Eighteenth Century Music最新文献

Sonate per Clavicembalo, volumes 9 and 10 Domenico Scarlatti (1685–1757), ed. †Emilia Fadini and Marco Moiraghi Milan: Ricordi, 2016 and 2021 Volume 9, pp. xv + 282, ISBN 978 8 875 92984 8 Volume 10, pp. lv + 219, ISBN 978 8 881 92003 7 Clavicembalo 奏鸣曲，第 9 卷和第 10 卷 Domenico Scarlatti (1685-1757), ed. †Emilia Fadini and Marco Moiraghi Milan: Ricordi, 2016 and 2021 第 9 卷，第 xv + 282 页，ISBN 978 8 875 92984 8 第 10 卷，第 lv + 219 页，ISBN 978 8 881 92003 7

2区艺术学

Eighteenth Century Music Pub Date : 2023-08-25 DOI: 10.1017/s1478570623000180

W. Dean Sutcliffe

引用次数: 0

Mozart and the Mediation of Childhood Adeline Mueller Chicago: University of Chicago Press, 2021 pp. xiii + 287, ISBN 978 0 226 62966 7 莫扎特和童年的调解阿德琳·穆勒芝加哥:芝加哥大学出版社，2021 pp. xiii + 287, ISBN 978 0 226 62966 7

IF 0.1 2区艺术学

Eighteenth Century Music Pub Date : 2023-08-25 DOI: 10.1017/S1478570623000040

Tyler Bickford

{"title":"Mozart and the Mediation of Childhood Adeline Mueller Chicago: University of Chicago Press, 2021 pp. xiii + 287, ISBN 978 0 226 62966 7","authors":"Tyler Bickford","doi":"10.1017/S1478570623000040","DOIUrl":"https://doi.org/10.1017/S1478570623000040","url":null,"abstract":"Childhood is new. While every society certainly organizes itself in some form or another around age, the particular values that contemporary European and North American societies place on childhood and children are relatively recent and idiosyncratic. These include the valorization of childhood innocence (which might as easily be called naivety or even ignorance); the association of children with nature, in the sense both of animals and of essences; the expectation that children are vulnerable and must be sheltered, not only from work but also from participation in public life more generally; and the naturalization of expectations about ‘normal’ and universal trajectories of human development that have adult rationality as their end-point. In fact, as scholars in the maturing field of childhood studies often argue, the intensification of ideological and cultural investments in children and childhood was and is a defining feature of modernity. Since the early 1990s, such scholars – primarily in history, sociology, anthropology and literature – have traced how ideas about children and childhood developed in fields ranging from politics, law, philosophy and science to literature. The study of music and childhood has developed over a similar period in fits and starts, initially through the work of music-education scholars adopting ethnomusicological perspectives and then through individual efforts by music historians and ethnomusicologists, who have slowly sought each other out and begun to consolidate a subfield. I give this background because Adeline Mueller’s new book, Mozart and the Mediation of Childhood, marks a major milestone. It makes a compelling case for the centrality of music to the historical study of childhood, and it shows clearly how rethinking familiar music history through the lens of childhood can reveal striking new insights. Mueller demonstrates that music was not simply one more domain that was swept along by the social, political and ideological revolutions at the turn of the nineteenth century, but in fact that music was at the centre of the emergence of what we now recognize as the concept of the modern child. Mozart and the Mediation of Childhood is a nuanced, rigorous and thoughtful exploration of a broad range of fields in which Mozart – as a public figure and as an individual actor – was central to specific pivotal transformations in the European understanding of children and childhood. Mueller makes this case very effectively in her first chapter, which argues that modern childhood was understood very early on as a public identity, forged in and through the circulation of texts. This is an important claim, in part because modern ideologies of the public sphere emphasized rationality and the sublimation of individual particularity into the abstractions of textual circulation – qualities that were quite explicitly associated with maturity and adulthood (in addition, of course, to racial and gender hierarchies). So while M","PeriodicalId":11521,"journal":{"name":"Eighteenth Century Music","volume":"18 1","pages":"191 - 193"},"PeriodicalIF":0.1,"publicationDate":"2023-08-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77518702","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 3

Sonatas a Violino Solo e Basso Gaetano Brunetti (1744–1798) Carlos Gallifa (violin) / Galatea Ensemble Lindoro NL3055, 2022; one disc, 55 minutes

