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Journal articles on the topic '18th century performance practice'
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Gutknecht, Dieter. "Performance practice of recitativo secco in the first half of the 18th century." Early Music 33, no. 3 (August 1, 2005): 473–94. http://dx.doi.org/10.1093/em/cah105.
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Pilch, Marek. "Harpsichord or piano? Different concepts in the 18th century keyboard music." Notes Muzyczny 1, no. 9 (June 20, 2018): 65–87. http://dx.doi.org/10.5604/01.3001.0012.9899.
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The article touches on the problem musicians come across while referring to compositions without a specified instrument they were meant for. This problem is particularly noticeable in the harpsichord music from the end of the 18th century when there were numerous keyboard instruments. Some of them, so to say, were at the end of their career (harpsichord, clavichord), others only at the beginning (piano). The author of the article is primarily interested in the dependency between the piano and the harpsichord, so he asks himself whether keyboard music from the Classical period can still be part of the harpsichord repertoire and to what degree harpsichord performances of Classical compositions can be justified in performance practice. The problem is discussed especially in reference to music by W.A. Mozart. The article presents the history of views on the possibility of Mozart’s works to be performed on historical instruments. It also provides the most up-to-date information on the position of the harpsichord at the end of the 18th century. The last part of the article discusses this instrument’s role in the creative output of W.A. Mozart. It is mainly based on the latest knowledge Siegbert Rampe acquired in recent years.
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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.
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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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Yermak, I. "Treatise by Aman Vanderhagen “Nouvelle méthode de flute” as a reflection of the performing arts of France in the second half of the 18th century." Musical art in the educological discourse, no. 3 (2018): 80–88. http://dx.doi.org/10.28925/2518-766x.2018.3.8088.
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For adequate reading of ancient musical texts, it is necessary to study the historical and cultural context and the specifics of the performing practice of that time when musical work has been written. It becomes possible when we study the treatises of past centuries, in which the main issues of musical theory and practice, technique and style are considered.No flute treatise has yet been translated into Ukrainian. Works by S. Ganassi, J.-M. Hotteterre, J. J. Quantz and J. G. Tromlitz are available in Russian. However, there are still about two hundred untranslated methodological treatises of the 18th century which contain important information about the performing arts of the era. The need for their study causes the topicality of this article.The article presents the results of the study of the treatise “Nouvelle méthode de flute” (1798) by Aman Vanderhagen, which includes number of valuable guidelines about posture, performance breathing, correct phrasing and ways of correction of the unstable notes on a one-keyed flute. The variety of strokes given in the treatise is a vivid example of the performing traditions of classicism.For the solution of the study tasks it is used historical, source-study, textual, analytical and performance methods. The conclusion is that the «Nouvelle méthode de flute» is an important source of information about peculiarities of performing on wind instruments in the second half of the 18th century and is recommended for the study of modern musicians and music historians.
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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.
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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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Moon, Sun-Ah. "Italian Belcanto Performance Practices in the 18th Century - Focusing on Cadenza of Da Capo Aria ‘Nightingale’(Quell’usginuolo) -." Journal of the Science and Practice of Music 41 (April 30, 2019): 37–65. http://dx.doi.org/10.36944/jspm.2019.04.41.37.
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Cammarota, Robert M. "On the Performance of "Quia respexit ... omnes generationes" from J. S. Bach's Magnificat." Journal of Musicology 18, no. 3 (2001): 458–89. http://dx.doi.org/10.1525/jm.2001.18.3.458.
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The modern-day custom of performing the 'omnes generationes' section from J. S. Bach's Magnificat twice as fast as the aria "Quia respexit" has its origins in Robert Franz's vocal and orchestral editions of 1864, the details of which were discussed in his Mittheilungen of 1863. Up until that time, 'omnes generationes' was inextricably connected to "Quia respexit" and formed part of the third movement of Bach's Magnificat. Moreover, when Bach revised the score in 1733, he added adagio to the beginning of "Quia respexit . . . omnes generationes," establishing the tempo for the whole movement. In this study I show that Bach's setting of this verse is in keeping with Leipzig tradition (as evidenced by the settings of Schelle, G. M. Hoffmann, Telemann, Kuhnau, and Graupner) and with early 18thcentury compositional practice; that he interpreted the verse based on Luther's 1532 exegesis on the Magnificat; that the verse must be understood theologically, as a unit; that the change in musical texture at the words 'omnes generationes' is a rhetorical device, not "dramatic effect"; and, finally, that there is no change in tempo at the words 'omnes generationes' either in Bach's setting or in any other from this period. An understanding of the early 18th-century Magnificat tradition out of which Bach's setting derives, with the knowledge of the reception of Bach's Magnificat in the mid 19th century, should help us restore Bach's tempo adagio for the movement.
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Galina, Gulnaz S. "The Role of City Culture in the Formation of the Bashkir National Art of the Pre-Revolutionary Period." ICONI, no. 1 (2020): 46–56. http://dx.doi.org/10.33779/2658-4824.2020.1.046-056.
