Academic literature on the topic 'Sound History Sound History 17th Century Sound History 18th Century Sound History 19th Century'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Sound History Sound History 17th Century Sound History 18th Century Sound History 19th Century.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Journal articles on the topic "Sound History Sound History 17th Century Sound History 18th Century Sound History 19th Century"
1
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.
Full textAbstract:
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 and Skuodas districts, the author of the article gathered material on this folk piety practice in religious feasts of Saint Mary Magdalene, Saint Roch, and Saint Anne etc. taking place in Grūstė, Ylakiai, Židikai, Vaičaičiai and elsewhere. These feasts take place in cemeteries, while the Mass, their main sacral highlight, is performed in the cemetery chapel or in a nearby church. People gather to the feasts in order to visit the graves of their diseased and meet with their relatives, inviting brass musicians to perform the ritual at the graveside. The ritual comprises several parts: intention, the sign of the cross in the beginning and at the end, prayers (the Lord’s Prayer, the Hail Mary, and “Eternal Rest”), a stanza from a popular traditional religious hymn, which is both sung and played, the prayer “Eternal Rest”, which is both sung and played antiphonally this time, and traditional Catholic greeting (“Honor be to Jesus Christ”). These parts make up a slightly varying “scenario”, which usually takes 3 to 3,5 minutes to perform. The structure of ensembles (from 2 to 4 musicians), their age (from 12 to 83 years old), the actual instruments (trumpets, tuba, tenor, baritone, saxophone, etc.), and style of performance also vary. The self-educated musicians of the elder generation usually play in the traditional way, i.e. loudly, slowly and inaccurately. The younger generation representatives, usually having acquired some professional music education, have adopted more esthetic style of performance, using reduced volume and “intermediate” fragments to fill in the pauses. In 2017, the tendency was noted of forgoing prayers and including several stanzas of a particularly popular modern hymn instead of one. This would indicate an attempt at changing the tradition in order to adapt to the popular culture, or even belonging to it. In search for roots of this custom of folk piety, the author of the article employs the historical sources from the 17th–18th centuries. According to her analysis, the main point of the ritual – the prayer “Eternal Rest” – was actively used not only in the rituals of the 19th–20th century, but also as early as the Baroque period, while its origins may reach back to the medieval teachings on purgatory. The last line of this prayer (“May they rest in peace. Amen”) was used as a quiver prayer. The arrow as symbol was highly favored in Baroque heraldic, poetry, panegyrics; it used to be compared not only to prayer, but also to the loud and powerful sound of the brass instruments. The brass instruments acted as a concurrent accompaniment of both religious and secular festivals of the time, playing an important role both in the Roman Catholic and in the Evangelical Lutheran traditions. While seeking to clarify the reasons for trumpets being played at cemeteries and the meaning of this ritual, it appeared that in the Catholic Samogitia there still survives a belief in the trumpet accompanied prayer to have the power of alleviating the suffering of souls in the purgatory. People inviting the brass musicians to play at the graveside even in the modern times believe that such prayer goes straight to heaven and easily reaches the God.
2
Battaner Moro, Elena. "A 19th-century speaking machine." Historiographia Linguistica 34, no. 1 (June 18, 2007): 19–36. http://dx.doi.org/10.1075/hl.34.1.03bat.
Full textAbstract:
Summary The Tecnefón is a speaking machine developed in Spain in the 1860s by Severino Pérez y Vázquez. Pérez’s main book on the Tecnefón was published in 1868. Within the context of speaking machines designed from the 18th century onwards, the Tecnefón is built on an acoustical basis; hence it is different from W. von Kempelen’s device, which tried to ‘replicate’ the phonatory system. The Tecnefón has three main parts: a drum that generates sound (the source), an air chamber to hold such sound, and a set of tubes, chambers, and other artefacts propelled by a keyboard. Pérez created a prototype of a speaking machine that performed five vowels and six consonants, so it could ‘speak’ many sentences in Spanish. To this he added accent and intonation with a lever. However, the Tecnefón was never finished due to institutional circumstances that prevented Pérez from pursuing his research.
3
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.
Full textAbstract:
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.
4
Imhoff, Brian. "(MIS)Translating U.S. Southwest History." Romanian Journal of English Studies 10, no. 1 (March 1, 2013): 165–73. http://dx.doi.org/10.2478/rjes-2013-0014.
