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Relevant bibliographies by topics / Music, history and criticism, 17th century

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Academic literature on the topic 'Music, history and criticism, 17th century'

Author: Grafiati

Published: 4 June 2021

Last updated: 30 July 2024

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Journal articles on the topic "Music, history and criticism, 17th century"

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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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De Koninck, Tine. "Natascha Veldhorst, Sounding prose. Music in the 17th-century Dutch Novel." Early Modern Low Countries 6, no. 1 (June 29, 2022): 158–60. http://dx.doi.org/10.51750/emlc12178.

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Dukhanina, Alexandra V. "The Life of St. Stephen of Perm in the Printed Prologue: Textual Criticism and Codicological Value." Труды Отдела древнерусской литературы 68 (2020): 135–74. http://dx.doi.org/10.31860/0130-464x-2020-67-135-174.

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The Life of St. Stephen of Perm in a specific redaction was included in the second edition of the Prologue of 1642—1643 and reprinted in all subsequent editions of the Prologue in the 17th—18th centuries. Eight handwritten copies of the text belonging to this redaction have been found in 17th- and 18th-century manuscripts. In most editions of the Prologue the text reveals minor linguistic and stylistic changes that provide material for the history of editing of the Prologue, as well as for the history of the Russian literary language. They also allow determining which particular edition served as a model for this or that manuscript copy of the Life. Knowing the publication year of the editions has helped to clarify the dating of some manuscripts of this redaction of the Life and even to correct some data from an album of seventeenth-century watermarks

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Mishina, L. A. "THE FAMILY PHENOMENON IN SEVENTEENTH-CENTURY AMERICAN LITERAURE." Bulletin of Udmurt University. Series History and Philology 32, no. 2 (April 29, 2022): 355–62. http://dx.doi.org/10.35634/2412-9534-2022-32-2-355-362.

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The purpose of this article is to analyze the phenomenon of the New English family of the 17th century, the first century of the existence of American national literature, presented in the works of early American authors - period insufficiently studied in literary criticism. Untranslated or incompletely translated into Russian works of such religious and public figures, writers as Richard Mather (Diary), Inkris Mather (The Life and Death of the Reverend Richard Mather), Edward Johnson (The Miraculous Providence of the Savior of Zion in New England) , Samuel Sewall (Diary), John Cotton (God’s Promise to His Plantation), Cotton Mather (Life of Mr. Johnatan Burr), are introduced into literary criticism. Being one of the key in the early history and literature of the United States, the theme of the family has the following aspects considered within the framework of the article: the move of families to a new continent, settling in a new place, the status of a father, mother, and child. The process of formation and existence in extreme conditions of a Protestant family is analyzed, the role of the family community in the fulfillment of the sacred mission - the creation of the kingdom of Christ on new lands - is determined. The conclusion is made about the uniqueness of the New English family of the 17th century, which combined the features of both the family structure that developed in European society and those born in the process of American experiments. The idea is emphasized that the disclosure of the family theme by early American authors clearly represents the features of American literature of the 17th century in general. The article uses biographical, structural, cultural and historical methods of literary analysis.

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Harrán, Don. "Elegance as a Concept in Sixteenth-Century Music Criticism*." Renaissance Quarterly 41, no. 3 (1988): 413–38. http://dx.doi.org/10.2307/2861755.

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”… et vere sciunt cantilenas ornare, in ipsis omnes omnium affectus exprimere, et quod in Musico summum est, et elegantissimum vident … “Adrian Coclico, Compendium musices (1552)The notion of music as a form of speech is a commonplace. Without arguing the difficult questions whether music is patterned after speech or itself constitutes its own language, it should be remembered that the main vocabulary for describing the structure and content of music has been drawn from the artes dicendi. The present report deals with a small, but significant part of this vocabulary: the term elegance along with various synonyms and antonyms borrowed from grammar and rhetoric and applied to music, in a number of writings, from classical times onwards.

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Smirnova, Tat’yana V. "The Pavan in English Music of the 16th–17th Centuries." Vestnik of Saint Petersburg University. Arts 13, no. 2 (2023): 222–42. http://dx.doi.org/10.21638/spbu15.2023.201.