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The article presents some basic information about the development of city musical culture in the Orenburg gubernia and in Ufa during the pre-revolutionary period. The regularity of the formation of the phenomenon of the city cultural milieu is traced by the examples of such components as concert and theatre practice, in the context of which the foundations of compositional and performance professionalism indispensable for the development of European genres were perfected. As the result of an overview of various forms of musicmaking at home and the concert and theater practice, the foundations of which had been installed by the direct bearers of European culture itself — Polish insurgents banished to the gubernia in the 18th century — the fact is substantiated that the Russian-European academic musical tradition conditioned the environment due to which national concert life was established in the early 20th century. It is proven that the Europeanization in Bashkir culture began not during the period of the Soviet cultural development, but on the wave of Jadidism in the activities of the new-method madrassahs, which in the beginning of the previous century became the main centers for sacred and secular culture. At the same time, the emergence of combined Tatar-Bashkir dramatic theatrical troupes conducive towards the onset of national theatrical music is the greatest accomplishment of Bashkir music in the prerevolutionary period, which connected the pre-revolutionary epoch with the period of formation of national compositional schools.
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Tsiuliupa, S. D. "Doctoral dissertations of wind instruments musicians in Ukraine (the end of XX – early XXI century)." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 54, 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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Kościukiewicz, Jakub. "Cello in the Baroque, part 1." Notes Muzyczny 1, no. 9 (June 20, 2018): 9–42. http://dx.doi.org/10.5604/01.3001.0012.9895.
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The article was based on a fragment of the author’s doctoral dissertation entitled The birth of cello as a solo instrument – instruments, practice, and selected literature examples (Academy of Music in Łódź, chapter The evolution of cello in the 17th century) and consists of two parts. The first part outlines of the evolution of cello from its birth in the 16th century to the 18th century (the text is supplemented with illustrations), whereas the second part describes the role and use of cello in music of that period. The introduction to the article includes a critical reference to the list of academic and popular science publications therein, in Polish and other languages, touching on the cello issue in the 17th and 18th centuries. The historical part touches on the circumstances of how the violin family emerged with a special attention paid to bass representatives of that group of instruments. Following a detailed analysis of preserved instruments, their reliable copies, luthier publications, illustrations and treatises from that period, the author discussed the construction of the earlies cellos. Apart from data concerning sizes and scale length of these instruments, the article includes information about their body, neck, fingerboard (with slope angle), bridge and tailpiece, materials they were made of, and types and gauge of strings used at that time. It also describes cello tuning methods. Moreover, the author mentions different types of cello (piccolo, da spalla, basse de violon) and different ways of how it was held. A separate issue are the bows, especially types of bows, their evolution and ways of holding. This part of the article is concluded with a list of different names of bass variants of the violin used in the 16th and 17th centuries before the name cello/violoncello finally settled. The second part of the article elaborates on the most important functions of cello: as a consort instrument, a universal continuo instrument or a solo instrument. Cello (along with viola da gamba or dulcian/bassoon) managed especially well as a melodic instrument co-rendering the continuo parts, and the result was that the basso continuo became the most important domain of cello in the Baroque, having a significant influence on the shape of playing technique and performance practice of that instrument. As one of melodic bass instruments, cello performed an important role in shaping the concertante style, along with the violin, shawm/oboe, cornet or flute. It was that practice combined with the improvisation practice developed simultaneously (which also influenced the development of the instrument itself) that the idea to write first autonomous compositions for the cello (solo, chamber or with basso continuo) emerged from at the end of the 17th century. Continuation of this article, which shall be devoted to Baroque works for the cello and their composers, will be published in the following issue of “Notes Muzyczny”.
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Bisulca, Christina, Lisa Schattenburg-Raymond, and Kamalu du Preez. "Hawaiian Barkcloth from the Bishop Museum Collections: A Characterization of Materials and Techniques in Collaboration with Modern Practitioners to Effect Preservation of a Traditional Cultural Practice." MRS Proceedings 1656 (August 21, 2014): 111–21. http://dx.doi.org/10.1557/opl.2014.811.
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ABSTRACTHawaiian barkcloth (‘kapa’) is a traditional fabric made from beaten plant fibers. Because of its function in both utilitarian and chiefly ornaments, kapa is intimately tied to the history and traditions of Hawai’i. In the 19th century kapa was gradually replaced with imported textiles and the practice was lost. The traditional methods used to manufacture kapa are now only known from historic descriptions by early missionaries and explorers. Since the 1970s, cultural practitioners began an effort to revive this artform and are experimenting with materials and techniques to reproduce kapa with the quality of historic artifacts.Research has been undertaken at the Bishop Museum using a multi-analytical approach to determine the colorants. The Bishop Museum holds the world’s best collection of kapa, including some of the earliest pieces collected from Cook’s voyage in the 18th century. The research has focused on a comprehensive survey of over 150 pieces of kapa with x-ray fluorescence spectroscopy (XRF). In some cases, samples were removed and analyzed with UV-Vis-NIR fiber optics reflectance spectroscopy, Fourier transform infrared spectroscopy (FTIR) and chromatographic techniques, including high performance liquid chromatography (HPLC). Scientific results document the use of traditional pigments and dyes as well as the incorporation of imported materials in the 19th century. Results are interpreted by period, design and use, as well as within the context of historic descriptions. An important aspect of this work is close collaboration with cultural practitioners experienced fabrication methods that have been successful in the recreation of kapa. With continued research, the goal is to ultimately gain a greater knowledge of historic materials and techniques for the continuation of this important tradition.
