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Journal articles on the topic 'Music theory History 18th century'

Author: Grafiati

Published: 4 June 2021

Last updated: 28 July 2024

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1

Yeon, Sang-Chun. "A Study of Music History of the 18th Century on the Basis of Dahlhaus's Music Historical Theory." Yonsei Music Research 19 (November 30, 2012): 73–97. http://dx.doi.org/10.16940/ymr.2012.19.73.

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2

Protsiv, L. Y. "Music education in Ukraine: meetings in history." Musical art in the educological discourse, no. 2 (2017): 73–77. http://dx.doi.org/10.28925/2518-766x.20172.717.

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The article describes main features of human civilization as metahistory, substantiates a view on the history of music pedagogy in Ukraine as metahistory, the contents of which is constant values, spiritual constants of the humanity, and also synchronous section of history, including such things as coincidence, similarity of certain “spiritual epochs”, meetings in history. An example of such “synchronous” dramaturgy in the history of the Ukrainian music education is seen in M. Dyletskyi’s creative activity and pedagogical legacy. In musical thinking this personality was ahead of representative

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3

Martynova, Daria O. "Formation and Development of the Iconography of the Mesmeric Seance in the Second Half of the 18th — Late 19th Centuries." Vestnik of Saint Petersburg University. Arts 11, no. 2 (2021): 224–42. http://dx.doi.org/10.21638/spbu15.2021.204.

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Analyzing the evolution of the iconography of such a phenomenon as mesmerism in the second half of the 18th — mid-19th centuries, the author shows that the scenario of modern hypnotic representation and its gestures were established by mesmerists in the second half of the 18th century, followers of the parascientific theory that caused discussions and intrigued doctors and artists for centuries. Analyzing the development of the iconography of mesmeric seance, the author identifies two waves of popularity of this subject: the first wave in the 70–80s of the 18th century and the second wave duri

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Owczarek-Ciszewska, Joanna. "Hammer mechanism instruments and their role in shaping the composition style of pieces written for keyboard instruments in the period of 1730-1780, part 1." Notes Muzyczny 1, no. 9 (June 20, 2018): 43–64. http://dx.doi.org/10.5604/01.3001.0012.9898.

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The article constitutes the first part of a cycle devoted to keyboard instruments with hammer mechanism made between 1730 and 1780. The author’s intention is presenting a wide perspective of selected topics on keyboard instrument making in the 18th century and the influence of how instruments were made on music practice at that time. The aim seems justified due to scarce publications on this subject available in Polish, among other reasons. The first chapter briefly outlines general aspects of the 18th century music culture which was the background of the development of instrument making. As f

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Fu, Xiaojiao. "MUSICAL ACTIVITY OF CHRISTIAN MISSIONARIES AT THE COURT OF THE QING EMPERORS OF THE 17TH–18TH CENTURIES." Scientific and analytical journal Burganov House. The space of culture 19, no. 6 (December 10, 2023): 31–45. http://dx.doi.org/10.36340/2071-6818-2023-19-6-31-45.

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The article raises the problem of the significance of European missionaries’ musical activities at the court of the Qing emperors during the Golden Age and attempts to integrate Western art into palace musical life. A critical review of existing Russian-language sources leads the author to the conclusion that there is a lack of information on the topic of the article as well as some freedom in the interpretation of known historical facts in scientific articles. The author sees the possibility of filling gaps in this area of musicology in a detailed study of documents of the era, primarily diar

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Kholodova, Mariya Vladimirovna. "Russian musical “Petersburgiana”: a historical journey." PHILHARMONICA. International Music Journal, no. 4 (April 2020): 1–10. http://dx.doi.org/10.7256/2453-613x.2020.4.33543.

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The article considers one of the most important topics of Russian discourse - the issue of St.Petersburg, particularly the understanding of the phenomenon of Petersburg in the works of composers. The purpose of the research is to trace back the process of formation of Russian musical &ldquo;Petersburgiana&rdquo;. The main task is to reconstruct segmentary materials related to the aspects of manifestation of Petersburg in the works of Russian composers. The research methods are determined by the interdisciplinary nature which synthesizes the approaches of comparative history, culturolog

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7

Panov, Alexei A., and Ivan V. Rosanoff. "An attempt to attribute the authorship of the treatises from the collection “The Modern Musick-Master” (London, 1730)." Contemporary Musicology, no. 1 (2021): 41–56. http://dx.doi.org/10.56620/2587-9731-2021-1-041-056.

