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Littérature scientifique sur le sujet « Musicians – History – 18th century »

Auteur : Grafiati

Publié le 10 mars 2023

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Articles de revues sur le sujet "Musicians – History – 18th century"

Pilch, Marek. « Harpsichord or piano ? Different concepts in the 18th century keyboard music ». Notes Muzyczny 1, n^o 9 (20 juin 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., et Anna A. Davydova. « History of Piano Technique Development : Methodical Aspect ». Uchenye Zapiski RGSU 20, n^o 1 (30 mars 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, n^o 54 (10 décembre 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, et Karol Łopatecki. « The Military Revolution of Peter I – Quantitative Measurement ». Vestnik Volgogradskogo gosudarstvennogo universiteta. Serija 4. Istorija. Regionovedenie. Mezhdunarodnye otnoshenija, n^o 3 (juin 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”, n^o 39 (1 septembre 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, n^o 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, n^o 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, n^o 4(39) (7 décembre 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, n^o 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, n^o 4 (1 novembre 1992) : 703. http://dx.doi.org/10.1093/em/xx.4.703-a.

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Thèses sur le sujet "Musicians – History – 18th century"

Leoni, Aldo Luiz. « Os que vivem da arte da musica : Vila Rica, seculo XVIII ». [s.n.], 2007. http://repositorio.unicamp.br/jspui/handle/REPOSIP/279451.

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Orientador: Silvia Hunold Lara
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
Made available in DSpace on 2018-08-08T22:04:24Z (GMT). No. of bitstreams: 1 Leoni_AldoLuiz_M.pdf: 1836793 bytes, checksum: 66ac7dca2676c480e85601387251601a (MD5) Previous issue date: 2007
Resumo: Durante o século XVIII na América portuguesa a atividade musical que funcionava como reforço das representações de emanação do poder monárquico esteve majoritariamente nas mãos de músicos pardos livres; principalmente em meados daquele século esses músicos que tinham uma marca indelével de ascendência escrava dominaram a profissão passando da identificação social pela cor e situação jurídica frente à escra'vidão a runa afirmação identitária que unia cor, condição, profissão etc. Esse estudo acompanha alguns daqueles indivíduos no intuito de entender a presença parda em lugares afastados da escravidão enfatizando sua trajetória rumo a uma identificação própria, diferentes dos cativos e também dos brancos
Abstract: During the x-vIII century, in porrnguese America, the musical activity working to reinforce d1e representation of the emanation of monarchial power was largely in the hands of free musicians of colar; mainly after the middle of that century, these musicians, who possessed the indelible mark of slave ascendancy, domii1ated the profession-substituting social identification by colar and the juridical situation vis-à-vis slavery for an affirmation of identity that united color, condition, profession, etc. Trus study accompaníessome of those individuaIs with the intention of understanding the presence of free men of colar in spaces removed Eram slavery, emphasizing the pursuit of their own identity apart from both slaves and wrutes
Mestrado
Historia Social
Mestre em História

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Oriol, Élodie. « Vivre de la musique à Rome au XVIIIe siècle : lieux, institutions et parcours individuels ». Thesis, Aix-Marseille, 2014. http://www.theses.fr/2014AIXM3080.