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Hoskin, Keith W., and Richard H. Macve. "KNOWING MORE AS KNOWING LESS? ALTERNATIVE HISTORIES OF COST AND MANAGEMENT ACCOUNTING IN THE U.S. AND THE U.K." Accounting Historians Journal 27, no. 1 (June 1, 2000): 91–149. http://dx.doi.org/10.2308/0148-4184.27.1.91.
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In attempting to understand the genesis and scope of modern cost and management accounting systems, accounting historians adopting what has been labeled a “Foucauldian” approach have been rewriting the history of key 18th and 19th century developments in the U.K. and U.S. through new evidence, new interpretation, and a refocusing of attention on familiar events. This is a “disciplinary” history which sees modern cost and management accounting as articulating a new kind of “expert disciplinary knowledge,” as well as exercising a “disciplinary power,” in the construction of a new human accountability. However, this “disciplinary” view has been challenged by more “economic rationalist” historians, e.g., Boyns and Edwards [1996] for the British Industrial Revolution and Tyson [1998] for the U.S., as being too narrowly concerned with labor control. This paper takes up the gauntlet. It addresses the theoretical issues and seeks to clarify the import of the “disciplinary view” and its contribution to understanding how 19th century accounting practices shaped emerging managerial discourses, initially in the U.S. It argues that, until businesses adopted this new disciplinarity, there remained an absence of practices focused on calculating human performance, and accounting was not fully deployed to construct that system of “administrative coordination” [Chandler, 1977] which distinguishes modern management action and control.
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Thomas, Riley, Jocelyn Alcantára-García, and Jan Wouters. "A Snapshot of Viennese Textile History using Multi-Instrumental analysis: Benedict codecasa’s swatchbook." MRS Advances 2, no. 63 (2017): 3959–71. http://dx.doi.org/10.1557/adv.2017.604.
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AbstractThe Habsburg Empire was a sovereign dynasty ruled by the Habsburgs between the 15th and 20th centuries. Although its borders were not defined before the 19th century, what is now Austria, Hungary, some areas of the Czech Republic, the Netherlands and Italy were at some point part of the Empire. Starting in the 17th century, the Empire had Vienna as the capital, which was a hub for culture and craft where silk was a valued commodity. Despite the political and cultural importance of the Empire, little is known of its trade practices and sources of raw material. Using a combination of X-Ray Fluorescence (XRF) and High Performance Liquid Chromatography-Photodiode Array Detector (HPLC-PDA) for the study of a Viennese swatch book, we conducted the first systematic approach to understanding the industry. Benedict Codecasa, a prominent merchant active in Vienna between the late 18th and early 19th century sold silk and other textile goods. Authorized by the Royal Court, Codecasa was assumed to sell luxurious and high-quality textiles. However, our results suggested colored goods were dyed with more focus on aesthetics (finding a similar color) rather than quality through unique recipes. This greatly contrasts with other contemporary textile industries praised for their quality and which, in turn, might be related to comparatively lesser quality textiles sold in Vienna.
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Heinz, Karl Eckhart. "Konstitutive Aspekte der Ästhetik im Sprachkunstwerk und ihre Behandlung als Übersetzungsproblem." Babel. Revue internationale de la traduction / International Journal of Translation 38, no. 1 (January 1, 1992): 10–27. http://dx.doi.org/10.1075/babel.38.1.03hei.
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In translating elements of language the question that is very often raised is how to deal with the aesthetic features, especially if they form part of a work of poetry. Aesthetic theory, since its emancipation from philosophy by Alexander Gottlieb Baumgarten in the 18th century, has developed our knowledge about the performance of aesthetic features; but in translation practice these aesthetic aspects are for the most part still being neglected. With translations of poetry, for example, the aspects of verse form and verse content of the original work of art are taken into account solely for the purpose of representing them in another language, disregarding the aesthetic values to which, from the time of their invention, their author owed his fame. Even in translations by poets of the work of colleagues, an understanding of the author's special aesthetic inventions is found to be lacking; here the translating — or "re-composing" (Stefan George) — process usually produces the aesthetics due to the interpreter's own composing attitudes. The article gives an introduction to aesthetic theory as a component of communication theory, and offers some examples of aesthetic structures in poetical works and in translations of them, as well as an example of representation of these structures in translated texts.
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Iswahyudi. "The Development of the Tarekat among the Madurese Population until the Beginning of the 20th Century." Britain International of Humanities and Social Sciences (BIoHS) Journal 3, no. 2 (June 18, 2021): 291–301. http://dx.doi.org/10.33258/biohs.v3i2.451.
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In its development, the number of tarekat found in Madura was three, namely the tarekat Qadiriyah, the tarekat Qadiriyah Wa Naqshabandiyah, and the tarekat Tijaniyah. In addition, the tarekat Syatariyah, which had a lot of contact with the traditions of the local Madurese community, had also been influential, even though it was not so big. In this case it is known that starting from the development of the performing arts among the Madurese population called rateb, or from the Arabic language ratib which is similar to the debus performances in Banten and Aceh, there is a strong suspicion that the tarekat Samaniyah has also developed in Madura since the 18th century. In its journey, the popularity of the tarekat Sammaniyah, especially in Madura, was replaced by the Qadariyah wa Naqsabandiyah. This tarekat in its development has replaced the fame of the tarekat Sammaniyah in the archipelago. The description from the sketch shows that in reality, we are often faced with local Islamic sketches, in the form of rituals, such as tarekat, tahlilan, salvation, and so on. The approaches used to telescope this are textual-contextual and structural-functional approaches. From the analysis, it is found that the patterns of understanding and attitudes of the majority of rural communities, especially Madurese, practice Islamic teachings in the form of rituals that are independent, walk alone, without recognizing the relationship between students and sheikhs or murshids.