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In 1730, a collection of treatises on singing and playing various musical instruments was published in London. It included “A Brief History of Music” and a small musical dictionary. Neither on the title page nor elsewhere in the text do we find information about its author/authors. Today, both reference and encyclopedic literature as well as special scholarly works refer to Peter Prelleur as the author (very rarely the compiler) of the collection. However, when comparing the basic explanations of musical theory and the basic performing principles in each individual treatise, these explanations

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8

Bocharov, Yury S. "Sinfonia and Ouverture in the Baroque Era: Terminological Aspect." Vestnik of Saint Petersburg University. Arts 11, no. 3 (2021): 354–80. http://dx.doi.org/10.21638/spbu15.2021.301.

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This article focuses on the use of sinfonia and ouverture as terms in the Baroque era. Its relevance is due to the fact that an objective picture of the Baroque musical culture is impossible without studying authentic terminology, including terms used as names of musical works or their sections. Since there have been no special musicological publications on this topic, information obtained as a result of the study can expand the traditional ideas about what the terms sinfonia and ouverture meant in the 17th and the first half of the 18th century. Sheet music and manuscripts as well as articles

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ATHANASSOPOULOU (Φ. ΑΘΑΝΑΣΟΠΟΥΛΟΥ), F. "The history of development of medicine through time: a repeated case." Journal of the Hellenic Veterinary Medical Society 60, no. 2 (November 20, 2017): 125. http://dx.doi.org/10.12681/jhvms.14921.

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At all times, man was interested in the therapy of diseases in any possible way. In the Hellenic world, that is generally regarded as the spiritual predecessor of recent Europe, two distinct traditions existed: the first had a true sacred origin and was practiced from a corporation or guild of healers/priests named zsAsklipiades. Asklipios, son of Apollo, was considered by them as their generic leader. The second, practiced by Vakhes, comes from indigenous populations of Eastern Aegean area approx. at 2000 B.C. During its practice patients went into a sacred mania ie., with dancing, music, or

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10

Kazhar, Nina V., Mariusz Zadworny, and Nina Sołkiewicz-Kos. "From the History of the Formation of the European Doctrine of Protection and Restoration of Monuments at the End of the 18th — 19th Century (for Example, Marienburg Castle)." Vestnik of Saint Petersburg University. Arts 13, no. 1 (2023): 147–65. http://dx.doi.org/10.21638/spbu15.2023.107.

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The article examines new facts about the beginning of the formation of the European (primarily German) doctrine of the protection of monuments, which also laid the foundations of the modern Polish theory and practice of preserving the architectural heritage and scientific restoration. The role of the aesthetics of romanticism in the formation of historicism and awareness of the importance of cultural heritage is shown. The history of the development of the theoretical, systemic and legal basis for the protection of monuments, based on a new assessment of their role in the formation of the cult

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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 le

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Liepiņa-Šarkovska, Ilze. "Contribution of the Latvian Brethren Congregations to the Musical Culture of the 18th Century: Preliminary Research Results, Basic Research Directions and Perspectives." Letonica, no. 46 (August 2022): 100–117. http://dx.doi.org/10.35539/ltnc.2022.0046.i.l.s.100.117.

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13

Paczkowski, Szymon. "Research on 18th Century Music in Poland. An Introduction." Musicology Today 13, no. 1 (December 1, 2016): 41–52. http://dx.doi.org/10.1515/muso-2016-0008.

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Abstract Research on 18th-century music has been one of the key areas of interest for musicologists ever since the beginnings of musicological studies in Poland. It initially developed along two distinct lines: general music history (with publications mostly in foreign languages) and local history (mostly in Polish). In the last three decades the dominant tendency among Polish researchers has been, however, to relate problems of 18th-century Polish musical culture to the political history of the Polish-Lithuanian Commonwealth and more generally – to the political history of Central Europe at l

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14

Ito, John Paul. "Koch’s Metrical Theory and Mozart’s Music." Music Perception 31, no. 3 (December 2012): 205–22. http://dx.doi.org/10.1525/mp.2014.31.3.205.