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The article is devoted to recreation of the genre Pavan evolution in English music of the 16th–17th centuries. The research involved diverse sources such as early treatises, musical and practical manuals, old-printed musical editions and modern anthologies of the English music of the 16th–17th centuries that allowed to review the Pavan as a vivid representative of the genre system of 16th–17th centuries English instrumental music, to locate the main centers of its expansion (the Tudors and Stuarts Royal Courts, the Houses of English authoritative stripes and Inns of Court) and to concretize some idea about its functional and communicative features, to determine a range of English Pavan authors from William Byrd and Alfonso Ferrabosco the elder (who were silent trendsetters in the musical and artistic tastes at the English Court in the second half of the 16th century) to Henry Purcell (who became a leader in the development of English music in the last quarter of the 17th century marked by vanishing of national late Renaissance and early Baroque traditions in the chamber instrumental music-making). In the article there were defined the vectors for new treatment of dance genre, have been developing its composition from anonymous to author’s one with clearly recognizable individual style of writing. It emphasizes the systematics of the variety of surviving Pavans with different titles, which reflects the compositional-technological or figurative-emotional features of dance pieces. Apart from the others the “named” Pavans and the pieces related to them and created in traditions ‘In memoriam’ were examined. The results of scientific research could be used for the further development of the musical style questions and compositional method of English composers of the 16th–17th centuries related to the mutual cultural and historical tradition.

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Hansen, Jette Barnholdt. "From Invention to Interpretation: The Prologues of the First Court Operas Where Oral and Written Cultures Meet." Journal of Musicology 20, no. 4 (2003): 556–96. http://dx.doi.org/10.1525/jm.2003.20.4.556.

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The dynamic progression from orality to literacy is embodied in the notation of the prologues to the first court operas. This transition is influenced by the proliferation of printed scores at the beginning of the 17th century and has profound rhetorical consequences for vocal performance. In the first prologues, where the written arie are formulaic, the singer is the creator and authority; s/he controls the musical performance and makes the connection between words and music by means of variation, ornamentation, and improvisation as part of a persuasive dialogue with listeners. In the later prologues, however, the composer rather than the singer is in control of the discourse. Because of a new and more elaborate way of writing out the prologues, where all stanzas are set to music, the singer is now turned into an interpreter of the composer's rhetorical realization of the words, a realization fixed in the score by musical notation and capable of being brought to life in performance. The prologue can profitably be discussed as a genre in the context of the oral tradition of the late Renaissance, and is illuminated by a number of 16th- and 17th-century Italian sources dealing with lyric poetry, linguistic theory, vocal performance, sound, and listening. In this regard, the edition of Jacopo Peri's Euridice by Howard Mayer Brown (1981) is open to criticism, because all stanzas of the prologue are written out, which is not in accordance with Peri's original score (Florence, 1600). The editorial realization of the strophes, therefore, seems to run contrary to the principles of orality according to which the prologue was originally composed.

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Akimov, Sergey S. "The 17th Century Dutch Art in E.I.Rotenberg’s Studies." Vestnik of Saint Petersburg University. Arts 13, no. 3 (2023): 413–31. http://dx.doi.org/10.21638/spbu15.2023.302.

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The contribution of Evsei Rotenberg to the studies in history of the 17th century Dutch art is analyzed in this article. Investigations in Dutch art of the Golden Age were one of the main lines in scientific interests of Evsei Rotenberg, great specialist in classical West-European art, during all his activity. He also wrote about Italian Renaissance, especially Michelangelo and Titian, and about the most important esthetic and creative problems and tendencies of the 17th century art, the greatest masters of this epoch. The paper highlights his evolution as a researcher from point of view subjects and methodology of studies, analyzes the conceptual ideas explaining the specificity of the Dutch art, shows their place in Russian scientific tradition and their significance for the further development of art historian science. His professional formation was held under guidance of Prof. B.R.Vipper in Moscow University and in post-graduate course. Rotenberg’s PhD dissertation (1956) was devoted to realistic bases of Dutch art of the period of flourishing (Rembrandt and masters of genre painting). He is the author of works about Rembrandt and Vermeer, the monograph about development of the Dutch art including architecture, sculpture and decorative crafts. His most fundamental investigations — “West-European 17th Century Art” and “West-European 17th Century Painting. Thematic Principles” — were published in 1971 and 1989. Rotenberg analyzed Dutch school in aspects of style and non-style line and relationships between mythological and non-mythological creative conceptions in art of this epoch.