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Budzar, Maryna. "Music in Social and Cultural Environment in a Noble Estate in the end of the 18th — the mid of the 19th century: from the History of Serf Orchestra of Galagan’s Family." Kyiv Historical Studies 12, no. 1 (2021): 58–69. http://dx.doi.org/10.28925/2524-0757.2021.17.
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The issue of musical culture development in a noble estate in Ukraine from the end of the 18th — to the mid of the 19th century was considered in the article on the grounded source base. This objective has been realised via reconstruction of the creation and activity circumstances of serf orchestra belonged to Galagan’s family in the estates in Sokyryntsi and Digtiari. The purpose of the article is to analyse a summary of social and cultural factors that secured Galagan’s family estates as the centers of musical art in the atmosphere of which refined amateurship of the owners co-existed with high quality musical performance of the serf musicians. The author studies issues of inherited character of orchestra’s activity during the life of several generations of Galagan’s family in the estates in Sokyryntsi and Digtiari. Furthermore, the author considers in what way musical performance in the estates facilitated communication practices of the noble community. The main attention of the article is devoted to the issue of ambivalence of cultural space in the estates. Men from Galagan’s family were sincerely fond of music and simultaneously used it as a mean for their social status improving as well as for social reputation of their own estates. They provided an opportunity for the talented peasants to enhance the artistic abilities, secured their profession education. On the other hand, the serf-musicians remained slaves who were in complete power of their owners. The article is completed by a publication of two letters written during 1824–1831s by Petro Galagan, the owner of the estate in Digtiari to his brother Pavel who was the owner of Sokyryntsi. These texts depict the circumstances of Digtiari’s transformation into the representative residence where music played a crucial role as well as reveal the details of artistic atmosphere of the estate. The letters are published for the first time.
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Kodenko, I. I. "Specificity of performance of Еarly Music: historical aspect." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 56, no. 56 (July 10, 2020): 93–105. http://dx.doi.org/10.34064/khnum1-56.06.
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Background. In today’s performing arts, more and more musicians are turning to the trends of historical performance. Therefore, musicology is actively searching for new approaches to the detailed study of authentic performance, to the reproduction of the most adequate ways of interpreting the music of previous eras. Among such methods of interest is the correlation of methods of reconstruction and deconstruction considered in this study. The object of the study is historically oriented performance of music works. The aim of the article is to determine the basic approaches of a number of modern scientific works to the reproduction and interpretation of old music and to identify the research position, which will play the role of methodological key to the analysis of the phenomenon of Early music. The methodology of the research based on analytical and comparative approaches applied to historical-stylistic phenomena, and emphasizes the methods of deconstruction and reconstruction for ancient music interpretation. Research results. The study identifies various approaches to studying the specificity of performing early music and to the interpreted compositional object of authentic performance. The latest scientific publications of musicians-researchers are analyzed: N. Sikorska, V. Kachmarchik, E. Kruglova. N. Sikorska (2016) have identified different approaches to musical Baroque legacy, implemented in nonauthorial editions of the Romanticism era. She presents in the form of a hierarchical system the stylistic parameters of the authentic performance of the Baroque style in the works for clavier of the late 16th – early 18th century. V. Kachmarchik (2003), in his scientific work, studied the historiography of flute art and determined the main stages of development of the flute design, also noted the basic principles of the formation of German flute pedagogy and determined the role of outstanding personalities in German flute art of the 18th – 19th centuries. E. Kruglova (2007) in her doctoral dissertation summarizes the artistic principles of Baroque vocal art: the vocal tradition of the Baroque era, the specifics of musical expressive means (dynamic, tempo, vocal-language articulation, ornamentation) and vocal technique (breathing, sound emission). She also conducts a comprehensive study based on the cultural-historical method that represent a culture as the key to interpreting a work of art and helps to understand comprehensively the bel canto singing tradition in the Baroque era. Also, she uses the theoretical and analytical methods, which provides a deep analysis of documents to identify the essence of the singing tradition, a thorough study of the means of musical expressiveness that make up its basis; the method of comparative analysis for determination the features of the most important parameters of performing interpretations of music by G. F. Handel in the period under review. However, these works did not pay due attention to the difference in the basic definitions of the very phenomenon of authentic performance: firstly, of the authentic performance as an instrumental accompaniment of vocal music, and secondly, of the ideas about the essence and nature of the instrumental version of historical performance itself. The author of the article formulates the methodological principles of studying the phenomenon of authentic performance, explains the attributes of the methods of “reconstruction” and “deconstruction” – in relation to the recreation of the historical interpretation of early music. Thanks to the methods of reconstruction and deconstruction, the historical image and meaning of the musical culture of the Baroque and the Renaissance may be recreated adequately. Need to take in account the uniqueness of each historical situation and the importance of the context of the era, in correlation with which the corresponding instruments, canons of musical writing and performance occur, are determined. The use of the reconstruction method led to the comprehension of the change of all means of expressiveness: tempo, motion, instrumentation, touch and strokes – even the tasks and meaning of music as an art form. Note that such an approach as deconstruction involves a “focus shift” to identify small details that will decipher the meaning of the work. The use of this method by authenticity scientists clarifies the incorrectness of the ideas about early music, helps the modern listener to improve the ideas about the relevant cultural era. With the help of scientific discourse, researchers and performers reconstruct the real meaning of early music, a new vision of historical performance as an artistic phenomenon is gradually emerging. Conclusions. The presented analysis of various approaches to the study and authentic reproduction of music by ancient composers reveals, from the author’s point of view, as a fundamental and promising approach based on the correlation of deconstruction and historical reconstruction methods. The Baroque era is characterized by the huge role of conventions and the careful study of details that are inextricably linked with canon and tradition. In this case, the use of the method of deconstruction destroys, first, the incorrect achievements and ideas about ancient music, which prevent the modern performer and listener from reaching its understanding. For an adequate restoration of ancient music, many factors must be taken into account, the main of which is the experience and achievements of pioneers of an authentic direction. The artistic practice of authentic performers should also be based on the achievements and conclusions of the relevant research work. Prospects for further research in this matter are a detailed study of works of ancient musical heritage and ways of their modern reproduction by talented musicians.