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Mirka (2009) has recently argued that the 18th-century metrical theories of Heinrich Christoph Koch can be revelatory for a reconstruction of contemporary ways of hearing Viennese high classicism. Koch’s claims revolve around interactions between the metrical placement of cadences and the articulation of specific beat levels, and these claims are most specific and testable for common time and 6/8. This paper reports two statistical surveys of works by Mozart that were designed to gauge the fit between the corpus and Koch’s theory. In the works examined, the theory was strongly supported for co

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15

Chelaru, Carmen. "History – Culture – Music in the Romanian Eighteenth Century." Artes. Journal of Musicology 23, no. 1 (April 1, 2021): 1–40. http://dx.doi.org/10.2478/ajm-2021-0001.

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Abstract Recently, I made a few forays in the history of the society, culture and music of the people in the Carpathian-Danubian space, without the intention and claim of unlocking doors thrown widely open before me by established researchers such as Lucian Boia, Theodor T. Burada, Gheorghe Ciobanu, Octavian Lazăr Cosma, Neagu Djuvara, Costin Moisil and many others. I did it especially in order to try to tear myself away from the old spread-eagle patterns, from prejudice. Thus, I ascertained that, in the flow of time, of events, of facts, the European eighteenth century constitutes a page abou

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16

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

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17

Stimson, S. C. "Political and economic theory in the 18th century." History of the Human Sciences 21, no. 1 (February 2008): 161–65. http://dx.doi.org/10.1177/09526951080210010104.

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18

Ferreirа, Manuel. "Beyond nations: A thematic history." Muzikologija, no. 27 (2019): 163–86. http://dx.doi.org/10.2298/muz1927163f.

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This paper describes an on-going project, the collaborative Thematic History of Music in Portugal and Brazil; it details its context, rationale, concept, structure and the process that led to its public presentation and preliminary development at CESEM/FCSH, Universidade Nova de Lisboa. The importance of Africa in the understanding of some facets not only of modern popular music, but also of 16th- 18th century genres in Portugal and Brazil is particularly stressed; examples of both polyphonic and instrumental music are given to illustrate this early influence.

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19

Diergarten, Felix. "Time out of joint — Time set right: Principles of form in Haydn’s Symphony No. 39." Studia Musicologica 51, no. 1-2 (March 1, 2010): 109–26. http://dx.doi.org/10.1556/smus.51.2010.1-2.8.

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The opening of Haydn’s Symphony No. 39 in G minor is interrupted by two unusually long grand pauses. These brief suspensions of the time continuum reveal Haydn’s search for new narrative strategies for a genre caught up in the tensions between the boisterous concert opener, courtly representation, the bourgeois concert hall and the demands of “connoisseurs.” This use of the Generalpause points toward a period of upheaval in the development of symphonic forms in the 18th century. A comparative analysis examining the primarily “punctuated” concept of form in the 18th century in relation to the p

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20

Schweitzer, Claudia. "Das Verhältnis geschriebener und gesprochener Sprache im 18. Jahrhundert am Beispiel der Interpunktion in Sprache und Musik." Zeitschrift für germanistische Linguistik 51, no. 1 (April 1, 2023): 51–87. http://dx.doi.org/10.1515/zgl-2023-2002.

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Abstract The oral realization of written punctuation basically brings two parameters into play: rhythm and intonation. The former is visualized in writing the typeface by a space, while the latter is determined by conventions and depends on the speaker’s personal means of expression. In the 18th century, the oral realization of punctuation was only marginally addressed in grammars. Additional sources can be found in the area of music history, because the music theorists of the 18th century discussed the connection between language and music with great interest. In this essay, prosodic models f

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21

Maslova, Anastasia I. "Counterpoint Battles in the 18th Century Naples: an Attempt of Historical Reconstruction." Contemporary Musicology, no. 2 (2021): 3–38. http://dx.doi.org/10.56620/2587-9731-2021-2-003-038.

