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1
Yeon, Sang-Chun. "A Study of Music History of the 18th Century on the Basis of Dahlhaus's Music Historical Theory." Yonsei Music Research 19 (November 30, 2012): 73–97. http://dx.doi.org/10.16940/ymr.2012.19.73.
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Protsiv, L. Y. "Music education in Ukraine: meetings in history." Musical art in the educological discourse, no. 2 (2017): 73–77. http://dx.doi.org/10.28925/2518-766x.20172.717.
Повний текст джерелаАнотація:
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.
3
Martynova, Daria O. "Formation and Development of the Iconography of the Mesmeric Seance in the Second Half of the 18th — Late 19th Centuries." Vestnik of Saint Petersburg University. Arts 11, no. 2 (2021): 224–42. http://dx.doi.org/10.21638/spbu15.2021.204.
Повний текст джерелаАнотація:
Analyzing the evolution of the iconography of such a phenomenon as mesmerism in the second half of the 18th — mid-19th centuries, the author shows that the scenario of modern hypnotic representation and its gestures were established by mesmerists in the second half of the 18th century, followers of the parascientific theory that caused discussions and intrigued doctors and artists for centuries. Analyzing the development of the iconography of mesmeric seance, the author identifies two waves of popularity of this subject: the first wave in the 70–80s of the 18th century and the second wave during the first decade of the 19th century and beginning of the 20th century. Such a duration is due to the fascination with the supernatural and inexplicable, reflected in various styles and trends. In this article, the author tries to show how the development of the iconography of the mesmeric seance provoked the appearance of the hypnotist or magician trickster, who became integrated into popular culture that later began to mark the majority of hypnotic actions, spiritualistic sessions or miracle shows. The author also illustrates how the image of a “controller” in the face of a man formed and confirmed the paradigm of a powerless, mysterious and controlled woman. As a result, it is concluded that hypnosis and mesmerism became common theatrical spectacles in the 20th century, cultivating the power of men (patriarchal society) over an exhausted woman, which is reflected in the works of Georges Méliès, Alfred Hitchcock, and even in the comic book Wonder woman.
4
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.
Повний текст джерелаАнотація:
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.
5
Fu, Xiaojiao. "MUSICAL ACTIVITY OF CHRISTIAN MISSIONARIES AT THE COURT OF THE QING EMPERORS OF THE 17TH–18TH CENTURIES." Scientific and analytical journal Burganov House. The space of culture 19, no. 6 (December 10, 2023): 31–45. http://dx.doi.org/10.36340/2071-6818-2023-19-6-31-45.
Повний текст джерелаАнотація:
The article raises the problem of the significance of European missionaries’ musical activities at the court of the Qing emperors during the Golden Age and attempts to integrate Western art into palace musical life. A critical review of existing Russian-language sources leads the author to the conclusion that there is a lack of information on the topic of the article as well as some freedom in the interpretation of known historical facts in scientific articles. The author sees the possibility of filling gaps in this area of musicology in a detailed study of documents of the era, primarily diaries, letters, reports and other missionaries’ correspondence. Primary scholarly sources include Father Ripa's Diary, Father Du Halde's Description of the Chinese Empire, compiled from the correspondence of French Jesuits, and Father Amiot's work on the history of Chinese music. The author considers these books to be significant; however, they are not, of course, the only documents that help shed light on the scale and depth of the functioning of European music, theory and practice in the space of Chinese musical culture, which is closed, self-sufficient and by its nature not related to Europe. Works on music theory, created by order of and jointly with the Kangxi Emperor, are proof of a considerable interest in the West. In the palaces, the presence of a large number of European instruments, with which a Western-style ensemble could be formed, as well as attention to European clothing and wigs in which the emperor dressed his musicians, is indicative. In conclusion, the author finds that the musical activities of Christian missionaries produced certain results. On the one hand, organic interaction with European music and its deep understanding did not happen at the end of the 18th century. On the other hand, regardless of the subjective attitude of one or another emperor towards the Jesuits, the idea of introducing musical theoretical ideas and practices of European music-making into everyday life gradually became a reality only owing to their persistent, regular and purposeful promotion. At the same time, a reverse process was underway - the missionaries’ research instinct led to the creation of memoirs and books on the history and acoustics of Chinese music, and contributed to its active promotion in European intellectual circles.
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Kholodova, Mariya Vladimirovna. "Russian musical “Petersburgiana”: a historical journey." PHILHARMONICA. International Music Journal, no. 4 (April 2020): 1–10. http://dx.doi.org/10.7256/2453-613x.2020.4.33543.
Повний текст джерелаАнотація:
The article considers one of the most important topics of Russian discourse - the issue of St.Petersburg, particularly the understanding of the phenomenon of Petersburg in the works of composers. The purpose of the research is to trace back the process of formation of Russian musical “Petersburgiana”. The main task is to reconstruct segmentary materials related to the aspects of manifestation of Petersburg in the works of Russian composers. The research methods are determined by the interdisciplinary nature which synthesizes the approaches of comparative history, culturology, and music theory. As the key works, the author chooses the works related to the “Petersburg text”, particularly the work by V.Toporov who was the first to introduce this term into the literature studies. It serves as a basis for the understanding of the phenomenon of Petersburg in other forms of art. The scientific novelty of the research consists in the fact that it is the first to study the evolution of Russian musical “Petersburgiana”, which started in the 18th century and during its 300-year history produced more than 800 opuses. The author outlines the key topics and images of Petersburg embodiment using the examples of the works of the composers of the 18th - 21st centuries, organized according to their genre and chronologically. These materials are the result of the research work; they outline promising concepts and aspects for the further comprehensive analysis of Petersburg in Russian music culture in terms of the works of its creators.
7
Panov, Alexei A., and Ivan V. Rosanoff. "An attempt to attribute the authorship of the treatises from the collection “The Modern Musick-Master” (London, 1730)." Contemporary Musicology, no. 1 (2021): 41–56. http://dx.doi.org/10.56620/2587-9731-2021-1-041-056.
Повний текст джерелаАнотація:
In 1730, a collection of treatises on singing and playing various musical instruments was published in London. It included “A Brief History of Music” and a small musical dictionary. Neither on the title page nor elsewhere in the text do we find information about its author/authors. Today, both reference and encyclopedic literature as well as special scholarly works refer to Peter Prelleur as the author (very rarely the compiler) of the collection. However, when comparing the basic explanations of musical theory and the basic performing principles in each individual treatise, these explanations turn out to be contradictory. The article provides a comparative analysis of the materials in the collection itself and in the works published in England from the middle of the 17th century to 1730. Based on the results of the analysis and the data obtained from modern research, the authors come to the conclusion that all the sections of the collection in question represent a compilation of materials. The materials came from previously published manuals written by English, French and Italian musicians and were then supplemented by theoretical and performance guidelines relevant for those days. In general, the collection is a perfect example of pirate traditions of English book publishers of the 18th century. It is safe to say that “The Modern Musick-Master” was a collective effort and Peter Prelleur was not its only author or compiler.