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L'objectif de la thèse est de saisir, pour Rome en tant que capitale européenne de la musique, et dans la continuité des récents travaux historiques sur les capitales culturelles, les modalités et les temporalités d'une profonde transformation des milieux musicaux et des conditions sociales et culturelles de l'exercice de la musique au cours du XVIIIe siècle, phénomène qui a accompagné l'évolution des styles et des goûts musicaux en Europe. La recherche est centrée sur l'étude des « métiers de la musique » : elle analyse les lieux et institutions d'exercice, les pratiques observables dans chacun d'eux, en prenant en compte leurs singularités comme leurs imbrications ou porosités, ainsi que le déroulement des carrières, à partir d'évaluations quantitatives comme de la reconstitution de parcours individuels. Elle vise, grâce à des archives variées (archives de la Congrégation de Sainte-Cécile, archives privées des grandes familles aristocratiques, archives notariales, archives paroissiales, archives des chapelles et des théâtres), à appréhender les conditions sociales des musiciens, en s'attachant aux revenus, aux hiérarchies, aux protections et aux mobilités. Au cours du XVIIIe siècle, on assiste à une recomposition du paysage musical romain. Bien que la désaffection pour la musique sacrée fragilise le marché musical urbain, Rome reste l'un des principaux foyers musicaux européens. La ville se convertit progressivement, mais avec succès, à la musique profane, en particulier à l'opéra, ce qui conduit à modifier non seulement l'offre musicale, mais aussi l'organisation de la profession
The aim of this thesis is to catch how and when musical circles as well as social and cultural conditions in musical practice deeply changed in Rome - as the European capital of music- during the 18th century ; and that, as part of the recent historical work on cultural capitals. This phenomenon went hand in hand with the evolution of musical styles and tastes in Europe.The research is based on the study of "musical professions": it is an analysis of the places and institutions in which music was practised, the different practices with their peculiarities as well as their abilities to mingle together. It also analyses how careers develop, using quantitative assessments and records of individual careers.It aims, thanks to various archives (from the Congregation of St Cecily, great aristocratic families, notary offices, parishes, choirs and theatres) at understanding the living conditions of the musicians: incomes, hierarchy, protections, mobility. It has been necessary to study the social network and the family environment of the musicians, as well as their relations with other people, and their professional environment. During the 18th century, a reshaping of the Roman musical landscape can be observed. In spite of the declining interest for sacred music, which weakens the market of music in town, Rome remains one of the most important musical places in Europe. The town slowly but successfully converts itself to secular music, and more especially to opera music; and this leads to a change, not only in musical offers, but also the organization of the profession
Lo scopo della tesi è di capire, per Roma capitale musicale europea, nella continuità dei recenti lavori storici sulle capitale culturali, le modalità e le temporalità di una profonda trasformazione dei “milieux” musicali e delle condizioni sociali e culturali della prassi musicale nel corso del Settecento, fenomeno che ha accompagnato l’evoluzione dei stili e dei gusti musicali in Europa. La ricerca s’incentra sullo studio degli “mestieri della musica”: analizza i luoghi, le istituzioni legate alla musica e la prassi osservabile in ciascuna di loro, tenendo in conto la loro singolarità, i loro intrecci o le loro porosità, lo sviluppo delle carriere, a partire da valutazioni quantitative e dalla ricostituzione di percorsi individuali. Grazie all’analisi di vari archivi (archivi della Congregazione di Santa Cecilia, archivi privati di grandi famiglie aristocratiche, archivi notarili, archivi parocchiali, archivi di cappelle musicali e di teatri), mira a comprendere le condizioni sociali dei musicisti, facendo riferimento ai redditi, alle gerarchie, alle protezioni e alle mobilità. E’ stato necessario interrogare le rete sociali e l’entourage familiale, relazionale e professionale dei musicisti, localizzare i luoghi di residenza nel tessuto urbano e studiare le realtà istituzionali, economiche e sociali che facevano da sfondo alla loro vita professionale. L’adattamento degli individui o delle famiglie di musicisti alle diverse offerte e risorse della città, le dinamiche d’inserimento nel “mercato musicale” e la società urbana, sono stati al cuore di questa riflessione. Il discorso è partito, per quanto possibile, dalle prassi all’interno di questi mestieri, predendo in conto le loro singolarità. E’ quindi stato studiato l’insieme della comunità musicale nelle sue diverse componenti e i suoi multipli aspetti. Nel corso del Settecento, si assiste ad una ricomposizione del paesaggio musicale romano. Anche se la disaffezione per la musica sacra rende fragile il mercato musicale urbano, Roma rimane uno dei principali centri musicali europei. La città si convertì, progressivamente ma con successo, alla musica profana, in particolare all’opera, questo condusse a modificare non soltanto l’offerta musicale ma anche l’organizzazione della professione

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Macdonald, Simon James Stuart. « British communities in late eighteenth-century Paris ». Thesis, University of Cambridge, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.609294.

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Riordan, Michael Benjamin. « Mysticism and prophecy in Scotland in the long eighteenth century ». Thesis, University of Cambridge, 2015. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.709304.

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Sinclair, Alistair John. « The emergence of philosophical inquiry in 18th century Scotland ». Thesis, University of Glasgow, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.284694.