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Vandiver, Pamela, and Jim Druzik. "Art and Technology." MRS Bulletin 17, no. 1 (January 1992): 14–17. http://dx.doi.org/10.1557/s0883769400043189.
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Art has as many meanings as contexts in which it operates. It can mean surface decoration or the integral sum of parts and whole which a historian analyzes as structure using visual, musical, theatrical or other criteria. Art serves as decoration, but also serves to signal or sign a particular meaning. Art often confers an elite social status on its patrons or provides goods which support the power and prestige of a special group or person. Art is also used to describe the experience of viewers, usually as “aesthetic experience”; for instance, we experience art as beauty, as a shared emotional experience or empathetic understanding, or as interactive play or a process of performance by which we investigate or relate ideas, occurrences, or objects and give them meaning.Technology, in contrast, is usually defined as “praxis” and involves doing things, as a craft practice involving materials selection and refinement, followed by making those materials into useful things, artifacts, or objects which serve useful functions for individuals, a social group, class, or culture. The products of technology can be useful as tools that enable a task to be accomplished, or as products which satisfy subsistence needs, or devices, or even practical ideas. When put to use, they enable travel, communication, transportation of goods, or control of energy. But technology has another meaning which is often thought to be less useful, namely technical marvels—things which amaze or surprise us. Some examples are the mechanical automatons of the 17th and 18th centuries, the latest computer game, a special way of hearing or seeing, or even the gas and light spewing magic machines described as being used in Greek temples to get peoples' attention. Another example is the technology described by the 11th century monk Theophilus, used to equip a church, from bells and censors, to glass windows and painted walls. In these examples, doing technology or learning to use technological marvels is a way of almost magically extending our own power and understanding beyond ourselves.
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Taylor, David Francis. "The practice of caricature in 18th-century Britain." Literature Compass 14, no. 5 (May 2017): e12383. http://dx.doi.org/10.1111/lic3.12383.
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Putnam, Walter. "Captive Audiences: A Concert for the Elephants in the Jardin des Plantes." TDR/The Drama Review 51, no. 1 (March 2007): 154–60. http://dx.doi.org/10.1162/dram.2007.51.1.154.
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Animal presence unsettles practices of spectatorship and reframes assumptions about embodiment and affect in four differently exemplary animal performances, including one dating back to the 18th century. In all of them, the ethics of watching other animals, human or nonhuman, and the call for evaluation and judgment is complicated by recognition of the multiplicitous and mysterious nature of pain and pleasure.
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Harries, Martin. "Regarding the Pain of Rats: Kim Jones's Rat Piece." TDR/The Drama Review 51, no. 1 (March 2007): 160–65. http://dx.doi.org/10.1162/dram.2007.51.1.160.
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Animal presence unsettles practices of spectatorship and reframes assumptions about embodiment and affect in four differently exemplary animal performances, including one dating back to the 18th century. In all of them, the ethics of watching other animals, human or nonhuman, and the call for evaluation and judgment is complicated by recognition of the multiplicitous and mysterious nature of pain and pleasure.
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Carlson, Marvin. "“I Am Not an Animal”: Jan Fabre's Parrots and Guinea Pigs." TDR/The Drama Review 51, no. 1 (March 2007): 166–69. http://dx.doi.org/10.1162/dram.2007.51.1.166.
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Animal presence unsettles practices of spectatorship and reframes assumptions about embodiment and affect in four differently exemplary animal performances, including one dating back to the 18th century. In all of them, the ethics of watching other animals, human or nonhuman, and the call for evaluation and judgment is complicated by recognition of the multiplicitous and mysterious nature of pain and pleasure.
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Ashton, Edwina, and Steve Baker. "The Salon of Becoming-Animal." TDR/The Drama Review 51, no. 1 (March 2007): 169–75. http://dx.doi.org/10.1162/dram.2007.51.1.169.
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Animal presence unsettles practices of spectatorship and reframes assumptions about embodiment and affect in four differently exemplary animal performances, including one dating back to the 18th century. In all of them, the ethics of watching other animals, human or nonhuman, and the call for evaluation and judgment is complicated by recognition of the multiplicitous and mysterious nature of pain and pleasure.