8
Bocharov, Yury S. "Sinfonia and Ouverture in the Baroque Era: Terminological Aspect." Vestnik of Saint Petersburg University. Arts 11, no. 3 (2021): 354–80. http://dx.doi.org/10.21638/spbu15.2021.301.
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This article focuses on the use of sinfonia and ouverture as terms in the Baroque era. Its relevance is due to the fact that an objective picture of the Baroque musical culture is impossible without studying authentic terminology, including terms used as names of musical works or their sections. Since there have been no special musicological publications on this topic, information obtained as a result of the study can expand the traditional ideas about what the terms sinfonia and ouverture meant in the 17th and the first half of the 18th century. Sheet music and manuscripts as well as articles from the largest European dictionaries of that time indicate that the terms had different meanings. They were used not only in orchestral, but also in solo and ensemble music and even vocal compositions could be regarded as symphonies. Moreover, musical compositions or their sections, called sinfonias and overtures were intended not only for theatrical and concert practice, but also for performance at court and in even at church. According to the author, the terms sinfonia and ouverture in the Baroque era, in contrast to modern practice, were used as genre names only in regard to so-called Neapolitan opera symphonies and French overtures. Thus, these terms were generally used much more diversely than it follows from those traditional perceptions on which the modern theory of musical genres is largely based.
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ATHANASSOPOULOU (Φ. ΑΘΑΝΑΣΟΠΟΥΛΟΥ), F. "The history of development of medicine through time: a repeated case." Journal of the Hellenic Veterinary Medical Society 60, no. 2 (November 20, 2017): 125. http://dx.doi.org/10.12681/jhvms.14921.
Повний текст джерелаАнотація:
At all times, man was interested in the therapy of diseases in any possible way. In the Hellenic world, that is generally regarded as the spiritual predecessor of recent Europe, two distinct traditions existed: the first had a true sacred origin and was practiced from a corporation or guild of healers/priests named zsAsklipiades. Asklipios, son of Apollo, was considered by them as their generic leader. The second, practiced by Vakhes, comes from indigenous populations of Eastern Aegean area approx. at 2000 B.C. During its practice patients went into a sacred mania ie., with dancing, music, or body exertion went into an extended consciousness from which, when they recovered, they showed a peaceful state and a new identity again due to moral comprehension. The first liberation from sacred ceremonies occurs in ancient Greece from Hippocrates and thus the first step towards scientific medicine occurs and it is practiced by cosmic healers. To Hippokrates we owe the meaning of "method" for the observation and development of the disease and its symptoms (there is a distinction between them). He believed in "the self healing capability of nature" that had to be taken into account, because medicine comes from the disruption of the balance between man and environment. After Hippocrates there is a gap of approx. 7 eons (till 3rd century D.C.) during which period important developments occur that will determine later the path of medicine: 1. During the 1st century B.C., Dioscouridis from Alexandria and in the 2ndcentury D.C. Asklipiadis and the great healer and surgeon from Pergamos, Galinos, transplanted the "absolute medical orthodoxy" in Rome where it remained as a dogma until the 16th century D.C. This is similar to Arab and recent European medicine. Hippocrates and Galinos beliefs have a lot in common with the growth of medicine in China and India. 2.Arab philosophers and healers reconnect medicine with politics and their base is the healthy society. 3. In Christianity, in the Middle Ages, the human body is discarded as not * worthy and surgery and anatomy are prohibited. In 1130 D.C. the practice of medicine by monks isprohibited and this is passed on to "cosmic clergy" from where the first schools of medicine and recent Universities originate (Paris, Oxford, Bologna, Montpellier). With Renaissance starts the questioning of the Galino's theory. The main archetype of the healer of this period was undoubtedly Paracelsus. He brings back the correlations of symptoms and moral attitude and his whole comprehension was "ecosystematic" and "psychosomatic". The healing ideas and practices of the Middle Ages and Eastern world are various and come from different origins without being an identical philosophical model, but they have the following similar points changed eventually by the "scientific medicine" born after the Cartesian debate: a) there is a bond between body and psyche, b) there is a bond of interaction between the human body and the environment, c) there is a mutual bond of equality and trust between the patient and the healer. The important developments between the 17th - 18th centuries (discovery of the microscope, growth of laboratories and clinics) will give a tremendous push to this scientific medicine and will allow to discard the patient as a whole person for the favour of the diagnosis and the manipulation of "diseases and syndromes". Another disruption from this course of scientific medicine occurs with the emergence of biology as a distinct science, which brought the uprising of the usual vitalistic beliefs that during in the 18th century did not totally stop to exist (G. Stahl-anima, S. Hahneman- homeopathy). However, due to the positivistic direction that the great physiologist of the 19th century, C. Bernard (who established in medicine the quantification according to the prototype of positive Sciences) and finally L. Pasteur established with the discovery of the bacterial role, strengthened again the self confidence of the classical/ scientific medicine. In 20th century, medicine gains also powers and is connected socially also with the growing pharmaceutical, but still is unable to heal satisfactory the mental / psychological illnesses; meantime, the recent specialization opened up a new horizon of medical applications (molecular biology, neurochemistry, clear understanding of the immunological-nervous-endocrinological mechanism) that are, however, part of the same mechanical model. The malpractice of this model involved attachment of medicine and politics in a programme that experimentally was performed in the Nazis camps. Again, three subsequent currents of developments questioned the medical orthodox theory during most of 20th century: S. Freud and psychoanalysis, the phenomenological medicine of E. Husserl and modern alternative medicines (homeopathy, acupuncture).
10
Kazhar, Nina V., Mariusz Zadworny, and Nina Sołkiewicz-Kos. "From the History of the Formation of the European Doctrine of Protection and Restoration of Monuments at the End of the 18th — 19th Century (for Example, Marienburg Castle)." Vestnik of Saint Petersburg University. Arts 13, no. 1 (2023): 147–65. http://dx.doi.org/10.21638/spbu15.2023.107.
Повний текст джерелаАнотація:
The article examines new facts about the beginning of the formation of the European (primarily German) doctrine of the protection of monuments, which also laid the foundations of the modern Polish theory and practice of preserving the architectural heritage and scientific restoration. The role of the aesthetics of romanticism in the formation of historicism and awareness of the importance of cultural heritage is shown. The history of the development of the theoretical, systemic and legal basis for the protection of monuments, based on a new assessment of their role in the formation of the culture of the nation, is presented. The role of the memorandum “Preservation of all monuments and antiquities of our country” (1815) by Karl Friedrich Schinkel in the preservation of German architectural monuments was noted. The authorship of the drawings of Marienburg in 1794 is proved. Evidence is given that he was Friedrich Gilly (1748–1808), i. e. Gilly-a son. It is noted, that the exhibition of these drawings at the Berlin Academy of Arts (1795) played an important role in re-evaluating the culture of the Middle Ages during the period of the “conflict” of the ideas of the Enlightenment and Romanticism at the turn of the 18th–19th centuries (“about 1800”). On the example of the history of the “restoration” of the Marienburg castle (today Malbork) the change in the methods of restoration of the 19th century is shown, the contribution of famous cultural figures and leading architects to the organization and conduct of restoration work is noted.