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The article examines an underscrutinised polyphonic tradition formed in the 18th century Naples. This period is often associated with the heyday of Naples opera. Its development was driven by the opening of four conservatories, which produced highly qualified composers and singers. The 18th century opera of Italian composers stands high on the research agenda in the history of music, however, the unique counterpoint tradition formed within the Neapolitan conservatories is still in oblivion. The mid-18th century witnessed the emergence of two irreconcilable parties: the Leists (followers of Leo

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22

Dębowski, Marek. "A HUNDRED YEARS OF RESEARCH ON THE 18TH‑CENTURY THEATRE IN POLAND AND FRANCE." Wiek Oświecenia, no. 38 (September 25, 2022): 57–69. http://dx.doi.org/10.31338/0137-6942.wo.38.4.

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Among the modern researchers conducting studies on the 18th century, there is a widespread belief that research on Polish theatre of that era did not develop until the turn of the 1950s and 1960s. It is only part of the truth. The apogee of theatrical research coincided with those years, resulting from the 200th anniversary of the National Theatre, which was widely promoted by the authorities. However, the first diagnoses of Polish theatre scientists dealing with the 18th century are much earlier. Suffice it to recall Ludwik Bernacki’s monumental work, “Theatre, Drama and Music under Stanislaw

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23

London, Justin. "Riepel and Absatz: Poetic and Prosaic Aspects of Phrase Structure in 18th-Century Theory." Journal of Musicology 8, no. 4 (1990): 505–19. http://dx.doi.org/10.2307/763533.

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24

London, Justin. "Riepel and Absatz: Poetic and Prosaic Aspects of Phrase Structure in 18th-Century Theory." Journal of Musicology 8, no. 4 (October 1990): 505–19. http://dx.doi.org/10.1525/jm.1990.8.4.03a00040.

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25

Vekerdi, József. "An 18th-century Transylvanian Gypsy Vocabulary." Acta Orientalia Academiae Scientiarum Hungaricae 59, no. 3 (September 2006): 347–60. http://dx.doi.org/10.1556/aorient.59.2006.3.5.

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26

Burganova, Maria A. "LETTER FROM THE EDITOR." Scientific and analytical journal Burganov House. The space of culture 18, no. 1 (March 10, 2022): 6–9. http://dx.doi.org/10.36340/2071-6818-2022-18-1-6-9.

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Dear readers, We are pleased to present to you Issue 1. 2022, of the scientific and analytical journal Burganov House. The Space of Culture. Upon the recommendation of the Expert Council of the Higher Attestation Commission, the journal is included in the List of Leading Peer-reviewed Scientific Journals and Publications in which the main scientific results of theses for the academic degrees of doctor and candidate of science must be published. The journal publishes scientific articles by leading specialists in various humanitarian fields, doctoral students, and graduate students. Research are

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27

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

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Żegleń-Włodarczyk, Małgorzata. "The English guitar and the forgotten guitar repertoire of the second half of the 18th century." Edukacja Muzyczna 17 (2022): 139–55. http://dx.doi.org/10.16926/em.2022.17.10.

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The time leading up to one of the most important periods in the history of guitar music – “the golden age of the guitar” in the first half of the 19th century – was the heyday of European cities such as London, Paris, Vienna or Dresden. Music was the main source of entertainment for royalty and high society, and numerous music publications, sheet music editions and instrument hand-books were being created. Manufactures tried to outdo each other in structural innovations, refin-ing and patenting increasingly interesting instruments. One such instrument was the immensely pop-ular English guitar

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29

Žarskienė, Rūta. "The Sound of Trumpet will Stir the World and Raise the Dead: Prayers Accompanied by Brass Instruments in the Folk Piety Tradition." Tautosakos darbai 55 (June 25, 2018): 177–97. http://dx.doi.org/10.51554/td.2018.28504.

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The article focuses on a phenomenon that has so far evaded scholarly attention and research. Apparently, in Samogitia, where brass instruments still play at traditional Catholic or even Lutheran funerals and death anniversaries, participate in the Easter morning processions and the Catholic Church feasts (Lith. atlaidai), yet another practice of folk piety involving brass instruments is thriving: i.e. prayers at the graveside in summer time, during Catholic Church feasts and All Souls’ Day (more frequently still, All Saints’ Day). During her fieldwork of 2013–2017 in various parts of Mažeikiai

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30

Lewandowski, Stephan. "Ambros Rieder (1771‒1855) and the Art of Preluding." Scientific herald of Tchaikovsky National Music Academy of Ukraine, no. 134 (November 17, 2022): 101–11. http://dx.doi.org/10.31318/2522-4190.2022.134.269621.