Full textAbstract:
Abstract Historians of the U.S. Southwest invariably rely on English-language translations of original Spanish documents for their interpretive work. However, a philological approach to the Spanish documents reveals all manner of translator shortcomings, some of which negatively impact the historical record. I document one such instance pertaining to the early history of Texas and argue that the failure to adhere to sound philological practice has produced an inaccurate historical canon. Data are taken from a Spanish expedition diary from the late 17th-century and from unpublished archival sources pertaining to it.
5
Dinneen, Francis P. "A 17th-century account of Mohawk." Historiographia Linguistica 17, no. 1-2 (January 1, 1990): 67–85. http://dx.doi.org/10.1075/hl.17.1-2.07din.
Full textAbstract:
Summary Jacques Bruyas (c.l630-c.l701) left a set of notes on Mohawk in the late 1600s which were published in 1862. His account and work done on the language in the 20th century are compared. Where he fails to record all the sound-contrasts that are functional in the language and is unable to cope with allophones, modern workers may still disagree on how best to represent them. His lack of models for the description of a polysynthetic language, with a modest phonemic inventory, but complex morphophonemics, obscures morphemic boundaries. Bruyas had the reputation among contemporaries of being equally fluent in French and Mohawk, yet his notes fail to mention factors that are obviously frequent, complex and demanded for accurate communication. While the vocabulary in his account is perhaps better handled than in modern works, the selection is more guided by human interest than grammatical relevance.
6
Berezin, Fedor Mixajlovič. "Mikołaj Kruszewski and 20th-century linguistics." History of Linguistics in Poland 25, no. 1-2 (January 1, 1998): 61–86. http://dx.doi.org/10.1075/hl.25.1-2.06ber.
Full textAbstract:
Summary The article deals with important issues in general linguistic theory discussed by Mikołaj Habdank Kruszewski alias Nikolaj Vjačeslavovič Kruševskij (1851–1887), in the author’s view an unjustly forgotten linguist of genius of the late 19th century, who could be seen as standing at the roots of the 20th-century structuralism, long before the appearance of F. de Saussure’s lectures on general linguistics. In his major book O čerk nauki o jazyke (An outline of the science of language) of 1883, Kruszewski conceived of language as a system of signs, laying stress on the semiotic function of language. His understanding of sound alternation is in many ways close to modern principles of phonology and morphonology. His hypothesis of the universal character of the sound laws too anticipated the discovery of language universals. As a result, the author agrees with Radwańska-Williams’ (1993) characterization of Kruszewski’s theory as ‘a lost paradigm’ in the history of linguistics. Well-known linguists of the 20th century such as Roman Jakobson (1896–1982), Jerzy Kuryłowicz (1895–1978) , and others rightly argued that Kruszewski was one of the founders of modern linguistic theory.
7
Stankievech, Charles. "From Stethoscopes to Headphones: An Acoustic Spatialization of Subjectivity." Leonardo Music Journal 17 (December 2007): 55–59. http://dx.doi.org/10.1162/lmj.2007.17.55.
Full textAbstract:
Working from a phenomenological position, the author investigates “in-head” acoustic localization in the context of the historical development of modern listening. Starting from the development of the stethoscope in the early 19th century, he traces novel techniques for generating space within the body and extrapolates from them into contemporary uses of headphones in sound art. The first half of the essay explores the history, techniques and technology of “in-head” acoustics; the second half presents three sound artists who creatively generate headphone spatializations. The essay ends with reflections on how these sound “imaging” techniques topologically shape our subjectivities.
8
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.
Full textAbstract:
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.
9
Stanisławska, Dorota. "The history of Polish viola literature – the 19th and 20th centuries." Notes Muzyczny 2, no. 16 (December 30, 2021): 101–16. http://dx.doi.org/10.5604/01.3001.0015.5493.