11
Tsiuliupa, S. D. "Doctoral dissertations of wind instruments musicians in Ukraine (the end of XX – early XXI century)." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 54, no. 54 (December 10, 2019): 24–39. http://dx.doi.org/10.34064/khnum1-54.02.
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This paper is the first attempt to lay out the major scientific achievements of teachers of faculties of wind and percussion instruments of Ukrainian universities with 3-4 accreditation levels, for the period from second half of XX – to beg. of XXI century. This article systematizes and precisely analyzes the content of obtained PhD dissertations on musical art, theory and methodic of professional education, musical art, theory, the methodic and organization of cultural and educational activities. In the period of Ukraine’s integration into the European entities, scientific work becomes the leitmotif of the activity of a teacher of a higher art educational institution. The works of the leading scientists of Ukraine became the fundamental scientific researches of the evolution of spiritual musical performance. V. Apatsky in the doctoral dissertation “Theoretical foundations of playing the wind instruments (on the example of bassoon)” examines the acoustic nature of the instrument and the specificity of sound formation on it, the structure and functioning of the executive apparatus and methods of its formation, the basic means of expressiveness of the bassoonist and methods of development of performing skill. I. Yakustidi in the dissertation “The value of horn tone in the learning process” and by the method of numerical laboratory measurements explored the work of the sound-forming apparatus of the horn performer. Along with the experimental experiments, the dissertation covers the issues of performance history, theory and practice, methods of teaching horn performance. P. Krul in his study “Genesis of Wind and Percussion Instrumental Performance of Ukraine” traces the genesis of wind and percussion music in Ukraine. V. Posvaluk in the dissertation “Ways of Formation and Problems of Development of the Ukrainian Trumpet Performance School: Historical, Professional-Performing, Theoretical and Methodological Aspects” for the first time reveals the peculiarity of the historical way of formation and development of the national trumpet performance school and its regional peculiarities. V. Bohdanov dedicates his dissertation “Ways of Development of the Wind Musical Art in Ukraine (from the Origins to the Beginning of the XX Century) to the Study of the Wind Musical Art of Ukraine. Based on the systematization of actual data, the main directions of its evolution are highlighted. V. Kachmarchyk. The priority areas of the dissertation research “German flute art of the 18th – 19th centuries” were the creation of the historical periodization of the German flute art of the 18th – 19th centuries, and defining the role of J. J. Kwanz, J. G. Tromlits, A. B. Furstenau and T. Bohm in the formation of the German flute school. Y. Sverlyuk in his work “Theoretical and methodological bases of vocational training of conductor of an orchestra collective in higher art establishments” he explored methodological, theoretical and methodical bases of vocational training of conductor taking into account the specifics of future professional activity. A. Karpyak. In his Doctoral dissertation “Flutist’s Artistic Thesaurus as the Basis of Performing Skills” and for the first time in Ukrainian musicology, he provided a reasoned critical analysis of the key issues and problems in the development of contemporary flute art.
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Liepiņa-Šarkovska, Ilze. "Contribution of the Latvian Brethren Congregations to the Musical Culture of the 18th Century: Preliminary Research Results, Basic Research Directions and Perspectives." Letonica, no. 46 (August 2022): 100–117. http://dx.doi.org/10.35539/ltnc.2022.0046.i.l.s.100.117.
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Paczkowski, Szymon. "Research on 18th Century Music in Poland. An Introduction." Musicology Today 13, no. 1 (December 1, 2016): 41–52. http://dx.doi.org/10.1515/muso-2016-0008.
Повний текст джерелаАнотація:
Abstract Research on 18th-century music has been one of the key areas of interest for musicologists ever since the beginnings of musicological studies in Poland. It initially developed along two distinct lines: general music history (with publications mostly in foreign languages) and local history (mostly in Polish). In the last three decades the dominant tendency among Polish researchers has been, however, to relate problems of 18th-century Polish musical culture to the political history of the Polish-Lithuanian Commonwealth and more generally – to the political history of Central Europe at large. The most important subjects taken up in research on 18th-century music include: the musical cultures of the royal court in 18th-century Warsaw (primarily in the works of Alina Żórawska-Witkowska) as well as Polish aristocratic residences (e.g. studies by Szymon Paczkowski and Irena Bieńkowska), the ecclesiastical and monastic circles (publications by Alina Mądry, Paweł Podejko, Remigiusz Pośpiech and Tomasz Jeż); problems of musical style (texts by Szymon Paczkowski); research on sources containing music by European composers (e.g. by Johann Adolf Hasse); the musical culture of cities (of Gdańsk, first and foremost); studies concerning the transfer of music and music-related materials, the musical centres and peripheries, etc.
14
Ito, John Paul. "Koch’s Metrical Theory and Mozart’s Music." Music Perception 31, no. 3 (December 2012): 205–22. http://dx.doi.org/10.1525/mp.2014.31.3.205.
Повний текст джерелаАнотація:
Mirka (2009) has recently argued that the 18th-century metrical theories of Heinrich Christoph Koch can be revelatory for a reconstruction of contemporary ways of hearing Viennese high classicism. Koch’s claims revolve around interactions between the metrical placement of cadences and the articulation of specific beat levels, and these claims are most specific and testable for common time and 6/8. This paper reports two statistical surveys of works by Mozart that were designed to gauge the fit between the corpus and Koch’s theory. In the works examined, the theory was strongly supported for common time, strongly disconfirmed for 6/8, and weakly supported for the other meters encountered. It is argued that these results point toward caution regarding the use of Koch’s theories but not toward their outright rejection, and that unexpected statistical contrasts within the corpus indicate the need for a fine-grained approach to meter in music of the later 18th century.
15
Chelaru, Carmen. "History – Culture – Music in the Romanian Eighteenth Century." Artes. Journal of Musicology 23, no. 1 (April 1, 2021): 1–40. http://dx.doi.org/10.2478/ajm-2021-0001.
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Abstract Recently, I made a few forays in the history of the society, culture and music of the people in the Carpathian-Danubian space, without the intention and claim of unlocking doors thrown widely open before me by established researchers such as Lucian Boia, Theodor T. Burada, Gheorghe Ciobanu, Octavian Lazăr Cosma, Neagu Djuvara, Costin Moisil and many others. I did it especially in order to try to tear myself away from the old spread-eagle patterns, from prejudice. Thus, I ascertained that, in the flow of time, of events, of facts, the European eighteenth century constitutes a page about which I do not know enough yet; I felt at the same time that it represents a stage that can bring (to me) additional understanding of the following two hundred years (the 19th and 20th centuries). Therefore, I let myself be overcome by curiosity, beginning by undertaking a reconnaissance survey “over” the 18th century of European history. I continued by approaching the European socio-political and cultural configuration and dynamics of the same period. Finally, I tried to understand – keeping, at the same time, a comprehensive perspective – the Romanian socio-cultural and musical phenomenon of the 18th century, with the intention of integrating it with the logic of historical progress and with that of territorial connections.