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Ambros (or Ambrosius) Mathias Rieder (1771‒1855) is perhaps one of the most underrepresented personalities of the music centre Vienna in the late 18th and first half of the 19th century in contemporary musicological and music-theoretical discourse. Both his achievements as a composer and in the field of music theory are remarkable. In particular, Rieder is to be valued and appreciated as a preserver of the tradition of prelude playing, which became increasingly less important in the late 18th and early 19th centuries. In the course of his life, he not only wrote several theoretical-practical t

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31

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 Europ

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32

Susidko, Irina P. "Venice and Opera in the 18th Century." Problemy muzykal'noi nauki / Music Scholarship, no. 2 (2024): 55–68. http://dx.doi.org/10.56620/2782-3598.2024.2.055-068.

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The author of the article disputes the established opinion according to which the great tradition of 17th century Venetian opera lost its significance in the European musical theater a century later. Emphasis is made of the vanguard role of opera in Venice in the first half of the 18th century, which has been marked by a set of phenomena. They include: the birth of heroic opera, the base of which was the Teatro San Govanni Crisostomo; the stake on virtuoso singers made by the Teatro San Cassiano; the productions of comic intermezzi initiated by the Teatro Can Cassiano; and the creation of the

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33

Head, R. "Music in 18th-century India: Ian Woodfield, Music of the Raj: a social and economic history of music in late eighteenth century Anglo-Indian society." Early Music XXX, no. 2 (May 1, 2002): 284–85. http://dx.doi.org/10.1093/em/xxx.2.284.

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Tudor, Brînduşa. "The Piano, A Perfect Musical Instrument – Beginnings and Evolution (18th – 19th Centuries)." Review of Artistic Education 17, no. 1 (March 1, 2019): 100–105. http://dx.doi.org/10.2478/rae-2019-0010.

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Abstract The 18th century and the beginning of the 19th century mark the emergence, development and affirmation of the piano as a complex instrument that shall take, in turns, the role of soloist instrument, claiming and being able to reach the sound variety of the orchestra, that of partner in chamber music assemblies or that of orchestra member. The emergence, improvement and qualitative performance acquisition adventure of the piano represents a fascinating history about human creativity and ingenuity serving art, beauty, sound expressivity refinement and improvement.

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35

BOON, JEAN PIERRE. "COMPLEXITY, TIME AND MUSIC." Advances in Complex Systems 13, no. 02 (April 2010): 155–64. http://dx.doi.org/10.1142/s0219525910002529.

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The concept of complexity as considered in terms of its algorithmic definition proposed by G. J. Chaitin and A. N. Kolmogorov is revisited for the dynamical complexity of music. When music pieces are cast in the form of time series of pitch variations, concepts of dynamical systems theory can be used to define new quantities such as the dimensionality as a measure of the global temporal dynamics of a music piece, and the Shanon entropy as an evaluation of its local dynamics. When these quantities are computed explicitly for sequences sampled in the music literature from the 18th to the 20th ce

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36

Poirier, Jean-Paul. "Electrical earthquakes: A short-lived theory in the 18th century." Earth Sciences History 35, no. 2 (January 1, 2016): 283–302. http://dx.doi.org/10.17704/1944-6178-35.2.283.

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As soon as it was shown that thunderstorms were due to electricity, it became obvious for many physicists that earthquakes, which, as Pliny said, were subterranean thunderstorms, must be electrical phenomena. Despite some opposition, the ‘system of electricity’ became the fashionable theory of earthquakes, in the second half of the 18th century. Its proponents insisted on the idea that only electrical discharges could explain that earthquake shocks propagated instantaneously over large distances. A majority of the Italian philosophers attributed the disastrous 1783 Calabrian earthquake to elec

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37

ALPERT, Michael. "The Secret Jews of 18th Century Madrid." Revue des Études Juives 156, no. 1 (July 1, 1997): 135–71. http://dx.doi.org/10.2143/rej.156.1.519375.