Full textAbstract:
After the Romanticism era, when virtuoso music was dominated by the violin, cello and piano, there was a noticeable tendency among composers to search for new and fresh sound inspired by instruments previously functioning mainly in an orchestra. One of the instruments which acquired a new glory back then was the viola. Even though Western European literature earned a permanent place in the repertoire of violists worldwide, Polish pieces representing this genre are lesser-known and performed not as often, except for a few compositions. The library of Polish 20th century viola works is quite rich, but many compositions did not stand the test of time and we would look for them in vain within the performance canon; others were not published in print or recorded, and their manuscripts are owned by private collections. Some autographs of compositions have gone missing and only their titles have been preserved to this day. The present article is an attempt to systematise the state of knowledge about Polish viola compositions written before the end of the 20th century.
10
Ivanov, A. V. "For Never Was a Mazier Mystery Than That of Phoneme and Its History." Nauchnyi dialog 11, no. 6 (August 30, 2022): 9–29. http://dx.doi.org/10.24224/2227-12952022-11-6-9-29.
Full textAbstract:
The aim of the research is to study and systematize etymological, historical-linguistic and historiographic information about the terms fonema / phoneme / Phonem based on the results of the analysis of Russian, English and German theoretical and lexicographic sources published in the 19th—20th centuries. Sources in French are used where necessary. The methods of historical-linguistic, historiographical, definitional, etymological, semantic and lexicographical analysis are used in the study. It has been established that in the ancient Greek language, which is the source of the origin of the word φώνημα, the latter was used in two general meanings: (1) ‘voice, sound’, (2) ‘word, speech’. In the second half of the 19th century, in the new European languages, the word underwent adaptation, subsequent semantic rethinking and acquired a terminological status. The term phonème was first used by the French amateur linguist A. Dufriche-Desgenettes in 1861 in the generalized phonetic meaning ‘sound’. In the phonological sense, this term is found by F. de Saussure in 1879. The term fonema (phoneme) was introduced into Russian linguistic terminology in 1880 by N. V. Krushevsky and, starting from 1881, was widely used in the works of I. A. Baudouin de Courtenay, V. M. Dobrovsky and others. The first use of the English term phoneme in the meaning of ‘sound’ should presumably be attributed to 1914, and not to 1894, as evidenced by English lexicographical sources. In a highly specialized (phonological) sense, the term was fixed in English linguistic terminology already in 1919, when the corresponding word usage was recorded in the work of G. Perera and D. Jones. In the vocabulary of the German language, the term Phonem in the meaning of ‘sound’ appeared in 1855 thanks to the Bulgarian philosopher P. Beron. In a similar sense, the desired term is found in 1875 by E. Boehmer. In its phonological meaning, the German term Phonem occurs for the first time in the works of I. A. Baudouin de Courtenay in 1895.
Dissertations / Theses on the topic "Sound History Sound History 17th Century Sound History 18th Century Sound History 19th Century"
1
Reilly, Olivia. "An epicure in sound : Samuel Taylor Coleridge and music." Thesis, University of Oxford, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.719835.
Full text
2
Cameron, Michaela. "Neither French Nor Savage : A Sonic History of the Eastern Woodlands of North America." Thesis, 2007. http://hdl.handle.net/2123/1971.
Full textAbstract:
Recent histories of the colonial American soundscape have offered readers the popular story of a sonic frontier between Europeans and indigenous inhabitants, in which the latter is silenced by the former’s “sensory imperialism.” This thesis begins by deconstructing this popular, mythological American soundscape and proceeds to apply Richard White’s influential Middle Ground theory to the Eastern Woodlands soundscape as a case study. Rather than a simplified story of one sonic community drowning out another, the author argues that soundscapes weaken at their peripheries and begin to mix with soundscapes traditionally considered to be their antithesis. The result is a “middle sound” or polyphonic soundscape, to which multiple sonic communities contribute equally, independently and simultaneously. National myths, the author demonstrates, are the only place monophonic soundscapes exist; for when multiple sonic communities fuse and create a middle sound, in time, the fusion becomes so seamless that the members of the hybrid community cease to think of themselves as bicultural individuals. This shift in their conception of reality makes them deaf to the plurality of sounds that had seemed so awkward, even horrifyingly dissonant, when they were first fused. Ultimately, then, despite the tendency for people to differentiate themselves from one another, close contact finally impels them to emphasise their similarities and unify as an imagined community. The sonic history of the Eastern Woodlands of North America is a story in which sound was central to both the prevention and creation of a sense of community between two previously distinct worlds.