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Rizal Mahendra, Fahmi. "Amr Ma'ruf wa Nahi Munkar: Gerakan Kadizadeli dan Kritik Sufisme di Kerajaan Ottoman Abad ke-17." Refleksi Jurnal Filsafat dan Pemikiran Islam 22, no. 2 (April 28, 2023): 306–30. http://dx.doi.org/10.14421/ref.v22i2.3950.

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This research will explore the Kadizadeli movement in the Ottoman empire in the 17th century. The Kadizadeli movement is a movement led by clerics who were previously Friday preachers at mosques in Istanbul. This movement wanted to purify Islam from the heretical behavior and activities of the Sufis who according to them had demoralized Ottoman society in the 17th century. In Islamic history, for example, there are several figures who also criticized Sufism, Ibn Tayimiyah or Ibn Jauzi. The complex problems of the 17th century have inspired some scholars, especially Kadizadeli, to fix them. Using the jargon, Amr ma'ruf wa nahi munkar, they began to criticize and attack the practices of Sufism in the Ottoman empire. By using historical research and literature this research produced several findings. Historically, this movement was led by three people, namely: Kadizade Mehmed, Ustuvani Mehmed and Vani Mehmed. Initially this movement only conveyed their criticism of Sufism activities through sermons and writings. However, when Ustuvani and Vani led this movement and gained a special relationship with the ottoman rulers, this movement led to radical actions. Apart from criticizing and criticizing, they also attack the infrastructure of Sufism and direct physical attacks on them. Keywords : bidah, kadizadeli, ottoman empire, sufism, ulema

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Parncutt, Richard. "The Tonic as Triad: Key Profiles as Pitch Salience Profiles of Tonic Triads." Music Perception 28, no. 4 (April 1, 2011): 333–66. http://dx.doi.org/10.1525/mp.2011.28.4.333.

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Major and minor triads emerged in western music in the 13th to 15th centuries. From the 15th to the 17th centuries, they increasingly appeared as final sonorities. In the 17th century, music-theoretical concepts of sonority, root, and inversion emerged. I propose that since then, the primary perceptual reference in tonal music has been the tonic triad sonority (not the tonic tone or chroma) in an experiential (not physical or notational) representation. This thesis is consistent with the correlation between the key profiles of Krumhansl and Kessler (1982; here called chroma stability profiles) and the chroma salience profiles of tonic triads (after Parncutt, 1988). Chroma stability profiles also correlate with chroma prevalence profiles (of notes in the score), suggesting an implication-realization relationship between the chroma prevalence profile of a passage and the chroma salience profile of its tonic triad. Convergent evidence from psychoacoustics, music psychology, the history of composition, and the history of music theory suggests that the chroma salience profile of the tonic triad guided the historical emergence of major-minor tonality and continues to influence its perception today.

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Dissertations / Theses on the topic "Music, history and criticism, 17th century"

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Strahle, Graham. "Fantasy and music in sixteenth- and seventeenth-century England /." Title page, contents and abstract only, 1987. http://web4.library.adelaide.edu.au/theses/09PH/09phs896.pdf.

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Rushing-Raynes, Laura. "A history of the Venetian sacred solo motet (c. 1610--1720)." Diss., The University of Arizona, 1991. http://hdl.handle.net/10150/185473.