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Vojvodić Nikolić, Dina D. "PREDLOG ODREĐENjA POJMA MUZIČKA KRITIKA I TIPOLOGIJE KRITIČKIH TEKSTOVA MEĐURATNOG DOBA U SRBIJI." Nasledje Kragujevac XX, no. 55 (2023): 299–312. http://dx.doi.org/10.46793/naskg2355.299vn.
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The paper presents a proposal for defining the concept of music criticism and types of critical texts. The historical development of music criticism, its problems, methods, goals and main representatives are presented. The history of music criticism is ideologically connected with music, and primarily appeared in occasional publications. Criticism of musicians began continuously in the middle of the 18th century, when the first open discussions on various issues of music appeared. Jean-Jacques Rousseau, Johann Mattheson and Charles Burney stand out among the first music critics. The last years of the 18th and the beginning of the 19th century were marked by change, and now the main patron of music, and therefore of criticism, became the middle class and not the previous aristocracy. It is important to apostrophize the fact that criticism of the 18th century was predominantly focused on vocal music, while instrumental music had a subordinate place. Vocal music, according to the aesthetic concepts of the time, represented the pinnacle of musical expression, and criticism had the task of continuously and tirelessly promoting it. In the 19th and 20th centuries, the situation changed, and instrumental music gained a prominent place in criticism.
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Stimson, S. C. "Political and economic theory in the 18th century." History of the Human Sciences 21, no. 1 (February 2008): 161–65. http://dx.doi.org/10.1177/09526951080210010104.
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Ferreirа, Manuel. "Beyond nations: A thematic history." Muzikologija, no. 27 (2019): 163–86. http://dx.doi.org/10.2298/muz1927163f.
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This paper describes an on-going project, the collaborative Thematic History of Music in Portugal and Brazil; it details its context, rationale, concept, structure and the process that led to its public presentation and preliminary development at CESEM/FCSH, Universidade Nova de Lisboa. The importance of Africa in the understanding of some facets not only of modern popular music, but also of 16th- 18th century genres in Portugal and Brazil is particularly stressed; examples of both polyphonic and instrumental music are given to illustrate this early influence.
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Diergarten, Felix. "Time out of joint — Time set right: Principles of form in Haydn’s Symphony No. 39." Studia Musicologica 51, no. 1-2 (March 1, 2010): 109–26. http://dx.doi.org/10.1556/smus.51.2010.1-2.8.
Повний текст джерелаАнотація:
The opening of Haydn’s Symphony No. 39 in G minor is interrupted by two unusually long grand pauses. These brief suspensions of the time continuum reveal Haydn’s search for new narrative strategies for a genre caught up in the tensions between the boisterous concert opener, courtly representation, the bourgeois concert hall and the demands of “connoisseurs.” This use of the Generalpause points toward a period of upheaval in the development of symphonic forms in the 18th century. A comparative analysis examining the primarily “punctuated” concept of form in the 18th century in relation to the primarily thematic concept of form in the 19th century and the synthesis of both in the writings of Anton Reicha can show that the process of developing formal functions becomes especially acute in Haydn’s Symphony No. 39, with the two grand pauses playing a key role. Such a reading of Haydn, which seeks to reconcile “historically informed” analysis with emphatic interpretation, illustrates how the spectacular grand pauses in the Symphony No. 39 can suggest a brief suspension of not only the work’s own immanent time but the historical time of 18th-century music history.
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Schweitzer, Claudia. "Das Verhältnis geschriebener und gesprochener Sprache im 18. Jahrhundert am Beispiel der Interpunktion in Sprache und Musik." Zeitschrift für germanistische Linguistik 51, no. 1 (April 1, 2023): 51–87. http://dx.doi.org/10.1515/zgl-2023-2002.
Повний текст джерелаАнотація:
Abstract The oral realization of written punctuation basically brings two parameters into play: rhythm and intonation. The former is visualized in writing the typeface by a space, while the latter is determined by conventions and depends on the speaker’s personal means of expression. In the 18th century, the oral realization of punctuation was only marginally addressed in grammars. Additional sources can be found in the area of music history, because the music theorists of the 18th century discussed the connection between language and music with great interest. In this essay, prosodic models for the oral (audible) realization of punctuation marks are examined by comparing the current prosodic description of German with the musical analyses of Johann Mattheson and the remarks in the grammars of his time. Then baroque music examples are examined from the point of view of the possibility of refining the theoretical models. The aim of this interdisciplinary approach is to make use of ancient sources, both theoretical and practical, for the reconstruction of the prosody of 18th century German.
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Maslova, Anastasia I. "Counterpoint Battles in the 18th Century Naples: an Attempt of Historical Reconstruction." Contemporary Musicology, no. 2 (2021): 3–38. http://dx.doi.org/10.56620/2587-9731-2021-2-003-038.
Повний текст джерелаАнотація:
The article examines an underscrutinised polyphonic tradition formed in the 18th century Naples. This period is often associated with the heyday of Naples opera. Its development was driven by the opening of four conservatories, which produced highly qualified composers and singers. The 18th century opera of Italian composers stands high on the research agenda in the history of music, however, the unique counterpoint tradition formed within the Neapolitan conservatories is still in oblivion. The mid-18th century witnessed the emergence of two irreconcilable parties: the Leists (followers of Leonardo Leo) and the Durantists (followers of Francesco Durante). References to the century-long struggle of two educational schools are found in a range of Italian and European sources. However, they either say nothing about the origins of the conflict or report controversial information. The study of the origins of the conflict that evolved from simple competi- tion to theoretical controversy shows that the main reason for the discord between the Leists and the Durantists was counterpoint—the discipline that completed the course of studying composition in the Neapolitan conservatories. Two different approaches to teaching not only testify to the birth of a unique polyphonic tradition in southern Italy, but also become an expression of a stylistic change in the mid-18th century European music.
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Dębowski, Marek. "A HUNDRED YEARS OF RESEARCH ON THE 18TH‑CENTURY THEATRE IN POLAND AND FRANCE." Wiek Oświecenia, no. 38 (September 25, 2022): 57–69. http://dx.doi.org/10.31338/0137-6942.wo.38.4.
Повний текст джерелаАнотація:
Among the modern researchers conducting studies on the 18th century, there is a widespread belief that research on Polish theatre of that era did not develop until the turn of the 1950s and 1960s. It is only part of the truth. The apogee of theatrical research coincided with those years, resulting from the 200th anniversary of the National Theatre, which was widely promoted by the authorities. However, the first diagnoses of Polish theatre scientists dealing with the 18th century are much earlier. Suffice it to recall Ludwik Bernacki’s monumental work, “Theatre, Drama and Music under Stanislaw August”, which the researcher published in Lviv in 1925. Bernacki’s research was closely related to the work of French theatre scientists, who conducted research on the scene and drama of the 18th century before the First World War. This article analyses and chronologically presents the last century of theatrical research and its methodological changes on the example of Polish and French history of 18th-century theatre.