3
Lehne, Eva. "Jazykový rozbor Cestopisu Bedřicha z Donína." Master's thesis, 2011. http://www.nusl.cz/ntk/nusl-297152.
Full textAbstract:
The thesis analyses selected phenomena of graphy, phonology, morfology, lexicology and words-formation of the Frederick from Donin's Czech book of travels, which was written at the turn of the 16th and 17th century. Partly, it also deals with the syntax and style of the work. Selected phenomena of individual language levels are studied using the original manuscript. The thesis intends to show in which aspects the text is close to early modern language usage, and conversely in which aspects it differs from it. The language of the manuscript is also compared with the contemporary Czech language.
Books on the topic "Sound History Sound History 17th Century Sound History 18th Century Sound History 19th Century"
1
Women, science and sound in nineteenth-century France. Frankfurt am Main [Germany]: Peter Lang, 2007.
Find full text
2
Corbin, Alain. Village bells: Sound and meaning in the nineteenth-century French countryside. New York: Columbia University Press, 1998.
Find full text
3
Peter, Kivy, ed. Sound sentiment: An essay on the musical emotions, including the complete text of The Corded shell. Philadelphia: Temple University Press, 1989.
Find full text
4
Media, technology, and literature in the nineteenth century: Image, sound, and touch. Farnham, Surrey: Ashgate Pub. Company, 2011.
Find full text
5
Irony and sound: The music of Maurice Ravel. Rochester, NY: University of Rochester Press, 2009.
Find full text
6
Zank, Stephen. Irony and sound: The music of Maurice Ravel. Rochester, NY: University of Rochester Press, 2009.
Find full text
7
Remembering and the sound of words: Mallarmé, Proust, Joyce, Beckett. Oxford: Clarendon Press, 1996.
Find full text
8
Sounds of modern history: Auditory cultures in 19th- and 20th- century Europe. New York: Berghahn Books, 2014.
Find full text
9
Bloom, Gina. Voice in motion: Staging gender, shaping sound in early modern England. Philadelphia, PA: University of Pennsylvania Press, 2007.
Find full textBook chapters on the topic "Sound History Sound History 17th Century Sound History 18th Century Sound History 19th Century"
1
Kohrt, Manfred. "‘Sound Inventory’ and ‘Sound System’ in 19th-century linguistics." In History and Historiography of Linguistics, 589. Amsterdam: John Benjamins Publishing Company, 1990. http://dx.doi.org/10.1075/sihols.51.2.17koh.
Full text
2
de Boer, Bart. "Phonology and evolution." In The Oxford History of Phonology, 694–706. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780198796800.003.0033.
Full textAbstract:
This chapter reviews the history of the interaction between theories of evolution and phonology. It starts by looking at very early work on the origins of speech and then proceeds to present the (absence of) influence of theories of sound change on Darwin’s thinking about biological change, as well as Darwin’s and other late 19th-century ideas about evolution of speech and language derived from their ideas on biological evolution. It then reviews the debate, which has lasted for about a century, on the influence of vocal tract anatomy on the sound systems that humans can use, and whether the vocal tract has played a crucial role in evolution. Finally, it reviews the more recent use of evolutionary theory for understanding cultural processes, and specifically those of phonological change and emergence of systems of signals.
3
Munro, Martin. "Listening to 19th-Century Haitian Poetry." In Sounds Senses, 99–118. Liverpool University Press, 2022. http://dx.doi.org/10.3828/liverpool/9781800856882.003.0005.
Full textAbstract:
Haiti’s independence was announced in sound and words, in the 1804 Declaration of Independence that was, as Edwidge Danticat says, “itself a poetic text, filled with poignant and elaborate imagery and passionate language.” Early poetry in Haiti was similarly charged with declarative functions and forms: made to be heard, it was, as the historian Émile Nau put it, “the song of the multitude, a general outpouring, an epic.” To have an impact, to be heard, such a song for the people drew on the “oral, rhythmic traditions” of popular culture, the sounds that had survived slavery and served as markers of identity and solidarity during the long war of independence (Doris Kadish and Doris Jenson, Poetry of Haitian Independence, 2015). This chapter draws on the earliest Haitian poetry to show the ways in which sounds were important means of asserting the new nation’s sense of itself, communicating its understanding of its place in the world, and imagining history and memory in a time marked by upheavals and uncertainty, and the persistent reminders of the legacies of the colonial past.