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In 17th century Italy, the trend toward small sacred concertato forms precipitated the publication of a number of volumes devoted exclusively to sacred solo vocal music. Several of these, including the Ghirlanda sacra (Gardano, 1625) and Motetti a voce sola (Gardano, 1645) contain sacred solo motets by some of the best Italian composers of the period. Venetian composers were at the forefront of the move toward the smaller concertato forms and, to fulfill various needs of church musicians, wrote in an increasingly virtuoso style intended to highlight the solo voice. This study traces the development of the solo motet in the sacred works of Venetian composers from the time of Monteverdi to Vivaldi. It revolves around sacred solo motets composed at Saint Marks and the Venetian ospedali (orphanages). It includes works of Alessandro Grandi, Claudio Monteverdi, Francesco Cavalli, and Antonio Vivaldi. It also deals with solo motets of lesser composers whose works are available in modern critical and performing editions or in recently published facsimiles. In addition to providing a more detailed survey of the genre than has been previously available, this study provides an overview of highly performable (but largely neglected) repertoire.

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Jackson, Simon John. "The literary and musical activities of the Herbert family." Thesis, University of Cambridge, 2012. https://www.repository.cam.ac.uk/handle/1810/283892.

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Le, Cocq Jonathan. "French lute-song, 1529-1643." Thesis, University of Oxford, 1997. https://ora.ox.ac.uk/objects/uuid:1a712369-836c-45e4-9f84-91045f297b3f.

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A study of French-texted solo songs and duets with lute or guitar accompaniment notated in tablature, dating from the sixteenth and seventeenth centuries. Connected repertoires include the Parisian chanson, psalm, voix de ville, dialogue, and air de cour. Sources are examined in terms of their background, composers represented in them, relationship to concordant and other musical sources, repertoire, and musical conception. Foreign and manuscript sources are included. Literary references indicating the status of sixteenth-century lute-song, its importance to humanists (including its role in the AcadÃ©mie de PoÃ©sie et de Musique), and its position in theatrical works, are considered. Issues of notation, musical and poetic form, prosody, rhythm, ornamentation, lute pitch and tuning, relationship to polyphonic versions, to the ballet de cour, to dance forms, and to solo instrumental styles such as stile brisÃ© are examined. Early references to continuo practice and to the theorbo are noted. Several arguments are developed, including 1. that the sixteenth-century Le Roy publications were conceived primarily as solo lute music, 2. that from the late sixteenth-century onwards lute-songs were initially conceived as melody-bass outlines, and may to an extent be regarded as continuo realisations, and 3. that rhythmic features of the air de cour commonly related to the influence of musique mesurÃ©e may also be explained with reference to earlier attempts to adapt the voix de ville to humanist goals, and also to the influence of the Italian villanella. Includes tables and bibliographies. Musical examples, facsimiles, and transcriptions are included in a separate volume.

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Vendrix, Philippe Pierre 1964. "Quelques aspects de l'historiographie musicale en France a l'epoque baroque (French text)." Thesis, The University of Arizona, 1988. http://hdl.handle.net/10150/276706.

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L'historiographie musicale trouve dans la France de l'epoque baroque un champ ideal de developpement. Ce phenomene est lie a la conjonction de differents facteurs: le modele fourni par l'histoire generale, l'heritage humaniste, les mouvements polemiques, les tentatives de refonte de l'histoire de l'Eglise. Les musicographes, de Salomon de Caus (1615) a Jacques Bonnet-Bourdelot (1715), etablissent les fondements d'une critique historique et l'appliquent dans des ouvrages qui annoncent l'expansion de la musicologie a l'age des Lumieres.

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Ledbetter, David. "Harpsichord and lute music in seventeenth-century France : an assessment of the influence of lute on keyboard repertoire." Thesis, University of Oxford, 1985. http://ora.ox.ac.uk/objects/uuid:525956f0-fd49-4649-94e5-c52ad46221cb.

