Music and Culture in Eighteenth-Century Europe: A Source BookUniversity of Chicago Press, 15. 8. 1994 - 421 strán (strany) This book collects key writings about eighteenth century music . It brings together for the first time in one place, a wide selection of essential documents not only about music theory and practice, but about the historical, philosophical, aesthetic, ideological, and literary debates which held sway during a century when musical thought and criticism gained a privileged position in the culture of Europe. Enrico Fubini offers a sampling of English, French, German, and Italian writings on topics ranging from Enlightenment rationalism and the theories of harmony to German musical culture and the polemics on J. S. Bach. Organized by topic and historical period these selections go beyond writings dealing exclusively with specific musical works to larger issues of theory and the reception of musical ideas in the culture at large. The selections are from books, journals, newspapers, pamphlets, and letters; the contributors include Diderot, Rousseau, Voltaire, Grimm, Alfieri, Rameau, Quantz, Gluck, Tartini, Leopold and W. A. Mozart, and C. P .E. Bach. Many are translated here for the first time. With general and chapter introductions, restored footnotes, and other valuable annotations, and a biographical appendix, this anthology will interest music scholars, students, and teachers. |
Vyhľadávanie v obsahu knihy
Výsledky 1 - 5 z 33.
Strana 1
... learned academies of all kinds . At times it even becomes a cultural fashion , making music and the many querelles it sparked during that century a favorite subject of polemicists , writers , intellec- tual circles , aspiring musicians ...
... learned academies of all kinds . At times it even becomes a cultural fashion , making music and the many querelles it sparked during that century a favorite subject of polemicists , writers , intellec- tual circles , aspiring musicians ...
Strana 2
... learned , rather than by musicians . Even when the protagonists of the music world themselves took part , musicians or performers preferred to assume a popular tone , approx- imating everyday language in an attempt to make themselves ...
... learned , rather than by musicians . Even when the protagonists of the music world themselves took part , musicians or performers preferred to assume a popular tone , approx- imating everyday language in an attempt to make themselves ...
Strana 14
... learned and more pleasant . However , I believe that Greek music was more expressive and more forceful . . . they only aimed at moving the soul , while we only desire to please the ear . . . " ( article on Music in the Encyclopédie ) ...
... learned and more pleasant . However , I believe that Greek music was more expressive and more forceful . . . they only aimed at moving the soul , while we only desire to please the ear . . . " ( article on Music in the Encyclopédie ) ...
Strana 27
... learned Bolognese musician , a lover of antiquity and admirer of severe polyphonic rigor , was among the pioneers of the new discipline and has left us a monumental history of music in three volumes . Published respectively in 1757 ...
... learned Bolognese musician , a lover of antiquity and admirer of severe polyphonic rigor , was among the pioneers of the new discipline and has left us a monumental history of music in three volumes . Published respectively in 1757 ...
Strana 32
... learned quotation ) , was favorably received by German musicians and theorists of the eighteenth century . In light of this ideal , and in accordance with the Doc- trine of the Affections ( Affektenlehre ) , the musicians ' aim was to ...
... learned quotation ) , was favorably received by German musicians and theorists of the eighteenth century . In light of this ideal , and in accordance with the Doc- trine of the Affections ( Affektenlehre ) , the musicians ' aim was to ...
Obsah
THE FIRST POLEMICS ON OPERA IN ITALY | 35 |
Gian Vincenzo Gravina from On Tragedy 1715 | 36 |
Ludovico Antonio Muratori from On Perfect Italian Poetry 1706 | 39 |
Pier Jacopo Martello from On Ancient and Modern Tragedy 1714 | 48 |
Benedetto Marcello from Theatre a la Mode 1720 | 60 |
THE ITALIANS AND THE FRENCH THE GREAT QUERELLE | 66 |
Francois Raguenet from A Comparison between the French and Italian Music and Operas | 68 |
JeanLaurent Lecerf de la Vieville from Comparison of French and Italian Music | 73 |
Tramelogedia 1796 | 259 |
Pietro Metastasio Letter to Saverio Mattei at Naples 1770 | 264 |
GERMAN MUSICAL CULTURE AND THE CONTROVERSY REGARDING BACH | 270 |
Johann Adolf Scheibe Passage on J S Bach from a Letter of 1737 | 272 |
Johann Abraham from Impartial Remarks on a Dubious Passage in the Sixth Issue of Der critische Musikus 1738 | 273 |
Johann Mattheson from The Complete Music Director 1739 | 277 |
Johann Joachim Quantz from A Treatise on How to Play the Flute 1752 | 285 |
Leopold Mozart from A Treatise on the Fundamentals of the Violin 1756 | 287 |