IF 0.1 2区艺术学

Eighteenth Century Music Pub Date : 2023-08-25 DOI: 10.1017/S1478570623000167

Ana Sánchez-Rojo

引用次数: 0

ECM volume 20 issue 2 Cover and Front matter ECM第20卷第2期封面和封面问题

IF 0.1 2区艺术学

Eighteenth Century Music Pub Date : 2023-08-25 DOI: 10.1017/s1478570623000234

引用次数: 0

Notes on Contributors 投稿人说明

2区艺术学

Eighteenth Century Music Pub Date : 2023-08-25 DOI: 10.1017/s1478570623000222

引用次数: 0

Classics Off-Centre: Performing and Listening to the Music of Haydn, Mozart and Beethoven during the Long Nineteenth Century 经典偏离中心:在漫长的19世纪演奏和聆听海顿、莫扎特和贝多芬的音乐

IF 0.1 2区艺术学

Eighteenth Century Music Pub Date : 2023-08-25 DOI: 10.1017/S1478570623000052

Teresa Cascudo

{"title":"Classics Off-Centre: Performing and Listening to the Music of Haydn, Mozart and Beethoven during the Long Nineteenth Century","authors":"Teresa Cascudo","doi":"10.1017/S1478570623000052","DOIUrl":"https://doi.org/10.1017/S1478570623000052","url":null,"abstract":"Writing about the history of music in Spain involves a peculiar exercise that some more radical anthropologists might term acculturation. This concept, which broadly refers to the substitution of one culture for another, could be used to characterize the process of arrival and initial diffusion in Spain of what we now call ‘ classical music ’ . Proof that it was felt as a threat to Spanish culture is the journalistic polemic within which, at the end of the eighteenth century, the expression ‘ national music ’ was used for the first time. The controversial repertories were Italian opera and the music of Haydn, both of which delighted some of the country ’ s elite groups (see Teresa Cascudo, ‘ Territory is the Key: A Look at the Birth of “ National Music ” in Spain (1799 – 1803) ’ , in Confronting the National in the Musical Past , ed. Elaine Kelly, Markus Mantere and Derek Scott (London: Routledge, 2018), 196 – 207). The adoption by the elite of the musical practices associated with these repertories, and particularly in the case of the string quartet, has been considered as part of a much more comprehensive ‘ civilizing ’ process, to use the expression of Norbert Elias (see Carolina Queipo, ‘ Prácticas musicales y procesos de civilización de la élite financiera y comercial en la España de Fernando VII: el caso de A Coruña ’ , in Procesos de civilización: culturas de élites, culturas populares. Una historia de contrastes y tensiones (siglos XVII – XIX) , ed. José María Imizcoz Beunza, Máximo García Fernández and Javier Esteban Ochoa de Eribe (Bilbao: Universidad del País Vasco, 2019), 191 – 212). The debate that the ‘ Classics Off-Centre ’ conference attempted to stimulate was situated at the intersection","PeriodicalId":11521,"journal":{"name":"Eighteenth Century Music","volume":"1 1","pages":"239 - 241"},"PeriodicalIF":0.1,"publicationDate":"2023-08-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78027547","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Walsh in Europe and Beyond: Dissemination and Reception of English Music Prints in the 18th Century 沃尔什在欧洲及欧洲以外:18世纪英国音乐版画的传播与接受