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The view that the lute exercised an important influence on the formation of French harpsichord style in the seventeenth century is a commonplace of musicology which has not until now been thoroughly investigated. This thesis is an attempt to determine the nature of that influence taking into account as much of the available relevant material as possible. The first chapter outlines the status and function of stringed keyboard instruments, particularly in the late sixteenth and early seventeenth centuries, using a wide variety of non-musical sources whether literary, archival, or documentary. It also charts the relative standing of the two instruments and the interrelationship of their repertoires as viewed by contemporaries throughout the seventeenth century. The second chapter provides a survey of the evolution of French lute style based on a detailed study of most of the French lute sources from the period cl600-cl670 and including the more important sources from cl670-cl700. The third chapter presents detailed comparisons of individual works existing in versions for both lute and keyboard. These are based on numerous parallel transcriptions presented in the second volume. The material for this section is provided by a concordance file for virtually all French seventeenth-century lute sources designed to be usable in conjunction with Gustafson's keyboard catalogue. The final chapter is an attempt to define the degree of affinity existing between particular features of the central harpsichord style and that of the lute on the basis of principles established in the previous discussions. This thesis contains the first detailed discussion of the works of the principal seventeenth-century French lutenists in the context of a survey of the general development of the lute style. Numerous illustrative examples of hitherto unpublished lute music are included in the second volume. The final chapter also discusses some new sources of French harpsichord music dating from the late sixteenth and early seventeenth centuries, with transcriptions. Also discussed for the first time is the Premier Livre (1687) of Elizabeth Jacquet de la Guerre, and a transcription of a suite supposedly written in imitation of the lute is given. A comprehensive concordance of pieces existing in versions for both lute and harpsichord is given in Volume II.

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Parker, Mark M. (Mark Mason). "Transposition and the Transposed Modes in Late-Baroque France." Thesis, University of North Texas, 1988. https://digital.library.unt.edu/ark:/67531/metadc331880/.

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The purpose of the study is the investigation of the topics of transposition and the transposed major and minor modes as discussed principally by selected French authors of the final twenty years of the seventeenth century and the first three decades of the eighteenth. The sources are relatively varied and include manuals for singers and instrumentalists, dictionaries, independent essays, and tracts which were published in scholarly journals; special emphasis is placed on the observation and attempted explanation of both irregular signatures and the signatures of the minor modes. The paper concerns the following areas: definitions and related concepts, methods for singers and Instrumentalists, and signatures for the tones which were identified by the authors. The topics are interdependent, for the signatures both effected transposition and indicated written-out transpositions. The late Baroque was characterized by much diversity with regard to definitions of the natural and transposed modes. At the close of the seventeenth century, two concurrent and yet diverse notions were in evidence: the most widespread associated "natural" with inclusion within the gamme; that is, the criterion for naturalness was total diatonic pitch content, as specified by the signature. When the scale was reduced from two columns to a single one, its total pitch content was diminished, and consequently the number of the natural modes found within the gamme was reduced. An apparently less popular view narrowed the focus of "natural tone" to a single diatonic pitch, the final of the tone or mode. A number of factors contributed to the disappearance of the long-held distinction between natural and transposed tones: the linking of the notion of "transposed" with the temperament, the establishment of two types of signatures for the minor tones (for tones with sharps and flats, respectively), the transition from a two-column scale to a single-column one, and the recognition of a unified system of major and minor keys.

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Chung, Kyung-Young. "Reconsidering the Lament: Form, Content, and Genre in Italian Chamber Recitative Laments: 1600-1640." Thesis, University of North Texas, 2004. https://digital.library.unt.edu/ark:/67531/metadc4668/.

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Scholars have considered Italian chamber recitative laments only a transitional phenomenon between madrigal laments and laments organized on the descending tetrachord bass. However, the recitative lament is distinguished from them by its characteristic attitude toward the relationship between music and text. Composer of Italian chamber recitative laments attempted to express more subtle, refined and sometimes complicated emotion in their music. For that purpose, they intentionally created discrepancies between text and music. Sometimes they even destroy the original structure of text in order to clearly deliver the composer's own voice. The basic syntactic structure is deconstructed and reconstructed along with their reading and according to their intention. The discrepancy between text and music is, however, expectable and natural phenomena since text cannot be completely translated or transformed to music and vice versa. The composers of Italian chamber recitative laments utilized their innate heterogeneity between two materials (music and text) as a metaphor that represents the semantic essence of the genre, the conflict. In this context, Italian chamber recitative laments were a real embodiment of the so-called seconda prattica and through the study of them, finally, we more fully able to understand how the spirit of late Renaissance flourished in Italy in the first four decade of the seventeenth century.