NoelAntoine Pluche from The Spectacle of Nature 1746 | 79 |
Voltaire from The Temple of Taste | 84 |
Jean Le Rond dAlembert from Essay on the Origins of Language 1781 | 85 |
JeanJacques Rousseau from Essay on the Origins of Language 1781 | 91 |
Denis Diderot from Additions to the Letter on the Deaf and Dumb 1751 | 103 |
Denis Diderot from Rameaus Nephew 1760 | 104 |
Friedrich Melchior Grimm from The Little Prophet of Boehmischbroda | 112 |
Friedrich Melchior Grimm from the article Poeme lyrique in the Encyclopedie 1765 | 120 |
EUROPEAN RATIONALISM AND THEORIES OF HARMONY | 129 |
Johann Joseph Fux from Steps to Parnassus 1725 | 131 |
JeanPhilippe Rameau from Treatise on Harmony 1722 | 135 |
JeanPhilippe Rameau from Observation on Out Musical Instinct and on Its Principle 1767 | 141 |
Giuseppe Tartini from On the Principles of Musical Harmony Contained in the Diatonic Genus 1767 | 145 |
Denis Diderot from General Principles of the Science of Sound 1748 | 150 |
THE BIRTH OF HISTORIOGRAPHY AND THE REPORTS OF FOREIGN TRAVELERS IN ITALY | 154 |
Jacques Bonnet from History of Music and of Its Effects from Its Origins to the Present 1715 | 156 |
John Brown from A Dissertation on the Rise Union and Power the Progressions Separations and Corruptions of Poetry and Music 1763 | 161 |
Giovanni Battista Martini from History of Music 1757 | 173 |
Charles Burney from A General History of Music 1776 | 181 |
John Hawkins from A General History of the Science and Practice of Music 1776 | 193 |
Charles de Brosses from Letter to M de Maleteste 173940 | 199 |
Samuel Sharp from Letters from Italy 1767 | 209 |
Giuseppe Baretti from An Account of the Manners and Customs of Italy 1768 | 214 |
Johann Nikolaus Forkel from General History of Music 1788 | 216 |
THE REACTION OF ITALIAN HUMANISTS AND LITERATI TO MUSIC | 231 |
Francesco Algarotti from Essay on Opera 1755 | 233 |
Antonio Planelli from Opera 1772 | 240 |
Francesco Milizia from Complete Formal and Material Treatise on the Theater 1794 | 252 |
Friedrich Wilhelm Marpurg from Guide to Playing Keyboard Instruments 175561 | 290 |
Carl Phillip Emanuel Bach from Essay on the True Art of Playing Keyboard Instruments 175361 | 292 |
Johann Mattheson from The Latest Study of the Opera 1744 | 295 |
TOWARD THE REVALUATION OF INSTRUMENTAL MUSIC | 299 |
Johann Mattheson from The Complete Music Director 1739 | 301 |
Johann Joachim Quantz from A Treatise on How to Play the Flute 1752 | 305 |
Denis Diderot and Anton Bemetzrieder from Keyboard Lessons and Principles of Harmony 1771 | 308 |
Charles Acison from An Essay on Musical Expression 1753 | 310 |
SENSISM AND EMPIRICAL CURRENTS | 320 |
Joseph Addison from The Spectator 1711 | 321 |
JeanBaptiste Dubos from Critical Reflections on Poetry Painting and Music 1740 | 324 |
Pietro Verri from Music 1765 | 333 |
Pietro Verri from Discourse on the Nature of Pleasure and Sorrow 1774 | 338 |
THE ANCIENTS AND THE MODERNS | 340 |
Antonio Ecimeno y Pujades from On the Origin and the Rules of Music with the History of Their Development Decline and Renewal 1774 | 341 |
Esteban de Arteaga from Revolutions of the Italian Musical Theater from Its Origin to the Present 1785 | 346 |
Vincenzo Manfredini from Defense of Modern Music and Its Celebrated Performers 1788 | 351 |
THE QUERELLE BETWEEN THE GLUCKISTS AND THE PICCINNISTS | 358 |
Ranieri de Calzabigi from Essay on the Dramatic Poetry of the Abbe P Metastasio 1755 | 359 |
Ranieri de Calzabigi and Christoph Willibald Gluck Preface to Alceste 1769 | 364 |
JeanFrancois Marmontel from Essay on the Progress of Music in France 1777 | 366 |
JeanFrancois de la Harpe from Lyceum or Course in Ancient and Modern Literature 1803 | 373 |
MichelPaul Guy de Chabanon from Observations on Music and Principally on the Metaphysics of Art 1779 | 378 |
Wolfgang Amadeus Mozart Three Letters to His Father 1781 | 384 |
Biographical Dictionary | 391 |
413 | |
415 | |
Iné vydania - Zobraziť všetky
Časté výrazy a frázy
aesthetic ancient music arias ariettas Aristoxenus bass beautiful Benedetto Marcello called castrato chords composition consonance delight diatonic genus dissonance drama effect eighteenth century emotions Encyclopédie excerpt expression feeling French music French opera genius genre Giovanni Battista Martini given in Ch Gluck Greek harmony hear heart History of Music ideas imitation instrumental music Italian composer Italian music Italian opera Italy Johann Johann Joachim Quantz Johann Mattheson LAH-S language libretto listen Lully maestro di cappella manner Martini matter means melody Metastasio mind modern music musician musique Naples nature never notes Padre Martini painting Paris passions perfect performance philosophers Pietro Metastasio play pleasure poet poetry principles produce querelle querelle des Bouffons Rameau reason recitative repr ritornello Rousseau Saverio Mattei scene sense singers singing song soul sounds speak style sung taste theater things tion tones tragedy translation treatise true verses violin vocal voice words write