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Brito, Nadia Francisca. « Merchants of Curacao in the early 18th century ». W&M ScholarWorks, 1989. https://scholarworks.wm.edu/etd/1539625499.

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LEDERLE, Julia Christine. « Mission und Ökonomie der Jesuiten in Indien : Intermediäres Handeln im 18. Jahrhundert am Beispiel der Malabar - Provinz ». Doctoral thesis, European University Institute, 2007. http://hdl.handle.net/1814/10406.

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Defence date: 21 September 2007
Examining Board: Prof. Dr. Peter Becker, University of Linz (EUI) ; Prof. em. Dr. Dietmar Rothermund, (University of Heidelberg) ; Prof. Dr. Martin van Gelderen, (EUI) ; Prof. Pius Malekandathil (University of Sanskrit, Delhi)
PDF of thesis uploaded from the Library digital archive of EUI PhD theses
no abstract available

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Dwyer, John. « Virtuous discourse : sensibility and community in late eighteenth-century Scotland ». Thesis, University of British Columbia, 1985. http://hdl.handle.net/2429/25786.

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This study explores the moral characteristics of late eighteenth-century Scottish culture in order to ascertain both its specific nature and its contribution to modern consciousness. It argues that, while the language of moral discourse in that socio-economic environment remained in large part traditional, containing aspects from both neo-Stoicism and classical humanism, it also incorporated and helped to develop an explicitly modern conceptual network. The language of sensibility as discussed by Adam Smith and adapted by practical Scottish moralists, played a key role in the Scottish assessment of appropriate ethical behaviour In a complex society. The contribution of enlightened Scottish moralists to the language and literature of sensibility has been virtually overlooked, with a corresponding impoverishment of our understanding of some of the most important eighteenth-century social and cultural developments. Both literary scholars and social historians have made the mistake of equating eighteenth century sensibility with the growth of individualism and romanticism. The Scottish contribution to sensibility cannot be appreciated in such terms, but needs to be examined in relation to the stress that its practitioners placed upon man's social nature and the integrity of the moral community. Scottish moralists believed that their traditional ethical community was threatened by the increased selfishness, disparateness, and mobility of an imperial and commercial British society. They turned to the cultivation of the moral sentiments as a primary mechanism for moral preservation and regeneration in a cold and indifferent modern world. What is more their discussion of this cultivation related in significant ways to the development of new perspectives on adolescence, private and domestic life, the concept of the feminine and the literary form of the novel. Scottish moralists made a contribution to sentimental discourse which has been almost completely overlooked. Henry Mackenzie, Hugh Blair and James Fordyce were among the most popular authors of the century and their discussion of the family, the community, education, the young and the conjugal relationship was not only influential per se but also reflected a particularly Scottish moral discourse which stressed the concept of sociability and evidenced concern about the survival of the moral community in a modern society. To the extent that literary scholars and historians have ignored or misread their works, they have obscured rather than enlightened eighteenth-century culture and its relationship with the social base.
Arts, Faculty of
History, Department of
Graduate

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Hübner, Regina Beate. « State medicine and the state of medicine in Tokugawa, Japan : Kōkei saikyūhō (1791), an emergency handbook initiated by the Bakufu ». Thesis, University of Cambridge, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.708725.

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Stubbs, Tristan Michael Cormac. « The plantation overseers of eighteenth-century Virginia, South Carolina and Georgia ». Thesis, University of Cambridge, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.608227.

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Livres sur le sujet "Musicians – History – 18th century"

Reinhard, Strohm, dir. The eighteenth-century diaspora of Italian music and musicians. Turnhout, Belgium : Brepols, 2001.

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1948-, Lebrecht Norman, dir. Hush ! Handel's in a passion : Tales of Bach, Handel, and their contemporaries. London : Deutsch, 1985.

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Curry, Robert, 1952 Sept. 26-, Gable David 1955- et Marshall Robert Lewis, dir. Variations on the canon : Essays on music from Bach to Boulez in honor of Charles Rosen on his eightieth birthday. Rochester, NY : University of Rochester Press, 2008.

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The musician in literature in the age of Bach. Cambridge : Cambridge University Press, 2011.

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A critical history of new music in China. Hong Kong : Chinese University Press, 2010.

