 20th century, a decisive breakthrough was made in ethnomusicology in the study of the musical and poetic heritage of the Neapolitan region. This is a strong help for any researcher dealing with this topic. The composer and music publisher Guillaume-Louis Cottrau belonged to a famous surname in France. Hisfather served Joachim-Napoléon Murat, Napoleon Bonaparte’s son-in-law. As a child, he ended up in Italy, in Naples, forever falling in love with this land and its culture. Subsequently, Guillaume-Louis adopted Neapolitan citizenship. Being engaged in the affairs of the music publishing house and composing, Guillaume-Louis made up and published in 1824 a collection of Neapolitan songs “Passatempi musicali” / “Musical entertainments”. This includes 104 Canzone Napoletana. Afterwards, the number of songs in different issues was increasing slightly (up to 113), the authorship of some fragments was clarifying, but the main block of tunes remained unchanged. This collection gained immense popularity in the music salons of France. It has been reprinted several times. According to R. di Mauro (2013), about sixty of the 104 songs in the first edition were written by G.-L. Cottrau, the rest are the result of processing of folk originals or songs by other authors. The essence of the undertaken arrangement consisted not only in recording musical and poetic texts (often in several versions), not only in creating a piano accompaniment part in the style of salon music-making. The composer personally collected these cantos and lyrics to them, communicating with servants, peasants, merchants, artisans, direct bearers of the oral musical tradition from different parts of the Neapolitan region. It includes old peasant songs, epic ballads, fragments from operas by G. Paisiello, D. Cimarosa, and other composers of the 18th century, which became truly people’s. This article compares the composer and folk versions of the Serenade of Pulcinella by Paisiello and Cimarosa, which were included in the first edition of the collection under the folk guise. Conclusions. The publication of the Neapolitan songs collection “Passatempi musicali” by G.-L. Cottrau played the role of actualizing this song genre in the musical space of the Romantic era. Its popularization outside Italy, repeated reprints made it possible to “legalize” the song South Italian folklore in the European musical space.
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Ivanova, I. L. "“3 Piano Sonatas for the Young” op. 118 in a context of last works by Robert Schumann." Aspects of Historical Musicology 13, no. 13 (September 15, 2018): 26–45. http://dx.doi.org/10.34064/khnum2-13.03.
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Background. In recent years, there has been an increased interest of musicologists in the phenomenon of “late Schumann” in the aspect of usage of different historical and cultural traditions by the composer, that constituted problematic aura of given research. Modern scholars investigate this matter from several positions: bounds of Schumann’s style with antecedent music, Viennese classics and art of Baroque (K. Zhabinskiy; 2010); formation of aesthetic and stylistic principles of composer in 1840s–1850s, foreseeing musical phenomena of second half of XIX century (A. Demchenko; 2010), realization of natively national cultural meanings in “Album for the Young” op. 68 in his late works (S. Grokhotov; 2006). The content of given above and other modern researches allows to reconsider still unfortunately widely accepted conception of a “twilight” of Schumann’s genius in the last years of his creative life (D. Zhytomirskiy) and to re-evaluate all the works created by the composer in that time. In the given article, one of them is studied, “3 Piano Sonatas for the Young” op. 118, one of the last among them. This choice is effectuated by two main reasons: by op. 118 being an example of “children music” of R. Schuman, that adds additional marks to the portrait of composer, taking a journey through happy pages of his life, preceding its tragic ending; and by possibilities to study typically “Schumannesque” on this example in constantly changing artistic world of German Romantic, who was on the verge of radical changes in national art of second half of XIX century. In order to conduct a research, the following methods of studying of musical phenomena are used: historical, evolutional, genetic, genre and typological, compositional and dramaturgic, comparative. Regarded through the prism of traditions, Sonatas for the Young reveal simultaneous interjections of contained ideas both with musical past, practice of national culture, including modern one, and with author’s own experience. Dedicating every Sonata to one of his own daughters, R. Schumann continues