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London, Justin. "Riepel and Absatz: Poetic and Prosaic Aspects of Phrase Structure in 18th-Century Theory." Journal of Musicology 8, no. 4 (1990): 505–19. http://dx.doi.org/10.2307/763533.
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London, Justin. "Riepel and Absatz: Poetic and Prosaic Aspects of Phrase Structure in 18th-Century Theory." Journal of Musicology 8, no. 4 (October 1990): 505–19. http://dx.doi.org/10.1525/jm.1990.8.4.03a00040.
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Vekerdi, József. "An 18th-century Transylvanian Gypsy Vocabulary." Acta Orientalia Academiae Scientiarum Hungaricae 59, no. 3 (September 2006): 347–60. http://dx.doi.org/10.1556/aorient.59.2006.3.5.
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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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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.
Повний текст джерелаАнотація:
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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Żegleń-Włodarczyk, Małgorzata. "The English guitar and the forgotten guitar repertoire of the second half of the 18th century." Edukacja Muzyczna 17 (2022): 139–55. http://dx.doi.org/10.16926/em.2022.17.10.
Повний текст джерелаАнотація:
The time leading up to one of the most important periods in the history of guitar music – “the golden age of the guitar” in the first half of the 19th century – was the heyday of European cities such as London, Paris, Vienna or Dresden. Music was the main source of entertainment for royalty and high society, and numerous music publications, sheet music editions and instrument hand-books were being created. Manufactures tried to outdo each other in structural innovations, refin-ing and patenting increasingly interesting instruments. One such instrument was the immensely pop-ular English guitar (guittar), which differed in design and tuning from the instrument we know today. At present, it would be futile to look for the guitar repertoire of the second half of the 18th century on concert stages or in academic curricula (with a few exceptions, such as Luigi Boccheri-ni's quintets or Giuseppe Antonio Brescianello's partitas), and English music is almost nowhere to be found. It is, to a large extent, undiscovered and nearly forgotten. Bringing it back to life will not only provide insight into the design and performing capabilities of the now unknown guittar (as well as its distinctive playing technique, fingering and articulation) and allow us to learn more about the works composed for the instrument (and their characteristic features), but – above all – give a full picture of the evolving aesthetics of the 18th century. These compositions will also fill the existing gap in the guitar repertoire of the second half of the 18th century, offering broad prospects for their performance in the future. The most important consequence of that is the preservation of the continuity of guitar literature from the Renaissance to the present day, and the resulting possibility to make the world described in Leopold Mozart’s or Carl Philipp Emanuel Bach’s treatises tangible.
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Žarskienė, Rūta. "The Sound of Trumpet will Stir the World and Raise the Dead: Prayers Accompanied by Brass Instruments in the Folk Piety Tradition." Tautosakos darbai 55 (June 25, 2018): 177–97. http://dx.doi.org/10.51554/td.2018.28504.
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The article focuses on a phenomenon that has so far evaded scholarly attention and research. Apparently, in Samogitia, where brass instruments still play at traditional Catholic or even Lutheran funerals and death anniversaries, participate in the Easter morning processions and the Catholic Church feasts (Lith. atlaidai), yet another practice of folk piety involving brass instruments is thriving: i.e. prayers at the graveside in summer time, during Catholic Church feasts and All Souls’ Day (more frequently still, All Saints’ Day). During her fieldwork of 2013–2017 in various parts of Mažeikiai and Skuodas districts, the author of the article gathered material on this folk piety practice in religious feasts of Saint Mary Magdalene, Saint Roch, and Saint Anne etc. taking place in Grūstė, Ylakiai, Židikai, Vaičaičiai and elsewhere. These feasts take place in cemeteries, while the Mass, their main sacral highlight, is performed in the cemetery chapel or in a nearby church. People gather to the feasts in order to visit the graves of their diseased and meet with their relatives, inviting brass musicians to perform the ritual at the graveside. The ritual comprises several parts: intention, the sign of the cross in the beginning and at the end, prayers (the Lord’s Prayer, the Hail Mary, and “Eternal Rest”), a stanza from a popular traditional religious hymn, which is both sung and played, the prayer “Eternal Rest”, which is both sung and played antiphonally this time, and traditional Catholic greeting (“Honor be to Jesus Christ”). These parts make up a slightly varying “scenario”, which usually takes 3 to 3,5 minutes to perform. The structure of ensembles (from 2 to 4 musicians), their age (from 12 to 83 years old), the actual instruments (trumpets, tuba, tenor, baritone, saxophone, etc.), and style of performance also vary. The self-educated musicians of the elder generation usually play in the traditional way, i.e. loudly, slowly and inaccurately. The younger generation representatives, usually having acquired some professional music education, have adopted more esthetic style of performance, using reduced volume and “intermediate” fragments to fill in the pauses. In 2017, the tendency was noted of forgoing prayers and including several stanzas of a particularly popular modern hymn instead of one. This would indicate an attempt at changing the tradition in order to adapt to the popular culture, or even belonging to it. In search for roots of this custom of folk piety, the author of the article employs the historical sources from the 17th–18th centuries. According to her analysis, the main point of the ritual – the prayer “Eternal Rest” – was actively used not only in the rituals of the 19th–20th century, but also as early as the Baroque period, while its origins may reach back to the medieval teachings on purgatory. The last line of this prayer (“May they rest in peace. Amen”) was used as a quiver prayer. The arrow as symbol was highly favored in Baroque heraldic, poetry, panegyrics; it used to be compared not only to prayer, but also to the loud and powerful sound of the brass instruments. The brass instruments acted as a concurrent accompaniment of both religious and secular festivals of the time, playing an important role both in the Roman Catholic and in the Evangelical Lutheran traditions. While seeking to clarify the reasons for trumpets being played at cemeteries and the meaning of this ritual, it appeared that in the Catholic Samogitia there still survives a belief in the trumpet accompanied prayer to have the power of alleviating the suffering of souls in the purgatory. People inviting the brass musicians to play at the graveside even in the modern times believe that such prayer goes straight to heaven and easily reaches the God.
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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.
Повний текст джерелаАнотація:
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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Svyrydenko, N. "Music in museum (second half of 20th century, Ukraine)." Musical art in the educological discourse, no. 3 (2018): 61–65. http://dx.doi.org/10.28925/2518-766x.2018.3.6165.