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Kudryavtseva, E. A. "Grammatical Appearance of Law in Language Practice of Early 18th Century." Nauchnyy dialog, no. 4 (2018): 87–99. http://dx.doi.org/10.24224/2227-1295-2018-4-87-99.
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Bishop, M. "Dental Practice in Europe at the End of the 18th Century." British Dental Journal 196, no. 4 (February 2004): 239. http://dx.doi.org/10.1038/sj.bdj.4811009.
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Fontijn, Claire A. "Quantz's unegal: implications for the performance of 18th-century music." Early Music XXIII, no. 1 (February 1995): 54–64. http://dx.doi.org/10.1093/earlyj/xxiii.1.54.
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Wang, D. "National Russian Opera and Vocal Performance in the 18th Century." Университетский научный журнал, no. 51 (2019): 134–40. http://dx.doi.org/10.25807/pbh.22225064.2019.51.134.140.
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Duarte, Carlos, and António Morais. "Energy Performance of Two 18th Century Blocks in Lisbon Pombaline Quarter." IOP Conference Series: Materials Science and Engineering 960 (December 10, 2020): 032043. http://dx.doi.org/10.1088/1757-899x/960/3/032043.
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Dacome, Lucia. "Waxworks and the performance of anatomy in mid-18th-century Italy." Endeavour 30, no. 1 (March 2006): 29–35. http://dx.doi.org/10.1016/j.endeavour.2006.01.004.
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Sergeev, Alexander, Ekaterina Bratukhina, Irina Kushova, and Dmitriy Ovsyukov. "Liability of minors in russian criminal law practice XVIII — first half of XIX century." OOO "Zhurnal "Voprosy Istorii" 2020, no. 12-3 (December 1, 2020): 242–49. http://dx.doi.org/10.31166/voprosyistorii202012statyi70.
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The article examines the historical aspects of the evolution of the legislative definition of the age of onset of criminal responsibility and the specifics of sentencing juvenile offenders in the 18th and first half of the 19th century.
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Watson, Katherine D. "Poisoning Crimes and Forensic Toxicology Since the 18th Century." Academic Forensic Pathology 10, no. 1 (March 2020): 35–46. http://dx.doi.org/10.1177/1925362120937923.
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The easy availability of deadly poisons in 19th-century Britain, Western Europe, and the United States led to widespread public anxiety about the prevalence of murder by poison, resulting in what might be termed a “poison panic.” The fear was fed by well-publicized reports of trials and executions which, though not especially numerous, seemed indicative of the dangerous incidence of a unique type of homicide, one that was particularly difficult to prevent or detect. As a result, poisoning crimes stimulated the development of the earliest medicolegal specialism, forensic toxicology, and consequently the careers of some of the best known expert witnesses of the Victorian era, including Mathieu Orfila, Alfred Swaine Taylor, Thomas Stevenson, and Theodore Wormley. This article traces the history of poisoning crimes and the related medico-scientific discipline of forensic toxicology using textbooks, key trials, and crime statistics to examine and evaluate their contribution to the historical development of forensic expertise and practice.
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Tamdoğan, Işık. "Sulh and the 18th Century Ottoman Courts of Üsküdar and Adana." Islamic Law and Society 15, no. 1 (2008): 55–83. http://dx.doi.org/10.1163/156851908x287307.
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AbstractThis article explores and compares cases of sulh (amicable agreement) that are documented in the records of two Ottoman courts—one in Üsküdar, the other in Adana—in the second half of the 18th century. As a dispute resolution practice, sulh draws on three normative systems: shari'a, kanun and 'örf. An abundance of references to sulh agreements in court records testifies not only to the importance of this social practice, but also to complex interrelations between the three normative systems. Sulh documents provide evidence of the interrelation between the shari'a court and other legal arenas. The judges in both Üsküdar and Adana viewed sulh agreements—even those concluded privately and outside of court—as valid and binding. There were, however, significant differences between the two courts regarding the sulh cases; these differences highlight the connection between the location of the court and its specific legal culture.
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Kim, Yun-Jung. "The Characteristic and Practice for the mourning of master in the 18th Century." Korean Studies ll, no. 23 (December 2013): 465–98. http://dx.doi.org/10.36093/ks.2013..23.015.
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Tröhler, Ulrich. "An early 18th-century proposal for improving medicine by tabulating and analysing practice." Journal of the Royal Society of Medicine 103, no. 9 (August 31, 2010): 379–80. http://dx.doi.org/10.1258/jrsm.2010.10k006.
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MITINA, Svetlana Igorevna, Nikolay Alexandrovich SINKEVICH, Vladimir Ivanovich OGORODNIKOV, Irina Yurievna ROZHKOVA, and Victor Viktorovich LUKANIN. "Judicial Practice on Official Malfeasance in the Novgorod Province in the 18th Century." Journal of Advanced Research in Law and Economics 10, no. 2 (March 31, 2020): 583. http://dx.doi.org/10.14505//jarle.v10.2(40).19.
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The research reveals the problem of the realization of officials’ legal responsibility for mercenary abuses in the service during the period of reforms of public administration in Russia in the 18th century on the example of the Novgorod province. The general trends and features of the formation of anti-corruption institutions in the system of provincial authorities and the country as a whole are determined based on the analysis of the history of Russian legislation and the study of the materials of judicial practice.