tradition of addressing his works, a tradition, that in fact has never been interrupted. As one can judge by R. Schumann’s dedications, as a rule, they mask an idea of musical portrait. The First Piano sonata op. 11, 6 Studies in canon form op. 56, Andantino from Piano sonata op. 22 are cited (the last one – according to observation of K. Zhabinskiy). The order of the Sonatas for the Young has clear didactic purpose, as if they were mastered by a child consecutively through different phases of learning piano, that gives this triad a feeling of movement towards general goal and makes it possible to perceive op. 118 as a macrocycle. Another type of cyclization, revealed in this article, discloses legacy of works like suites and variations, created by R. Schumann in 1830s, a legacy effectuated in usage of different variative and variant principles of creating the form on different levels of structure. For example, all the movements of the First sonata are bound with motto, consisting of 4 sounds, that allows to regard this cycle simultaneously as sonata and as variations, and if we take into consideration type of images used, we can add a suite cycle to these principles. In a manner, similar to “Carnival” and “Concerto Without the Orchestra”, author’s “explanation” of constructive logic lays within the composition, in the second movement (“Theme and Variations”). To end this list, the Finale of the Third Sonata for the Young contains a reminiscence of the themes from previous Sonatas, that in some way evokes “Children’s scenes” op. 15 (1838). Suite-like traits of Sonata cycles in the triad op. 118 can also be seen in usage of different-leveled titles, indicating: tempi (“Allegro”, “Andante”), programme image (“The Evening Song”, “The Dream of a Child”) or type of musical form (“Canon”), that underscores a bound of Sonatas for the Young with R. Schumann’s cycles of programme miniatures. In addition to that, a set of piecesmovements refl ects tendency of “late Schumann” to mix different historical and cultural traditions, overcoming the limits of autoretrospection. Tempo markings of movements used as their titles allows to regard them predominately as indications of emotional and imagery content, that resembles a tradition of composer’s practice of 17th – 18th centuries. “Allegro” as a title is also regarded as an announcement of the beginning of the Sonata cycle, and that especially matters for the fi rst Sonata, that, contrary to the Second and Third, is opened not with sonata form, but with three-part reprise form. Of no less signifi cance is appearance of canon in “children” composition with respective title, a canon simultaneously referring to the music of Baroque epoch and being one of obligatory means of form-creating, that young pianist is to master. The same can be addressed to the genre of sonata. Coming from the times of Viennese Classicism, it is preserved as the active of present-day artistic horizon, required from those in the stage of apprenticeship, that means sonata belongs to the present time. For R. Schumann himself, “child” triad op. 118 at the same time meant a return to the genre of Piano sonata, that he hadn’t used after his experiments of 1830s, that can also be regarded as an autoretrospection. Comparative analysis of Sonatas for the Young and “Big Romantic” sonatas, given in the current research, allowed to demonstrate organic unity of R. Schumann’s style, simultaneously showing a distance separating the works of composer, belonging to the different stage of his creative evolution. Created in the atmosphere of “home” routine, dedicated to R. Schumann’s daughters, including scenes from everyday life as well as “grown-up” movements, Three Sonatas for the Young op. 118 embody typical features of Biedermeier culture, a bound with which can be felt in the last works of composer rather distinctly. The conclusion is drawn that domain of “children” music of the author because of its didactic purpose refl ects stylistic features of “late Schumann”, especially of his last years, in crystallized form.
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Bond, Ann. "18th-Century." Musical Times 127, no. 1726 (December 1986): 711. http://dx.doi.org/10.2307/964690.
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Hinson, Maurice, R. Larry Todd, and David Burge. "Nineteenth-Century Piano Music." Notes 48, no. 3 (March 1992): 913. http://dx.doi.org/10.2307/941733.
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O'Loughlin, Niall. "18th-Century Concertos." Musical Times 128, no. 1728 (February 1987): 92. http://dx.doi.org/10.2307/964790.
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O'Loughlin, Niall. "18th-Century oboe." Musical Times 126, no. 1712 (October 1985): 609. http://dx.doi.org/10.2307/964930.