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1719-1770, Krause Christian Gottfried, dir. The eighteenth-century roots of German urban musical culture : The correspondence of Christian Gottfried Krause. Burlington, VT : Ashgate, 2008.

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Hennebelle, David. De Lully à Mozart : Aristocratie, musique et musiciens à Paris, XVIIe-XVIIIe siècles. Seyssel : Champ Vallon, 2009.

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Hennebelle, David. De Lully à Mozart : Aristocratie, musique et musiciens à Paris, XVIIe-XVIIIe siècles. Seyssel : Champ Vallon, 2009.

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Music at German courts, 1715-1760 : Changing artistic priorities. Woodbridge, Suffolk : Boydell, 2011.

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Les quatre saisons : Roman. Paris : Pygmalion, 2009.

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Chapitres de livres sur le sujet "Musicians – History – 18th century"

Oats, Joclyn M. « 18th century ». Dans An Illustrated Guide to Furniture History, 214–37. Abingdon, Oxon ; New York : Routledge, 2021. : Routledge, 2021. http://dx.doi.org/10.4324/9780367808297-11.

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Caffiero, Marina. « The Turning Point of the 18th Century ». Dans The History of the Jews in Early Modern Italy, 137–62. London : Routledge, 2022. http://dx.doi.org/10.4324/9781003188445-11.

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Jaecks, Duane H. « Developments in 18th Century Optics and Early Instrumentation ». Dans The History and Preservation of Chemical Instrumentation, 51–65. Dordrecht : Springer Netherlands, 1986. http://dx.doi.org/10.1007/978-94-009-4690-3_6.

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Carocci, C. F., V. Macca et C. Tocci. « The roots of the 18th century turning point in earthquake-resistant building ». Dans History of Construction Cultures, 623–30. London : CRC Press, 2021. http://dx.doi.org/10.1201/9781003173434-185.

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Seris, Jean-Pierre. « Mechanical Models and the Language Sciences in the 18th Century ». Dans Studies in the History of the Language Sciences, 45. Amsterdam : John Benjamins Publishing Company, 1995. http://dx.doi.org/10.1075/sihols.74.05ser.

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Chan, Eugene. « The general development of Chinese ophthalmology from its beginnings to the 18th century ». Dans History of Ophthalmology 1, 177–84. Dordrecht : Springer Netherlands, 1988. http://dx.doi.org/10.1007/978-94-009-1307-3_19.

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Franckowiak, Rémi. « Jean Hellot and 18th Century Chemistry at the Service of the State ». Dans History of Mechanism and Machine Science, 179–93. Dordrecht : Springer Netherlands, 2015. http://dx.doi.org/10.1007/978-94-017-9645-3_10.

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Golvers, Noël. « The Jesuits as translators between Europe and China (17th–18th century) ». Dans Studies in the History of the Language Sciences, 101–28. Amsterdam : John Benjamins Publishing Company, 2021. http://dx.doi.org/10.1075/sihols.130.03gol.

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Schabert, Ina. « From Feminist to Integrationist Literary History : 18th-Century Studies, 2005–2013 ». Dans Die Feministische Aufklärung in Europa | The Feminist Enlightenment in Europe | Les Lumières européennes au féminin, 235–47. Berlin, Heidelberg : Springer Berlin Heidelberg, 2021. http://dx.doi.org/10.1007/978-3-662-62981-9_13.

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Ellis, Harold, et Sala Abdalla. « The age of the surgeon-anatomist : Part 2 – from the beginning of the 18th century to the mid-19th century ». Dans A History of Surgery, 47–73. Third edition. | Boca Raton, Florida : CRC Press, [2019] | : CRC Press, 2018. http://dx.doi.org/10.1201/9780429461743-6.

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Actes de conférences sur le sujet "Musicians – History – 18th century"

Markovic, Ivancica. « AGRICULTURAL CHANGES IN SLAVONIA DURING 18TH CENTURY ». Dans SGEM 2014 Scientific SubConference on ANTHROPOLOGY, ARCHAEOLOGY, HISTORY AND PHILOSOPHY. Stef92 Technology, 2014. http://dx.doi.org/10.5593/sgemsocial2014/b31/s10.055.