4
Bellomo, Paolo. "Le materialisation de l’original en traduction." In Sound /Writing : traduire-écrire entre le son et le sens, 79–92. Editions des archives contemporaines, 2019. http://dx.doi.org/10.17184/eac.2175.
Full textAbstract:
This chapter explores how homophonic practices came to be called ‘translation’ in the second half of the 20th century. This calls for an analysis of what homophonic translation tells us about literary translation in general and how it deconstructs the dialectic of loss and gain in the field of Translation Studies. To do so, this essay identifies a meaningful turn in translation thinking at the beginning of the 19th century: using Rancière’s hypothesis on literature’s history, this essay contends that such transformation is a “materialization of the original”. In questioning the junction between this materialization and the letter, the intent of this essay is to highlight the relationship of resemblance between originals and translations afforded by homophonic translation. Because they present borrowed, imprinted and sculpted matter, the plastered skulls used for funerary practice in Jericho offer a fertile allegory to think about the way homophonic translations must destroy the original in order to keep part of it materially alive.
5
Afanasyev, Eduard L. "Metropolitan Platon (Levshin) — publicist." In Literary process in Russia of the 18 th — 19 th centuries. Secular and spiritual literature, 62–115. А.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2020. http://dx.doi.org/10.22455/lit.pr.2020-2-62-115.
Full textAbstract:
The article deals with the work of Metropolitan of Moscow Platon II (worldly surname — Levshin) (1737–1812), who became famous not only as an outstanding preacher of the second half of the 18th century, but also as a historical writer. The well-known facts of his life and the creative history of works receive a new sound in the context of a spiritual biography; first of all — a strong connection to the Trinity Lavra of St. Sergius and a deep understanding of the spiritual experience of venerable Sergius of Radonezh. A comparative analysis of the text “On the Road to Schism” (1767) and “Brief History of the Russian Church” (1805) was undertaken, illustrating the path of spiritual growth. The author is presented not just as a widely educated person, but as a hierarch, vigilantly expanding his spiritual horizon. Changes in genre priorities and lexical and stylistic features, adherence to certain literary traditions, the dominance of a national idea, proximity to Church Slavonic sources and ancient Russian literary tradition are traced. One of the key roles of the spiritual heritage of Metropolitan Platon II in the historical and literary process of the second half of the 18th century is confirmed.
Conference papers on the topic "Sound History Sound History 17th Century Sound History 18th Century Sound History 19th Century"
1
Edlichko, Anzhela I. "CODIFICATION OF THE ORTHOEPIC NORMS OF THE GERMAN LANGUAGE: HISTORY AND CURRENT SITUATION." In 49th International Philological Conference in Memory of Professor Ludmila Verbitskaya (1936–2019). St. Petersburg State University, 2022. http://dx.doi.org/10.21638/11701/9785288062353.07.
Full textAbstract:
The article discusses the development of the lexicographic codification of pronunciation norms of German. It gives an overview of the orthoepic norm, its varieties and inherent features, relations between the norm and standard of pronunciation. Pronouncing dictionaries since the end of the 19th century have been studied as primary sources, some phonetic phenomena are also illustrated with the explanatory dictionaries of earlier periods. The lexicographic codification of the pronunciation norms in historical retrospect is briefly analyzed: from exaggerated articulation of actors in Germany to actual sound phenomena using in the pronunciation of professional radio and television announcers, which includes the pronouncing features of authentic oral media communication. Special attention is paid to the problem of codification of the orthoepic standard in different types of dictionaries in light of the pluricentricity of German, due to lack of empirical analyses. The article also represents the current orthoepic dictionaries, which include information about the sounds of three standards of German in Germany, Austria and Switzerland. Study of their structure and content features made it possible to identify some advantages and disadvantages. As a result of the study, the author concludes with changing approaches to the codification of pronunciation norms, such as transformation of the metalanguage, expansion of the empirical base, use of contemporary sociophonetic methods in its analysis, some structural and content changes in the dictionaries. These modifications are shown to be connected with the change of the lexicographic paradigm and the turn from monocentricity to pluricentricity due to sociocultural and sociolinguistic factors. Refs 24.