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Yoshioka, Masataka. "Singing the Republic: Polychoral Culture at San Marco in Venice (1550-1615)." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc33220/.

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During the late sixteenth and early seventeenth centuries, Venetian society and politics could be considered as a "polychoral culture." The imagination of the republic rested upon a shared set of social attitudes and beliefs. The political structure included several social groups that functioned as identifiable entities; republican ideologies construed them together as parts of a single harmonious whole. Venice furthermore employed notions of the republic to bolster political and religious independence, in particular from Rome. As is well known, music often contributes to the production and transmission of ideology, and polychoral music in Venice was no exception. Multi-choir music often accompanied religious and civic celebrations in the basilica of San Marco and elsewhere that emphasized the so-called "myth of Venice," the city's complex of religious beliefs and historical heritage. These myths were shared among Venetians and transformed through annual rituals into communal knowledge of the republic. Andrea and Giovanni Gabrieli and other Venetian composers wrote polychoral pieces that were structurally homologous with the imagination of the republic. Through its internal structures, polychoral music projected the local ideology of group harmony. Pieces used interaction among hierarchical choirs - their alternation in dialogue and repetition - as rhetorical means, first to create the impression of collaboration or competition, and then to bring them together at the end, as if resolving discord into concord. Furthermore, Giovanni Gabrieli experimented with the integration of instrumental choirs and recitative within predominantly vocal multi-choir textures, elevating music to the category of a theatrical religious spectacle. He also adopted and developed richer tonal procedures belonging to the so-called "hexachordal tonality" to underscore rhetorical text delivery. If multi-choir music remained the central religious repertory of the city, contemporary single-choir pieces favored typical polychoral procedures that involve dialogue and repetition among vocal subgroups. Both repertories adopted clear rhetorical means of emphasizing religious notions of particular political significance at the surface level. Venetian music performed in religious and civic rituals worked in conjunction with the myth of the city to project and reinforce the imagination of the republic, promoting a glorious image of greatness for La Serenissima.

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Rusak, Helen Kathryn. "Rhetoric and the motet passion." Title page, table of contents and introduction only, 1986. http://web4.library.adelaide.edu.au/theses/09ARM/09armr949.pdf.

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Books on the topic "Music, history and criticism, 17th century"

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1954-, Carter Tim, and Butt John, eds. The Cambridge history of seventeenth-century music. Cambridge: Cambridge University Press, 2005.

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Ledbetter, David. Harpsichord and lute music in 17th-century France. London: Macmillan, 1987.

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Ledbetter, David. Harpsichord and lute music in 17th-century France. Bloomington: Indiana University Press, 1987.

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Rivera, Benito V. German music theory in the early 17th century: The treatises of Johannes Lippius. Rochester, N.Y: University of Rochester Press, 1995.

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Anthony, James R. French baroque music from Beaujoyeulx to Rameau. Portland, Ore: Amadeus Press, 1997.

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Selfridge-Field, Eleanor. Venetian instrumental music from Gabrieli to Vivaldi. 3rd ed. New York: Dover, 1994.

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1953-, Walker Paul, ed. Church, stage, and studio: Music and its contexts in seventeenth-century Germany. Ann Arbor, Mich: UMI Research Press, 1990.

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Stauffer, George B. Bach, the Mass in B minor: The great Catholic Mass. New Haven, CT: Yale University, 2003.

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Palisca, Claude V. Baroque music. 3rd ed. Englewood Cliffs, NJ: Prentice-Hall, 1991.

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(Singapore), Nalanda-Sriwijaya Centre, ed. Musical terms in Malay classical literature: The early period (14th-17th century). Singapore: Nalanda-Sriwijaya Centre, ISEAS-Yusof Ishak Institute, 2017.