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Gluchman, Vasil. « ETHICS AND EDUCATION IN THE SLOVAK HISTORY OF THE 18TH CENTURY ». Dans 4th International Multidisciplinary Scientific Conference on Social Sciences and Arts SGEM2017. STEF92 Technology, 2017. http://dx.doi.org/10.5593/sgemsocial2017/22/s09.062.

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Zhuravel, Olga D. « From the history of Russian journalism : rhetorical strategies of the 18th century Old Believer leader Andrei Denisov ». Dans Communication and Cultural Studies : History and Modernity. Novosibirsk State University, 2021. http://dx.doi.org/10.25205/978-5-4437-1258-1-28-32.

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Stansfield, Billy, et William B. Ouimet. « HISTORY, MAPPING, AND PHYSICAL PROPERTIES OF 18TH – 19TH CENTURY RELICT CHARCOAL HEARTHS IN EASTERN CONNECTICUT ». Dans 54th Annual GSA Northeastern Section Meeting - 2019. Geological Society of America, 2019. http://dx.doi.org/10.1130/abs/2019ne-328410.

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Kurganov, Nikolai. « Restoration of a storeroom of pottery of the early 18th century from Novaya Ladoga ». Dans Field session of the Institute for History of Material Culture Russian Academy of Sciences. Institute for the History of Material Culture Russian Academy of Sciences, 2018. http://dx.doi.org/10.31600/978-5-907053-11-3-2018-8-237-240.

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Sosnitsky, D. A. « Images of Russian history in popular art works of the second half of the 18th century ». Dans Current Challenges of Historical Studies : Young Scholars' Perspective. Novosibirsk State University, 2020. http://dx.doi.org/10.25205/978-5-4437-1110-2-318-327.

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Malysheva, Irina А. « The History of the Word in the Historical Dictionary ». Dans Lexicography of the digital age. TSU Press, 2021. http://dx.doi.org/10.17223/978-5-907442-19-1-2021-109.

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The report discusses the problems of representing word history and the dynamics of lexical composition in a historical dictionary. Possibilities and different ways of showing fate are analyzed on the example of the Dictionary of 18th century Russian language. In the 18th century, there were active processes of development and changes in the vocabulary of the Russian language.

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Nakishova, M. T. « S. N. Shubinsky and the history of St. Petersburg in the first quarter of the 18th century ». Dans Current Challenges of Historical Studies : Young Scholars' Perspective. Novosibirsk State University, 2020. http://dx.doi.org/10.25205/978-5-4437-1110-2-28-35.

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Philippenko, Roman. « Settlement of the 18th century ‘Estate Rassokhovaty-I’ at the boundary between the Voronezh and Rostov Oblast ». Dans Field session of the Institute for History of Material Culture Russian Academy of Sciences. Institute for the History of Material Culture Russian Academy of Sciences, 2018. http://dx.doi.org/10.31600/978-5-907053-11-3-2018-8-140-155.

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Прокопьева, Александра Николаевна. « HEADPIECE JEWELRY OF THE 18TH CENTURY FROM THE COLLECTION OF THE NEFU MUSEUM OF ARCHEOLOGY, ETHNOGRAPHY AND HISTORY ». Dans Всероссийская научно-практической конференция с международным участием, посвященной 100-летию со дня рождения выдающегося ученого-североведа И.С. Гурвича (1919-1992). Электронное издательство Национальной библиотеки РС (Я), 2019. http://dx.doi.org/10.25693/gurvich.2019prokopievaan.

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Rapports d'organisations sur le sujet "Musicians – History – 18th century"

Cai, Wenjie, et Hwan-Ching Tai. String Theories : Chemical Secrets of Italian Violins and Chinese Guqins. AsiaChem Magazine, novembre 2020. http://dx.doi.org/10.51167/acm00006.

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The most valuable musical instruments in the world are 17-18th century violins from Cremona, Italy (made by Stradivari and Guarneri), and Chinese guqins (7-string zithers) from the 8-13th century. Today, musicians still prefer these antique instruments for their superior acoustic qualities that cannot be reproduced by later makers. Over the centuries, many theories have been proposed to explain the unique playing properties of famous violins and guqins, but most are based on conjectures rather than factual evidence.

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