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Jensen, Ola W. "Earthy Practice: Towards a History of Excavation in Sweden, in the 17th and 18th centuries." Current Swedish Archaeology 12, no. 1 (June 10, 2021): 61–82. http://dx.doi.org/10.37718/csa.2004.04.
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Excavation as a practice is commonly perceived as an outcome of the development of archaeology as a discipline during the 19th century. In line with this argument, earlier antiquarians, such as Olof Rudbeck and Olof Verelius, were exceptions. In this paper, the author stresses that excavation as a method was established in the late 17th century, only to become a natural practice in the next century. Issues that are ventilated are the circumstances behind this methodological introduction and its characteristics.
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Schnalke, Thomas. "Praxis, Theorie und Wissenschaft im Selbstverständnis des städtischen Arztes Christoph Jacob Trew (1695-1769)." Gesnerus 52, no. 1-2 (November 27, 1995): 40–53. http://dx.doi.org/10.1163/22977953-0520102005.
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In addition to universities and courts, large towns were regarded as attractive locations for a successful career by physicians in the 18th century. This study reveals the spectrum of practical and scientific activities of a “physi- cus” like Christoph Jacob Trew (1695-1769) who lived in the German town of Nuremberg. Emphasis is put on his attitude towards the meaning of medical practice, theory, and science in his work. Letters and drafts which form the basis of this study prove their usefulness as sources for medico- historical studies on the professional world of practicing physicians in the 18th century.
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Danilova, Yana Yu. "The Acoustic Images of Quasi-Ensemble Music-Making in the Slow Section of Mozart’s Clavier Sonata in B-flat Major, К. 570." ICONI, no. 3 (2019): 27–37. http://dx.doi.org/10.33779/2658-4824.2019.3.027-037.
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Music for clavier from the 18th century graphically recreates the acoustic images of the musical instruments and models of quasi-ensemble music making of that period. This tradition of “reflected musical texts” was typical for the Baroque period, when piano music presented a quasi-ensemble score condensed into two-staff notation. The acoustic features of the European practice of music-making in ensembles have also been universally reflected in the musical graphics of the piano sonatas of the Viennese Classicists – Haydn, Mozart and Beethoven. On the basis of the observations of this migration within the musical text of the slow movement of Mozart’s Sonata in B-flat minor K. 570, the article demonstrates the modifications of the structural dialogic models of Baroque practice and the process of their transformation into unfolded narrative-contextual signs, the peculiar features of the musical scores, and the acoustic images of the 18th century music-making practice.
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Witecki, Stanisław. "Theory and Practice of Parochial Preaching in the late 18th-century Polish-Lithuanian Commonwealth." Slovene 6, no. 2 (2017): 597–621. http://dx.doi.org/10.31168/2305-6754.2017.6.2.26.
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In the last decades of the 18th century, a few Polish dioceses were governed by representatives of the Catholic Enlightenment. Their pastoral activities focused on the reform of the priesthood and, especially, on the duty of preaching. Despite being perceived as members of a single group, their ideas differed to the point of being mutually contradictory. Interpretation of the ideological differences among these bishops is the preliminary aim of the paper. I examined pastoral letters and preacher handbooks written by four of these bishops: Michał Poniatowski, Ignacy Massalski, Wojciech Skarszewski, and Porfiriusz Skarbek-Ważyński. However, my main concern is the social practice of parochial preachers in their dioceses. I was interested in the methodology of sermonizing, the frequency of preaching topics, and the style and content of homilies delivered by clergy. I based my research on pastoral visitations, especially from the Diocese of Płock, providing information about the printed collections of sermons used by parochial clergy as well as the texts they wrote. The main conclusions are as follows: the clergy adopted to some extent only those reforms which were adjusted to their parochial needs and were supported by administrative pressure. Regardless of theoretical programs, preaching in the Commonwealth was changing in the direction of “Enlightened Tridentine Catholicism.” This means that the clergy accepted an enlightened style and language and a focus on morality, but not models of social and natural worlds. However, by rejecting the latter, they avoided enhancing the process of division between popular and elite.
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Tobriner, Stephen. "Building the Cathedral of Noto; earthquakes, reconstruction and building practice in 18th-century Sicily." Construction and Building Materials 17, no. 8 (December 2003): 521–32. http://dx.doi.org/10.1016/s0950-0618(03)00051-5.
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Mikołajczyk, Marian. "“Oath of Death” in Practice of Municipal Court of Krzemieniec in the 18th Century." Studia Iuridica Lublinensia 25, no. 3 (February 14, 2017): 675. http://dx.doi.org/10.17951/sil.2016.25.3.675.
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Boscani, Leoni Simona. "The practice of knowledge and the figure of the savant in the 18th century." RIVISTA DI STORIA DELLA FILOSOFIA, no. 3 (September 2009): 543–45. http://dx.doi.org/10.3280/sf2009-003011.
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Löffler, Josef. "Grundherrschaftliche Verwaltung, Staat und Raum in den böhmischen und österreichischen Ländern der Habsburgermonarchie vom ausgehenden 18. Jahrhundert bis 1848." Administory 2, no. 1 (August 8, 2018): 112–39. http://dx.doi.org/10.2478/adhi-2018-0018.