Повний текст джерелаАнотація:
Due to the process of early music revival, started in the USSR from the 60s of the 20th century, there are searches of the appropriate premises, in which early music could be perceived naturally, where one can feel a single style in combination of rooms, music, instrumentation and performance style that would increase the perception of each of the components of the creative process. Such most suitable premises are found out to be the halls of museums — former mansions, or palaces, which serve as museums in our time. The practice of conducting concerts in museums was introduced in Western Europe in the first half of the 20th century as a part of the overall process of early music revival and became an example for other countries including Ukraine.The Museum of Ukrainian Fine Arts was one of the first museums where concerts of early music were held in 1988. The concert programs featured the music of prominent Ukrainian composers of the 16th–18th centuries. Since 1989, the «Concerts in Museum» began to be held at the Museum of Russian Art, where one could hear music from the 18th to the beginning of the 19th century from «The Music Collection of the Razumovsky Family». Since 2003, the door has opened for concerts at the National Museum of History of Ukraine, where, in addition to chamber music, the visitors watched the whole performance — the chamber opera by D. Bortniansky «Sokil». The performance of this opera was also held at other museums of Ukrainian cities, as well as in Poland.Ancient instruments in some museums, that have lost its sound and artistic qualities, attracted attention of the musical experts. In association with scholars and the administration of museums, restoration work was carried out and brought back the old tools to life, which made it possible to hear the true «voice of the past «. This happened from the pianoforte at the Museum of Ukrainian History, the Lesia Ukrainka Museum in the village Kolodyazhny of Kovelsky District in Volyn and the Memorial Museum of Maxim Rylsky in Kyiv. Nowadays many museums in Ukraine have become centres of culture, both visual and musical. Due to this process, contemporaries’ views about the past art have expanded, the recordings of ancient music phonograms initiated film-making.
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Susidko, Irina P. "Venice and Opera in the 18th Century." Problemy muzykal'noi nauki / Music Scholarship, no. 2 (2024): 55–68. http://dx.doi.org/10.56620/2782-3598.2024.2.055-068.
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The author of the article disputes the established opinion according to which the great tradition of 17th century Venetian opera lost its significance in the European musical theater a century later. Emphasis is made of the vanguard role of opera in Venice in the first half of the 18th century, which has been marked by a set of phenomena. They include: the birth of heroic opera, the base of which was the Teatro San Govanni Crisostomo; the stake on virtuoso singers made by the Teatro San Cassiano; the productions of comic intermezzi initiated by the Teatro Can Cassiano; and the creation of the genre of opera buffa with the participation of the great Venetian comic dramatist Carlo Goldoni. A number of reasons that stipulated the leading role of Venice in the history of the development of opera is highlighted. They are connected with the emergence of accessible music theaters, which became magnets for the general public and which provided for a flourishing of the art of the theater; with the creation of a specific artistic milieu that exerted an influence on the art of decoration. A considerable amount of contribution in the creation of the fertile ground for the development of opera in Venice was made by the theatrical element, which determined the ways of living of the city dwellers and the out-of-town visitors during the period of the carnival, as well as the Venetian academies, the walls of which held unfolding disputes about opera. The intensive development of Venetian opera in the 18th century was also enhanced by the preparation of singers who mastered the new style of vocal performance.
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Head, R. "Music in 18th-century India: Ian Woodfield, Music of the Raj: a social and economic history of music in late eighteenth century Anglo-Indian society." Early Music XXX, no. 2 (May 1, 2002): 284–85. http://dx.doi.org/10.1093/em/xxx.2.284.
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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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BOON, JEAN PIERRE. "COMPLEXITY, TIME AND MUSIC." Advances in Complex Systems 13, no. 02 (April 2010): 155–64. http://dx.doi.org/10.1142/s0219525910002529.
Повний текст джерелаАнотація:
The concept of complexity as considered in terms of its algorithmic definition proposed by G. J. Chaitin and A. N. Kolmogorov is revisited for the dynamical complexity of music. When music pieces are cast in the form of time series of pitch variations, concepts of dynamical systems theory can be used to define new quantities such as the dimensionality as a measure of the global temporal dynamics of a music piece, and the Shanon entropy as an evaluation of its local dynamics. When these quantities are computed explicitly for sequences sampled in the music literature from the 18th to the 20th century, no indication is found of a systematic increase in complexity paralleling historically the evolution of classical western music, but the analysis suggests that the fractional nature of art might have an intrinsic value of more general significance.
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Poirier, Jean-Paul. "Electrical earthquakes: A short-lived theory in the 18th century." Earth Sciences History 35, no. 2 (January 1, 2016): 283–302. http://dx.doi.org/10.17704/1944-6178-35.2.283.
Повний текст джерелаАнотація:
As soon as it was shown that thunderstorms were due to electricity, it became obvious for many physicists that earthquakes, which, as Pliny said, were subterranean thunderstorms, must be electrical phenomena. Despite some opposition, the ‘system of electricity’ became the fashionable theory of earthquakes, in the second half of the 18th century. Its proponents insisted on the idea that only electrical discharges could explain that earthquake shocks propagated instantaneously over large distances. A majority of the Italian philosophers attributed the disastrous 1783 Calabrian earthquake to electricity. When electrostatic machines and Leiden jars gave way to Voltaic piles, in the beginning of the 19th century, the ‘system of electricity’ rapidly disappeared.
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ALPERT, Michael. "The Secret Jews of 18th Century Madrid." Revue des Études Juives 156, no. 1 (July 1, 1997): 135–71. http://dx.doi.org/10.2143/rej.156.1.519375.
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Penkova, Yana A. "About the history of indefinite pronouns: Quasi-relative constructions with ni budi and ni jest’ in 17th–18th century Russian language." Vestnik of Saint Petersburg University. Language and Literature 18, no. 1 (2021): 114–37. http://dx.doi.org/10.21638/spbu09.2021.107.
Повний текст джерелаАнотація:
The article deals with quasi-relative constructions with ni budi/ ni jest’ , which were competing in 17th-18th century Russian language and claiming the role of an unspecific indefinite marker. This competition resulted in the victory of the ni budi- construction and grammaticalization of the formant nibud’ in modern Russian. The research was carried out on data taken from the historical module of the Russian National Corpus, as well as from a subcorpus of 18th century texts within the main corpus. Quasi-relative constructions are compared according to the following parameters: frequency, semantic distribution, degree of phraseologization and stylistic features. In the 17th century texts, both constructions show low frequency and occur in a limited range of sources: mainly in documents, as well as in some chronicles and everyday communication. In this period, the grammaticalization process was not complete for both constructions. In 18th century texts, the frequency of quasi-relative constructions with ni budi , unlike ni jest’ , sharply increases. Constructions with ni budi ( nibud’ ) penetrate into various functional domains of literary language, including church literature. Constructions with ni jest’ , on the contrary, were preserved in the 18th century language only as marginal archaisms. The semantics of quasi-relative constructions with ni budi in the period in question differed from nibud’ pronouns in modern Russian. The latter significantly narrowed their semantic scope, having lost the ability to be used as free-choice markers.
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Rizaieva, Ganna. "Christoph Willibald Gluck's soft skills in the case «Opera reform in the XVIII century»." Scientific herald of Tchaikovsky National Music Academy of Ukraine, no. 136 (March 28, 2023): 87–101. http://dx.doi.org/10.31318/2522-4190.2023.136.276562.