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38

Penkova, Yana A. "About the history of indefinite pronouns: Quasi-relative constructions with ni budi and ni jest’ in 17th–18th century Russian language." Vestnik of Saint Petersburg University. Language and Literature 18, no. 1 (2021): 114–37. http://dx.doi.org/10.21638/spbu09.2021.107.

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The article deals with quasi-relative constructions with ni budi/ ni jest’ , which were competing in 17th-18th century Russian language and claiming the role of an unspecific indefinite marker. This competition resulted in the victory of the ni budi- construction and grammaticalization of the formant nibud’ in modern Russian. The research was carried out on data taken from the historical module of the Russian National Corpus, as well as from a subcorpus of 18th century texts within the main corpus. Quasi-relative constructions are compared according to the following parameters: frequency, sema

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39

Rizaieva, Ganna. "Christoph Willibald Gluck's soft skills in the case «Opera reform in the XVIII century»." Scientific herald of Tchaikovsky National Music Academy of Ukraine, no. 136 (March 28, 2023): 87–101. http://dx.doi.org/10.31318/2522-4190.2023.136.276562.

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Relevance of research. The Viennese opera reform in the 18th century, which is closely related to the ideology of the Enlightenment, the activities of Masonic lodges, and the politics of Austrian Chancellor Kaunitz-Rietberg, is still often regarded as a cliché. Not a single domestic study has been devoted to the question of rethinking both the phenomenon of opera reform itself and Gluck's role in it, which determines the article's relevance. In this work, for the first time, the importance of the union of reformers in Vienna for the implementation of the opera reform in the 18th century is emp

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Lyashenko, Ekaterina S. "Transbaikal Painting of the 18th — the Early 20th Centuries: Periodization Problems." Vestnik of Saint Petersburg University. Arts 13, no. 3 (2023): 467–88. http://dx.doi.org/10.21638/spbu15.2023.305.

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The article is devoted to the research of Transbaikal painting history in the context of regional fine arts formation, artistic direction development. The Transbaikal art features are connected with region’s distance from cultural centers. Transbaikal painting has formed as result of penetration Russian art traditions and influence of regional national cultures. It’s possible to conditionally distinguish several stages in the history of Transbaikal painting. The first stage of formation (18th–19th centuries) was associated with creativity of visiting artists and with emergence of self-educated

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Kruglova, Elena. "Expressive properties of embellishment in vocal music the first halfof the 18th-century." Человек и культура, no. 6 (June 2023): 76–84. http://dx.doi.org/10.25136/2409-8744.2023.6.69245.

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In the modern performance of ancient music, one of the central tasks of singers is the desire to decorate the melody independently. Taking into account the lack of knowledge and skills of Baroque improvisation among domestic performers, the decorations used often represent, in fact, only a technical element that needs to be dealt with. In this case, the ornaments have no artistic value, they sound faded, not corresponding to the main purpose – to emphasize the affect and enhance its expressiveness. The proposed article is aimed at solving topical problems in the field of Baroque performance re

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FADER, DON. "The Honnêête homme as Music Critic: Taste, Rhetoric, and Politesse in the 17th-Century French Reception of Italian Music." Journal of Musicology 20, no. 1 (January 1, 2003): 3–44. http://dx.doi.org/10.1525/jm.2003.20.1.3.

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ABSTRACT The French concept of Taste (goûût) has largely been viewed from an 18th-century tradition of aesthetics in which philosophers attempted to incorporate it into a rationalized systematic theory of musical expression. Its original 17th-century usage, however, was derived from the principles of classical rhetoric and noble etiquette, or politesse. Following the tenets of Cicero communicated by humanist writers, these principles require the ideal gentleman (the honnêête homme) to adapt his knowledge and talents (agrééments) to the requirements of good society just as an orator carefully c

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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

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Bartlett, Ian. "Thomas Philips, Lord Chesterfield and the Enigma of a Popular 18th-Century Ballad by William Boyce: A New Conspiracy Theory." Musical Times 149, no. 1902 (April 1, 2008): 26. http://dx.doi.org/10.2307/25434515.