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O'Loughlin, Niall. "18th-Century Sonatas." Musical Times 128, no. 1731 (May 1987): 278. http://dx.doi.org/10.2307/965132.
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O'Loughlin, Niall. "18th-Century Wind." Musical Times 129, no. 1749 (November 1988): 604. http://dx.doi.org/10.2307/966798.
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Boyd, Malcolm. "18th-Century Vocal." Musical Times 126, no. 1703 (January 1985): 33. http://dx.doi.org/10.2307/962448.
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Boyd, Malcolm. "18th-Century Concertos." Musical Times 126, no. 1704 (February 1985): 101. http://dx.doi.org/10.2307/963482.
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O'Loughlin, Niall. "18th-Century Sonatas." Musical Times 126, no. 1708 (June 1985): 354. http://dx.doi.org/10.2307/964045.
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Crawford, Tim. "18th-century lutes." Early Music XXII, no. 3 (August 1994): 527–29. http://dx.doi.org/10.1093/earlyj/xxii.3.527.
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Baker, Geoffrey. "18th-century Peru." Early Music 33, no. 4 (November 1, 2005): 732. http://dx.doi.org/10.1093/em/cah127.
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Chavarría, Vicente. "18th-century explorers in the 19th century." Early Music 46, no. 4 (November 2018): 702–5. http://dx.doi.org/10.1093/em/cay077.
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Ord-Hume, Arthur W. J. G. "18th-century performances on record." Early Music XXII, no. 4 (November 1994): 700–704. http://dx.doi.org/10.1093/earlyj/xxii.4.700.
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Sheldon, David A. "The conceptgalantin the 18th century." Journal of Musicological Research 9, no. 2-3 (October 1989): 89–108. http://dx.doi.org/10.1080/01411898908574612.
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Wilson, Anthony. "17th- and Early 18th-Century France." Musical Times 136, no. 1826 (April 1995): 195. http://dx.doi.org/10.2307/1004174.
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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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Judd, Cristle Collins, and Richard S. Parks. "18th Century Counterpoint and Tonal Structure." Music Analysis 5, no. 2/3 (July 1986): 281. http://dx.doi.org/10.2307/854190.
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Pons, E. "The art of 18th-century arrangements." Early Music 42, no. 2 (April 22, 2014): 305–6. http://dx.doi.org/10.1093/em/cau040.
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Begin, Carmelle, and David Johnson. "Scottish Fiddle Music in the 18th Century." Yearbook for Traditional Music 17 (1985): 209. http://dx.doi.org/10.2307/768444.
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Turner, Steve Sweeney. "Fiddle Pibroch: 18th-Century Scottish Violin Music." Musical Times 134, no. 1802 (April 1993): 218. http://dx.doi.org/10.2307/1002492.
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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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Robins, B. "The catch club in 18th-century England." Early Music 28, no. 4 (November 1, 2000): 517–29. http://dx.doi.org/10.1093/em/28.4.517.
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Wollenberg, S. "The Oxford exercises in the 18th century." Early Music 28, no. 4 (November 1, 2000): 546–54. http://dx.doi.org/10.1093/em/28.4.546.
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Mueller, A. "Dancers' lives in the long 18th century." Early Music 41, no. 3 (August 1, 2013): 541–42. http://dx.doi.org/10.1093/em/cat064.
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Neale, Micah Anne. "A lively tour of 18th-century Edinburgh." Early Music 46, no. 3 (August 2018): 526–28. http://dx.doi.org/10.1093/em/cay063.
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Stroud, John, John Gillespie, and Anna Gillespie. "A Bibliography of Nineteenth-Century American Piano Music." Notes 41, no. 3 (March 1985): 520. http://dx.doi.org/10.2307/941174.
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McVeigh, Simon. "Music and Lock Hospital in the 18th Century." Musical Times 129, no. 1743 (May 1988): 235. http://dx.doi.org/10.2307/964948.
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