Повний текст джерелаАнотація:
Relevance of research. The Viennese opera reform in the 18th century, which is closely related to the ideology of the Enlightenment, the activities of Masonic lodges, and the politics of Austrian Chancellor Kaunitz-Rietberg, is still often regarded as a cliché. Not a single domestic study has been devoted to the question of rethinking both the phenomenon of opera reform itself and Gluck's role in it, which determines the article's relevance. In this work, for the first time, the importance of the union of reformers in Vienna for the implementation of the opera reform in the 18th century is emphasized. In overcoming the cliché of "glucocentrism", it seems important to look at Gluck as a person, with certain psychological traits (soft skills in modern language) that allowed him to be effective in co-creation with the Viennese reformers and to achieve personal success. All of the above determines the scientific novelty of the work.
The purpose of the article. To trace the history of the so-called Gluck reform and identify the main participants of the case "Opera reform in the mid-18th century". To investigate what and how Gluck's soft skills helped him to realize his creative potential in the stormy 18th century - at a time of changing worldview paradigms, and contributed to the formation of his place in the history of music as a "great opera reformer".
Methods. To achieve the goal set in the article, a historical (to consider the circumstances of the formation of the request for opera reform and to find out the ways of its solution), cultural (to study the cultural context of the 18th century) and sociological analysis method (to outline Gluck's soft skills) was chosen.
The results and conclusions. From the facts presented in the article, it becomes obvious that the so-called Gluck reform is a successful case of solving the problem of renewing the opera genre, implemented by a team of reformers. The decisive role in this was played by the musical genius and character of Gluck, his character, and the historical context that formed the "request" for reform. The composer had soft skills that, according to modern research, help a person work effectively in a team and achieve success. Undoubtedly, Gluck's soft skills discussed in the article were a guarantee of recognition for both the composer himself and the Viennese opera reform. Most of the crucial issues for understanding the phenomenon of opera reform in the 18th century still require further research, including the analysis of reformed operas as integral performances. and determining the role of Masonic lodges in the implementation of music and theater reform in Vienna.
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Lyashenko, Ekaterina S. "Transbaikal Painting of the 18th — the Early 20th Centuries: Periodization Problems." Vestnik of Saint Petersburg University. Arts 13, no. 3 (2023): 467–88. http://dx.doi.org/10.21638/spbu15.2023.305.
Повний текст джерелаАнотація:
The article is devoted to the research of Transbaikal painting history in the context of regional fine arts formation, artistic direction development. The Transbaikal art features are connected with region’s distance from cultural centers. Transbaikal painting has formed as result of penetration Russian art traditions and influence of regional national cultures. It’s possible to conditionally distinguish several stages in the history of Transbaikal painting. The first stage of formation (18th–19th centuries) was associated with creativity of visiting artists and with emergence of self-educated artists. The drawings were being made during the ethnographic expeditions in Siberia, also the Decemberists made their contribution. Besides, the icon painting was presented. The Transbaikal visual art heyday (the 2nd stage, 20th century) was presented with period of creativity and exhibition activities activation of the 20th century beginning, period of war years’ poster art, and period of realistic painting heyday. A lot of various in colorit landscapes were made in period of realistic painting heyday (the middle and second half of the 20th century). These are open spaces, steppes, roads, lyrical overcast landscapes, majestic north Transbaikalia and Buryatia mountains, landscapes of the Lake Baikal. The plot and historical paintings were being depicted scenes of Soviet reality, events of the region history and culture. Socialist realism was reflected in portraits and in subject painting, works of “austere style” were created. Individual artists with a pronounced style, manner stood out. Paintings were created with decorative, symbolic, ethnic motifs, impressionistic. At the present stage (beginning of the 21st century) artists of Transbaikalia create in the traditional and modernist direction, in the direction of ethnofuturism. Globalization processes, digitalization stimulate the penetration of creativity various forms into the region, and modern art projects begin to be implemented. System of art education traditions are emerging.
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Kruglova, Elena. "Expressive properties of embellishment in vocal music the first halfof the 18th-century." Человек и культура, no. 6 (June 2023): 76–84. http://dx.doi.org/10.25136/2409-8744.2023.6.69245.
Повний текст джерелаАнотація:
In the modern performance of ancient music, one of the central tasks of singers is the desire to decorate the melody independently. Taking into account the lack of knowledge and skills of Baroque improvisation among domestic performers, the decorations used often represent, in fact, only a technical element that needs to be dealt with. In this case, the ornaments have no artistic value, they sound faded, not corresponding to the main purpose – to emphasize the affect and enhance its expressiveness. The proposed article is aimed at solving topical problems in the field of Baroque performance related to vocal ornamentation and the transmission of the affect of the composition. The author of the article provides historical data on the characteristics of melisms and their focus on the expression of certain affects, which determines the scientific novelty of the study. The research methodology is based on a historical approach. Methods of analysis and synthesis are also of particular importance, thanks to which, when studying disparate data, it was possible to recreate the history of ornamental art in connection with the opera traditions of the first half of the XVIII century. The author's position is that any kind of ornamentation in ancient arias should be used in the melodic line in order to emphasize and enhance the affect of the composition being performed. When performing compositions of the time in question, it is important for a singer to understand the importance of decorating a melody as one of the main means of expression and, accordingly, be guided by the choice of jewelry. The author draws conclusions about the relationship and mutual influence of ornamentation and affect in the Baroque music. The material of the article and the conclusions will be useful to singers performing ancient music for its stylistically correct interpretation.
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FADER, DON. "The Honnêête homme as Music Critic: Taste, Rhetoric, and Politesse in the 17th-Century French Reception of Italian Music." Journal of Musicology 20, no. 1 (January 1, 2003): 3–44. http://dx.doi.org/10.1525/jm.2003.20.1.3.
Повний текст джерелаАнотація:
ABSTRACT The French concept of Taste (goûût) has largely been viewed from an 18th-century tradition of aesthetics in which philosophers attempted to incorporate it into a rationalized systematic theory of musical expression. Its original 17th-century usage, however, was derived from the principles of classical rhetoric and noble etiquette, or politesse. Following the tenets of Cicero communicated by humanist writers, these principles require the ideal gentleman (the honnêête homme) to adapt his knowledge and talents (agrééments) to the requirements of good society just as an orator carefully chooses the appropriate rhetorical figures to convince and move his hearers. According to the principles of rhetoric, any overuse of figures (or agrééments) vitiates their very effectiveness by drawing attention to their artificiality. Thus the 17th-century understanding of taste required the concealment of labor, knowledge, and ““artifice”” behind an effortlessly ““natural”” and pleasing courtly facade. This concept of taste became influential in courtly contexts of amateur music-making in the early part of the century, when it was incarnated by Pierre de Nyert, whose manner of singing was hailed as the model of ““politesse du chant.”” The principles of politesse played a significant role in the controversy over Italian music, whose perceived overuse of ““learned”” musical figures (dissonance, chromaticism, and other techniques) was viewed as a bourgeois flaunting of musical talent and rhetorical artifice.
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TCHAROS, STEFANIE. "The Serenata in Early 18th––Century Rome: Sight, Sound, Ritual, and the Signification of Meaning." Journal of Musicology 23, no. 4 (2006): 528–68. http://dx.doi.org/10.1525/jm.2006.23.4.528.