IF 0.1 2区艺术学

Eighteenth Century Music Pub Date : 2023-08-25 DOI: 10.1017/S1478570623000210

Gesa zur Nieden, Berthold Over

{"title":"Walsh in Europe and Beyond: Dissemination and Reception of English Music Prints in the 18th Century","authors":"Gesa zur Nieden, Berthold Over","doi":"10.1017/S1478570623000210","DOIUrl":"https://doi.org/10.1017/S1478570623000210","url":null,"abstract":"Music manuscripts and prints from the eighteenth century have increasingly been regarded by scholars of early-modern music historiography as integral components not only of musical performances, but also of music-based sociability and various forms of exchange and reception. Two historical figures who relate to all of these issues are the London publishers John Walsh (1665/1666– 1736) and his son of the same name (1709–1766), who printed and distributed dances, instrumental pieces, selected arias and entire aria corpuses from operas and oratorios between 1694 and 1766. Research on their prints has so far taken place largely in Britain, and has focused for the most part on George Frideric Handel and on printing techniques. The conference ‘Walsh in Europe and Beyond’, held at the Alfried Krupp Wissenschaftskolleg Greifswald and at the Universität Greifswald, extended this field through a systematic investigation of European and international sheet-music collections, their provenance and the traces of their use. Its aim was to uncover Europe-wide and global distribution channels, user groups and the aesthetic or political functions of eighteenth-century music. The papers presented over the two and a half days were mainly grouped into regional areas. In our introduction, we (Gesa zur Nieden (Universität Greifswald) and Berthold Over (Universität Greifswald)) pointed to several points of departure when investigating the distribution and function of Walsh’s prints in Europe. The presence of these publications in the British Isles and Continental Europe offers many hints: frequent maritime trade facilitated the shipping of these prints, while individuals and diplomatic networks functioned as intermediaries and conduits for transmission. The uses of the Walsh prints are difficult to define with certainty; they seem to flow between categories of material for domestic music-making and objects for remembering performances, promoting celebrity and sharing in contemporaneous discourses about opera. In his keynote address ‘Cultural Transfer in Music in the Age of Enlightenment: Methodology and Research Questions’Martin Eybl (Universität für Musik und darstellende Kunst Wien), starting with Gottfried van Swieten’s order for English prints, painted a cultural-historical picture that linked dissemination to the concepts of influence, cultural transfer, reception and mobility/migration, as well as discourses on translation studies and histoire croisée. He identified several aspects and agents related to the distribution of music: the buying public, cultural localization, mediators of musical material (arrangers, compilers) and limitations (such as regions not using Roman typeface, as in the case of Russia). In his paper ‘The Music Editions of John Walsh Junior and His Successors: Working Practices, Publishing Strategies and Reception’, Donald Burrows (The Open University, Milton Keynes) offered a comprehensive insight into Walsh’s operating principles and policies","PeriodicalId":11521,"journal":{"name":"Eighteenth Century Music","volume":"6 1","pages":"229 - 233"},"PeriodicalIF":0.1,"publicationDate":"2023-08-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82516471","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Texting Scarlatti

IF 0.1 2区艺术学

Eighteenth Century Music Pub Date : 2023-08-25 DOI: 10.1017/s1478570623000106

B. Ife

引用次数: 0

The Tartini Moment 塔提尼时刻

IF 0.1 2区艺术学

Eighteenth Century Music Pub Date : 2023-08-25 DOI: 10.1017/s1478570623000064

S. Durante

引用次数: 0

Peculiar Attunements: How Affect Theory Turned Musical Roger Mathew Grant New York: Fordham University Press, 2020 pp. x + 168, ISBN 978 0 823 28774 1 奇特的调谐:如何影响理论变成音乐剧罗杰·马修·格兰特纽约:福特汉姆大学出版社，2020年pp. x + 168, ISBN 978 0 823 28774 1

IF 0.1 2区艺术学

Eighteenth Century Music Pub Date : 2023-08-25 DOI: 10.1017/S1478570623000179

Kim Sauberlich

{"title":"Peculiar Attunements: How Affect Theory Turned Musical Roger Mathew Grant New York: Fordham University Press, 2020 pp. x + 168, ISBN 978 0 823 28774 1","authors":"Kim Sauberlich","doi":"10.1017/S1478570623000179","DOIUrl":"https://doi.org/10.1017/S1478570623000179","url":null,"abstract":"Authority emanates from Roger Mathew Grant ’ s Peculiar Attunements: How Affect Theory Turned Musical . From the back cover, readers learn that the monograph has garnered praise from leading literary critic Sianne Ngai and that Carolyn Abbate refers to it as a ‘ tour-de-force ’ . In the course of four chapters on operatic and instrumental music, Peculiar Attunements traces a central transformation in musical aesthetics, all while claiming to provide a new history of affect that places music at the centre of its discussion. First, Grant shows how early-modern and eighteenth-century music critics replaced the doctrine of mimesis – in which artworks produce human affects by imitating worldly things – with a concept that privileged an understanding of the individual body ’ s capacity to apprehend indeterminate reverberations. This is what Grant calls the notion of attunement. Second, the book discusses the persistence of eighteenth-century modes of musical attunement in affect theory today. Grant thus formulates his thesis as a critique, one that traces ‘ the structure of events in intellectual history that created these parallel historical turns away from representation and toward affect ’ (23). A self-avowed work of intellectual history, Peculiar Attunements surveys a combination of sources in aesthetic theory, canonical and otherwise","PeriodicalId":11521,"journal":{"name":"Eighteenth Century Music","volume":"11 1","pages":"183 - 186"},"PeriodicalIF":0.1,"publicationDate":"2023-08-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87426191","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0