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McCarthy, Muriel. "Public libraries in Ireland I. Archbishop Narcissus Marsh and the foundation of the first public library." Art Libraries Journal 25, no. 3 (2000): 37–40. http://dx.doi.org/10.1017/s0307472200011767.

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Founded 300 years ago, Marsh’s Library in Dublin – Ireland’s first public library – is described by its librarian as a ‘treasury of the European mind’. The outstanding collections, in their purpose-built 18th-century accommodation, are still accessible to the public. They include Irish books and manuscripts and books on subjects such as travel, botany, music and natural history. Recently the catalogue of printed books has been computerized and made available on the Internet.

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Bonamin, Leoni Villano, and Silvia Waisse. "Explanatory models for homeopathy: from the vital force to the current paradigm." Homeopathy 105, no. 03 (August 2016): 280–85. http://dx.doi.org/10.1016/j.homp.2016.02.003.

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Facing claims for and against the scientific status of homeopathy, one is entitled to ask: is there a scientific model for homeopathy? In this study we reconstructed the model put forward by Hahnemann. The results showed that it was essentially based on the assumption of a ‘vital force’ exclusive to living beings. While the vital force was a basic element of 18th-century science, the existence of such a sui generis force of nature was refuted with the formulation of the law of the conservation of energy by mid-19th century. As a function of that fact for homeopathic theory, we discuss the hist

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Jokubaitis, Linas. "The Transformation of Scientific Political Philosophy into a Speculative Philosophy of History." Problemos 97 (April 21, 2020): 24–35. http://dx.doi.org/10.15388/problemos.97.2.

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The paper presents an analysis of the three stages of the development of political philosophy since the 17th century. The rise of modern political theory was marked by attempts to develop a philosophy along the lines of natural sciences. These attempts lead to the development of highly speculative and abstract doctrines; political philosophy ceased being a practical discipline. The paper argues that an important aspect of the traditionalist political thought of the 18th century was an attempt to reestablish the link between theory and practice. In the 19th century, the interest in history was

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Escartí Soriano, Vicent Josep. "Jaume I al segle XVIII: entre el teatre popular i l’erudició." SCRIPTA. Revista Internacional de Literatura i Cultura Medieval i Moderna 21, no. 21 (June 22, 2023): 179. http://dx.doi.org/10.7203/scripta.21.26802.

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Resum: Aquest article tracta de mostrar com el record de la figura del rei Jaume I es va mantenir, al segle XVIII, especialment en dos àmbits: l’erudició històrica –que s’arrossegava des del segle anterior– i la presència del personatge del rei i d’alguns fragments de la seua vida, representats en algunes obres de teatre.Paraules clau: Jaume I, segle XVIII, erudició, teatre.Abstract: This article tries to show how the memory of the figure of King Jaime I was maintained, in the 18th century, especially in two areas: historical scholarship –which had been dragging on since the previous century–

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Roos, Merethe. "USING SPEECH ACT THEORY AS A TOOL FOR UNDERSTANDING THE AUTHORSHIP OF BALTHASAR MÜNTER." Wiek Oświecenia, no. 38 (September 25, 2022): 114–29. http://dx.doi.org/10.31338/0137-6942.wo.38.7.

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This paper sheds light on the German (Danish at that time) theologian Balthasar Münter’s authorship and focuses on how his writings adapted to his intellectual, social and cultural surroundings. Münter served as a preacher in the German congregation in Copenhagen between 1765 and 1793 and left many writings to posterity, including 17 volumes of sermons. These texts are written in a public and political environment, offering shifting conditions for the church. The reflection concentrates on how he changed his preaching and teaching under the different conditions the church was offered in this p

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Gessele, Cynthia M. "Base d'harmonie: A Scene from Eighteenth-Century French Music Theory." Journal of the Royal Musical Association 119, no. 1 (1994): 60–90. http://dx.doi.org/10.1093/jrma/119.1.60.

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History can often be read as story or drama, with the events of the narrative partitioned into scenes. As a play, the history of music theory in eighteenth-century France has Jean-Philippe Rameau as its main character. The scenes in which Rameau and his opponents debated his theory are filled with contentious dialogue. Even if the historian excludes Rameau and devotes scenes to his predecessors, contemporaries and interpreters, the plot still revolves around the story's protagonist who stands in the wings.

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