Повний текст джерелаАнотація:
ABSTRACT By the turn of the 18th century serenatas performed in Rome's urban squares as political or dynastic propaganda were a well-established ritual. In this public forum the effect of sound produced by large instrumental forces was a central feature, yet the serenata was a complex performance in which music was but one element in a series of other displays. Though undoubtedly an important part of the serenata, music's role in this multifaceted performance and its effect on audiences remain unclear. Part of that ambiguity stems from the serenata's ability to service both public and private consumption. Patrons exploited this dual nature, using the more spectacular elements of the serenata to influence the public at large, while also relying on other elements (primarily word and sound) to sway elite audiences. In the context of Rome and its dynastic politics, Giacomo Buonaccorsi's and Pietro Paolo Bencini's serenata Le gare festive in applauso alla Real Casa di Francia (1704) demonstrates how the serenata's dichotomous structures and multiplicity of meaning were deeply linked to larger cultural frameworks and social tensions——in this case, brewing over the War of Spanish Succession. The serenata was both a musical work and a performed event effectively shaped by the genre's ritual practice and by history and politics in late 17th- and early 18th-century Rome. The logic of the serenata's ritual practice shows significant correspondences to the genre's narrative strategies. Within the serenata, allegory served as the catalyst to express layers of meaning to diverse audiences. But more than that, allegory provided the means by which music was contained and its delivery marked. For public audiences, sound was as much visual as it was aural, an immediate and palpable special effect. For privileged listeners, music required reflection as to how spectacular effects acquired deeper meaning when anchored in the significance of the poetic text. Thus music in the serenata was not merely an element in a multifaceted performance but was multidimensional in itself, uniquely straddling both sides of the public/private divide.
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Bartlett, Ian. "Thomas Philips, Lord Chesterfield and the Enigma of a Popular 18th-Century Ballad by William Boyce: A New Conspiracy Theory." Musical Times 149, no. 1902 (April 1, 2008): 26. http://dx.doi.org/10.2307/25434515.
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McCarthy, Muriel. "Public libraries in Ireland I. Archbishop Narcissus Marsh and the foundation of the first public library." Art Libraries Journal 25, no. 3 (2000): 37–40. http://dx.doi.org/10.1017/s0307472200011767.
Повний текст джерелаАнотація:
Founded 300 years ago, Marsh’s Library in Dublin – Ireland’s first public library – is described by its librarian as a ‘treasury of the European mind’. The outstanding collections, in their purpose-built 18th-century accommodation, are still accessible to the public. They include Irish books and manuscripts and books on subjects such as travel, botany, music and natural history. Recently the catalogue of printed books has been computerized and made available on the Internet.
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Bonamin, Leoni Villano, and Silvia Waisse. "Explanatory models for homeopathy: from the vital force to the current paradigm." Homeopathy 105, no. 03 (August 2016): 280–85. http://dx.doi.org/10.1016/j.homp.2016.02.003.
Повний текст джерелаАнотація:
Facing claims for and against the scientific status of homeopathy, one is entitled to ask: is there a scientific model for homeopathy? In this study we reconstructed the model put forward by Hahnemann. The results showed that it was essentially based on the assumption of a ‘vital force’ exclusive to living beings. While the vital force was a basic element of 18th-century science, the existence of such a sui generis force of nature was refuted with the formulation of the law of the conservation of energy by mid-19th century. As a function of that fact for homeopathic theory, we discuss the history of the rise and demise of the theory of the vital force from the last quarter of the 18th century to 1830. Finally, we call the attention to the paradigm shift biology underwent starting at the end of the 19th century as the framework for contemporary views on the functioning of living beings and consequently, of the effects of pharmacological agents on them.
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Jokubaitis, Linas. "The Transformation of Scientific Political Philosophy into a Speculative Philosophy of History." Problemos 97 (April 21, 2020): 24–35. http://dx.doi.org/10.15388/problemos.97.2.
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The paper presents an analysis of the three stages of the development of political philosophy since the 17th century. The rise of modern political theory was marked by attempts to develop a philosophy along the lines of natural sciences. These attempts lead to the development of highly speculative and abstract doctrines; political philosophy ceased being a practical discipline. The paper argues that an important aspect of the traditionalist political thought of the 18th century was an attempt to reestablish the link between theory and practice. In the 19th century, the interest in history was supplemented with new premises about the historical process. Political philosophy, which strived to become scientific, became highly dependent on the premises of various philosophies of history.
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Escartí Soriano, Vicent Josep. "Jaume I al segle XVIII: entre el teatre popular i l’erudició." SCRIPTA. Revista Internacional de Literatura i Cultura Medieval i Moderna 21, no. 21 (June 22, 2023): 179. http://dx.doi.org/10.7203/scripta.21.26802.
Повний текст джерелаАнотація:
Resum: Aquest article tracta de mostrar com el record de la figura del rei Jaume I es va mantenir, al segle XVIII, especialment en dos àmbits: l’erudició històrica –que s’arrossegava des del segle anterior– i la presència del personatge del rei i d’alguns fragments de la seua vida, representats en algunes obres de teatre.Paraules clau: Jaume I, segle XVIII, erudició, teatre.Abstract: This article tries to show how the memory of the figure of King Jaime I was maintained, in the 18th century, especially in two areas: historical scholarship –which had been dragging on since the previous century– and the presence of the character of the king and some fragments of his life, represented in some plays.Keywords: James I of Aragon, 18th century, erudition, theater.
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Roos, Merethe. "USING SPEECH ACT THEORY AS A TOOL FOR UNDERSTANDING THE AUTHORSHIP OF BALTHASAR MÜNTER." Wiek Oświecenia, no. 38 (September 25, 2022): 114–29. http://dx.doi.org/10.31338/0137-6942.wo.38.7.
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This paper sheds light on the German (Danish at that time) theologian Balthasar Münter’s authorship and focuses on how his writings adapted to his intellectual, social and cultural surroundings. Münter served as a preacher in the German congregation in Copenhagen between 1765 and 1793 and left many writings to posterity, including 17 volumes of sermons. These texts are written in a public and political environment, offering shifting conditions for the church. The reflection concentrates on how he changed his preaching and teaching under the different conditions the church was offered in this period. A central question is what Münter is doing when preaching, writing and teaching, i.e., how he wanted this to be understood by the 18th-century reader? This approach to 18th-century intellectual history draws on the speech act theory, such as this theoretical foundation developed by the British intellectual historian Quentin Skinner.
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Gessele, Cynthia M. "Base d'harmonie: A Scene from Eighteenth-Century French Music Theory." Journal of the Royal Musical Association 119, no. 1 (1994): 60–90. http://dx.doi.org/10.1093/jrma/119.1.60.
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History can often be read as story or drama, with the events of the narrative partitioned into scenes. As a play, the history of music theory in eighteenth-century France has Jean-Philippe Rameau as its main character. The scenes in which Rameau and his opponents debated his theory are filled with contentious dialogue. Even if the historian excludes Rameau and devotes scenes to his predecessors, contemporaries and interpreters, the plot still revolves around the story's protagonist who stands in the wings.