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Book chapters on the topic "Music, history and criticism, 17th century"

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Wilson, Alexandra. "Music Criticism in Nineteenth-Century Italy." In The Cambridge History of Music Criticism, 190–207. Cambridge University Press, 2019. http://dx.doi.org/10.1017/9781139795425.011.

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Pozzi, Raffaele. "Music Criticism in Italy in the Twentieth Century." In The Cambridge History of Music Criticism, 609–28. Cambridge University Press, 2019. http://dx.doi.org/10.1017/9781139795425.032.

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Pottinger, Mark A. "French Music Criticism in the Nineteenth Century, 1789–1870." In The Cambridge History of Music Criticism, 127–46. Cambridge University Press, 2019. http://dx.doi.org/10.1017/9781139795425.008.

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Rodríguez, Eva Moreda. "Spanish Music Criticism in the Twentieth Century: Writing Music History in Real Time." In The Cambridge History of Music Criticism, 331–43. Cambridge University Press, 2019. http://dx.doi.org/10.1017/9781139795425.018.

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Langley, Leanne. "Gatekeeping, Advocacy, Reflection: Overlapping Voices in Nineteenth-Century British Music Criticism." In The Cambridge History of Music Criticism, 147–69. Cambridge University Press, 2019. http://dx.doi.org/10.1017/9781139795425.009.

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Tunbridge, Laura. "Constructing a Musical Nation: German-Language Criticism in the Nineteenth Century." In The Cambridge History of Music Criticism, 170–89. Cambridge University Press, 2019. http://dx.doi.org/10.1017/9781139795425.010.

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Żerańska-Kominek, Sławomiira. "Writing the History of Unwritten Music: On the Treatise of Darwesh ‘Ali Changi (17th Century)." In The Music Road, 148–67. British Academy, 2019. http://dx.doi.org/10.5871/bacad/9780197266564.003.0008.

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The chapter deals with the representation of memory about the musical past as represented in the Risalei musiqi by Darweh ‘Ali Changi, music master from Transoxiana (b. c.1547, d. after 1611). This treatise, written in the convention of adab genre, is an exceptional document of an essentially oral tradition, with its ‘unacademic’ way of organising musical knowledge, free from philosophical-scientific discipline and mathematical speculation, immersed in myth, legend and fable, most closely linked to poetry. It represents an attempt to fix in writing knowledge that existed in the form of a non-formalised, free-ranging discourse, testified directly by the memory of living musicians and beyond its boundaries transformed into a mythical complex.

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Patronnikova, Yulia S. "Francesco Fulvio Frugoni’s “The Tribunal of Criticism”. The Critical View on the Literature of the 17th Century." In “The History of Literature”: Non-scientific sources of a scientific genre, 350–67. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2022. http://dx.doi.org/10.22455/978-5-9208-0684-0-350-367.

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The article looks at the critical analysis of the 17th-century literature carried out by Francesco Fulvio Frugoni in his life’s main opus, “Il Cane di Diogene” (“The Dog of Diogenes”, 1687–1689) — or, more, precisely, in its most famous, tenth novel “Il Tribunal della Critica” (“The Tribunal of Criticism”). The critical evaluation of the authors and their works has an allegorical form of the tribunal of the Criticism over the books. It takes place in Apollo’s temple on Mount Parnassus, where the opus’s main hero — dog Saetta owned by the Cynic philosopher Diogenes — arrives to after a long period of wandering. The tribunal evaluates typologically different works, for the most part, written in Roman languages in the first half of 17th century — presumably the author shares the knowledge he acquired while studying and travelling. A number of famous figures of Seicento are thus left out of consideration. The key criterion used in the evaluation of a text is the ratio of the pleasant and the useful in it. The pleasant refers to a text’s being written in a flamboyant style and the useful — to its containing a certain message or idea. For all the shortcomings of the baroque authors, Frugoni takes his age to be exemplary. Despite its incompleteness and partiality, Frugoni’s analysis is an important source of information about Seicento literature, as well as Seicento theory of literature. In addition, being an analysis of literary texts, it contributes to the development of the history of literature as a self-standing discipline.