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Abstract The purpose of this article is to analyze the relation between manorial administration, the emerging state, and space in the Austrian and Bohemian lands of the Habsburg monarchy between the end of the 18th century and the abolishment of the manorial system in 1848. The themes that will be discussed are the spaces of manorial administration, with a focus on the various manorial rights and their spatial relation to each other; the role of manors in the state-building process, which in the Habsburg Monarchy is closely linked with the reform period in the second half of the 18th century; and finally the relationship between state, manors, and subjects in the first half of the 19th century, with emphasis on administrative practice.
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Sergazina, Ksenia Т. "THE CASE OF PRINCE EFIM MESHCHERSKY, WHO HAD “IN THE HOUSE A SPECIAL CHAMBER FOR GATHERING MANY PEOPLE, WHERE HE WAS REVEALING ALLEGED MIRACLES EMANATING FROM THE IMAGE OF THE MOTHER OF GOD”." Studia Religiosa Rossica: Russian Journal of Religion, no. 1 (2021): 173–80. http://dx.doi.org/10.28995/2658-4158-2021-1-173-180.
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The published text is an extract from the 18th century case of Prince Efim Meshchersky, which shows the Prince’s atypical religious practice and reverence for the miracle-working Smolensk icon of the Mother of God kept in his house.
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McCormack, Derek P. "Diagramming Practice and Performance." Environment and Planning D: Society and Space 23, no. 1 (February 2005): 119–47. http://dx.doi.org/10.1068/d51j.
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In this paper I seek to apprehend some of the powers of nonrepresentational practice and performance through an encounter with the rhythmic movement of the body. I concentrate on eurhythmics, a practice that emerged in Geneva in the late 19th century and early 20th century as an effort to improve musical appreciation through rhythmic movement. Drawing on work in cultural and architectural theory, I argue that the historical and cultural geographies of eurhythmics can best be apprehended diagrammatically. Specifically, I situate eurhythmics in diagrammatic relation to the corporeal kinaesthetics of rhythmic movement, to practices of social and cultural transformation, and to architectures of performative potential. By apprehending the geographies of eurhythmics in this way, I not only work to demonstrate that nonrepresentational styles of thinking and working multiply rather than undermine the field of power in which geographers move, but also present a sense of how these powers can become implicated in the very practice and performance of geographical research.
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Slozhenikina, Yulia V., and Andrey V. Rastyagaev. "The dispute on the language norm in A.P. Sumarokov’s article “To typographers”." Russian Language Studies 18, no. 4 (December 15, 2020): 469–80. http://dx.doi.org/10.22363/2618-8163-2020-18-4-469-480.
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The actuality of the undertaken research is conditioned by the necessity to study the role of Russian literature and journalism, separate linguistic programs of the middle of the 18th century in assertion of the main characteristics of the literary standard, which began to take shape in 80 years of this century. The aim of the scientific study is to analyze the similarities and differences between the linguistic theories of A. Sumarokov and V. Trediakovsky, to establish the place of this polemic in the history of Russian literary language of the 18th century, its significance for the formation of the literary standard. The language material is the original text of Sumarokov's article To typographers (K tipografskim naborshhikam), published in the May issue of the journal Trudolyubivaya pchela (1759). The system of views of scholars and writers of the mid-18th century on the Russian language are presented by means of descriptive and comparative methods with revealing the specifics of each language concept. An integral part of the methodology was the observation of the word usage in the texts by A. Sumarokov and V. Trediakovsky. The use of methods of linguoculturology made it possible to present linguistic polemics as a phenomenon of Russian culture. The extra-linguistic method and the method of reconstruction from historical sources were used to establish the phenomena of extra-linguistic reality that influenced the problems of the philological discussion. The results of the research showed that the extra-linguistic reason for writing the article was determined, the tradition of the writers' appealing to the typesetters in the history of domestic printing of the first half of the 18th century was traced, the group of works with which Sumarokov-philologist enters polemics was determined, the main concepts of the article were identified, the position of Sumarokov from the point of view of normalization of graphic, morphological, orthographic practice in the middle of the 18th century was fixed; the article by Sumarokov was considered in accordance with the concept of metatextual unity in the world. The prospects of the research relate to the fundamental theoretical development of the role of 18th century Russian literature in the formation of the Russian literary language standard.
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Balme, Christopher B. "Sexual Spectacles Theatricality and the Performance of Sex in Early Encounters in the Pacific." TDR/The Drama Review 44, no. 4 (December 2000): 67–85. http://dx.doi.org/10.1162/10542040051058483.
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When Europeans first arrived in Tahiti in the mid-18th century, they were sometimes greeted by performances that were aesthetic, ludic, and sexual. These performances of sex constitute another pole to a colonial history otherwise characterized by antagonism and violence.
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Murray, Dian. "The Practice of Homosexuality among the Pirates of Late 18th and Early 19th Century China." International Journal of Maritime History 4, no. 1 (June 1992): 121–30. http://dx.doi.org/10.1177/084387149200400108.
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Žůrek, Pavel. "The practice of music in Rajhrad monastery in the first half of the 18th century." Musicologica Brunensia 49, no. 2 (2014): 169–80. http://dx.doi.org/10.5817/mb2014-2-11.
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Tröhler, Ulrich. "Development of clinical probabilistic practice in Britain before Gavarret Part 1: the long 18th century." Journal of the Royal Society of Medicine 113, no. 10 (October 2020): 403–6. http://dx.doi.org/10.1177/0141076820947017.
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