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DeSimone, Alison C. "Variety in Criticism and Aesthetics in Eighteenth-Century England." In The Power of Pastiche, 223–54. Liverpool University Press, 2021. http://dx.doi.org/10.3828/liverpool/9781942954774.003.0006.

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Chapter 5 considers how “variety” and “miscellany” became valued in Enlightenment philosophy, eighteenth-century music history, and more specifically, early music criticism between 1700 and 1720, showing that the response to musical miscellany in performance transformed into a lasting cultural appreciation of miscellany in music and the other arts. This final chapter illustrates how the appreciation for variety as an aesthetic facilitated a re-evaluation of cosmopolitanism as Britain transformed under social, economic, and political pressures.

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Kivy, Peter. "Mainwaring’s Handel: Its Relation to British Aesthetics." In Music, Language, and Cognition, 3–13. Oxford University PressOxford, 2007. http://dx.doi.org/10.1093/oso/9780199217663.003.0001.

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Abstract John Mainwaring’s Handel 1 has long been familiar to students of the composer as an early (if not always reliable) biographical source. It is generally accorded a place in music history—or, rather, the history of musical scholarship—as the first biography of a musician. One might expect from a pioneer effort in musical biography little more than the usual collection of anecdotes, authentic and apocryphal, that surround the great artist. Mainwaring has not disappointed in this respect. But his work is far from being a mere biographical memoir, containing, as it does, an extended section of critical Observations on Handel’s compositions.2 These Observations embody a critical point of view that owes its existence to developments in criticism and aesthetic theory, characteristic of late seventeenth- and early eighteenth-century British thought.

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Conference papers on the topic "Music, history and criticism, 17th century"

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YANG, LING, and SHENG-DONG YUE. "AN ANALYSIS OF THE CHARACTERISTICS OF MUSIC CREATION IN MEFISTOFELE." In 2021 International Conference on Education, Humanity and Language, Art. Destech Publications, Inc., 2021. http://dx.doi.org/10.12783/dtssehs/ehla2021/35726.

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Successful opera art cannot be separated from literary elements, but also from the support of music. Opera scripts make up plots with words. Compared with emotional resonance directly from the senses, music can plasticize the abstract literary image from the perspective of sensibility. An excellent opera work can effectively promote the development of the drama plot through music design, and deepen the conflict of drama with the "ingenious leverage" of music. This article intends to analyze the music design of the famous opera, Mefistofele, and try to explore the fusion effect of music and drama, and its role in promoting the plot. After its birth at the end of the 16th century and the beginning of the 17th century, western opera art quickly received widespread attention and affection. The reason for its success is mainly due to its fusion of the essence of classical music and drama literature. Because of this, there have always been debates about the importance of music and drama in the long history of opera art development. In the book Opera as Drama, Joseph Kerman, a well-known contemporary musicologist, firmly believes that "opera is first and foremost a drama to show conflicts, emotions and thoughts among people through actions and events. In this process, music assumes the most important performance responsibilities."[1] Objectively speaking, these two elements with very different external forms and internal structures play an indispensable role in opera art. A classic opera is inseparable from the organic integration of music and drama, otherwise it will be difficult to meet the aesthetic experience expected by the audience. On the stage, it is necessary to present wonderful audio-visual enjoyment, and at the same time to pursue thematic expressions with deep thoughts, but the expression of emotions in music creation must be reflected through its independent specific language rather than separated from its own consciousness. Only through the superb expression of music can conflicts, thoughts and emotions be fully reflected, or it may be reduced to empty preaching. Joseph Kerman once pointed out that "the true meaning of opera is to carry drama with music". He believes that opera expresses thoughts and emotions through many factors such as scenes, actions, characters, plots and so on. However, the carrier of these elements lies in music. Only under the guidance and support of music can the characters, thoughts and emotions of the drama be truly portrayed. Indeed, opera scripts fictional plots with words, and music presents abstract literary image specifically and recreationally, allowing more potentially complex emotions that are difficult to express in words to be perceived by the audience in the flow of notes, thereby resonate with people.[2] Mefistofele, which this article intends to explore, is such an opera that is extremely exemplary in the organic integration of music and drama.

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