FOUR STEPS TOWARDS PARNASSUS: JOHANN DAVID HEINICHEN'S METHOD OF KEYBOARD IMPROVISATION AS A MODEL OF BAROQUE COMPOSITIONAL PEDAGOGY

2019 ◽  
Vol 16 (2) ◽  
pp. 133-154 ◽  
Author(s):  
DEREK REMEŠ
Keyword(s):  
Eighteenth Century ◽  
Music Making ◽  
Baroque Music ◽  
Gradus Ad Parnassum ◽  
Historical Accounts ◽  
To Receive ◽  
Scholarly Attention ◽  
Comprehensive Study ◽  
Practical Teaching ◽  
Pedagogical Framework

AbstractJohann David Heinichen's treatise Der General-Bass in der Composition (Dresden, 1728) is the most comprehensive study of thoroughbass ever written, yet it has been continually overshadowed in historical accounts by works published in the same decade by Jean-Philippe Rameau (Traité de l'Harmonie) and J. J. Fux (Gradus ad Parnassum). Despite Heinichen's nuanced treatment of a wide variety of musical subjects, Der General-Bass has yet to receive wide acclaim, in large part because it lacks a reductive pedagogical framework that can rival Rameau's basse fondamentale or Fux's species in simplicity and immediate appeal. Yet fortunately, the ‘partimento renaissance’ of the last decade has brought renewed scholarly attention to the centrality of thoroughbass is the only acceptable break in eighteenth-century music-making. Thus the time is ripe for a reappraisal of Heinichen's monumental work. On at least one occasion, Heinichen does indeed outline a pedagogical method of eminent simplicity: his four-step instruction in how to improvise a prelude at the keyboard. According to Heinichen, this method, which seems to be completely unknown today, is to be understood not only as instruction in improvising, but also as training for beginning composers. In explicating the pedagogy of one of eighteenth-century Europe's leading composer-theorists, this article contributes to both the historically informed analysis and the practical teaching of baroque music today.

Rural Clockmaking in Eighteenth-Century Wales: Samuel Roberts of Llanfair Caereinion, 1755–1774

1985 ◽  
Vol 59 (1) ◽  
pp. 49-75
Author(s):  
Alun C. Davies
Keyword(s):  
Eighteenth Century ◽  
Modern World ◽  
Historical Significance ◽  
Proxy Measure ◽  
History Of ◽  
To Receive ◽  
Scholarly Attention

With the recent publication of David S. Landes's Revolution in Time (1983) the business of clockmaking has begun to receive the scholarly attention that its historical significance warrants. In this finely etched case study, Mr. Davies draws on a remarkable business record—Samuel Roberts's Register of Clocks—to document a previously obscure chapter in the history of this frequently neglected business: the crafting, sale, and distribution of grandfather clocks in eighteenth-century rural Wales. And if, as Landes contends, “the consumption of timepieces may well be the best proxy measure of modernization,” then Davies's study illuminates a key development in the rise of the modern world.

Hearth and Home and Horror: Gothic Trappings in early C20th Latin American Short Fiction

2021 ◽  
Vol 23 (2) ◽  
pp. 201-216
Author(s):  
Megan DeVirgilis
Keyword(s):  
Latin America ◽  
Case Studies ◽  
Latin American ◽  
Short Fiction ◽  
Short Form ◽  
Gothic Novel ◽  
To Receive ◽  
American Authors ◽  
Scholarly Attention

The Gothic short form in Latin America has yet to receive focused scholarly attention. Yet, despite no early Gothic novel tradition to speak of, the Gothic mode emerged in poetry and short fiction, representing particular anxieties and colonial/postcolonial realities specific to the region owing in part to a significant increase in periodicals. Focusing on two case studies – Clemente Palma's ‘La granja blanca’ (Peru, 1904) and Horacio Quiroga's ‘El almohadón de plumas’ (Uruguay, 1917) – this article will explore how Latin American authors classified as modern, modernista, and criollista were experimenting with Gothic forms, adapting the design of the traditional Gothic novel to intensify its effect and reach a wider readership. Demonstrating a particular influence of Poe, a unity of effect is created, one that suggests that the home is a place of horrors, not comfort, and the uniquely horrifying settings and plot ultimately challenge established moral codes and literary tendencies.

ON THE VENUES FOR AND DECLINE OF THEACCADEMIESAT ESZTERHÁZA IN HAYDN'S TIME

2016 ◽  
Vol 13 (2) ◽  
pp. 253-281 ◽  
Author(s):  
JÁNOS MALINA
Keyword(s):  
Eighteenth Century ◽  
Direct Proof ◽  
Whole Body ◽  
Documentary Evidence ◽  
Ground Floor ◽  
The Real ◽  
Music Making ◽  
Present Practice ◽  
Domestic Use ◽  
Opera House

ABSTRACTThis article examines various eighteenth-century sources to determine whether they confirm the present practice of calling a first-floor hall of the Fertőd (Eszterháza) palace the ‘music room’. While the answer is essentially negative, we learn that the neighbouring ceremonial hall was used by Empress Maria Theresia for a banquet with some music-making in 1773, and that two more spaces on the ground floor served regularly as the ‘summer music halls’. So where did the ‘real’, quality concerts take place? A whole body of documentary evidence clearly shows that theaccademiestook place in the opera house orGrosses Theater. Much of this evidence refers to the first opera house, which burnt down in 1779. The practice apparently continued in the new, bigger 1781 opera house, but by then the number of concerts would have been reduced substantially, owing to the Prince's growing addiction to opera. A survey of Haydn's last symphonies and concertos composed for domestic use confirms that regular concerts could not have taken place later than 1783 or, possibly, 1784. However, a long-neglected remark in a contemporary witness report provides direct proof of the inclusion of symphonies in the course of opera performances.

Judith Butler's Critique of Violence and the Legacy of Monique Wittig

Hypatia ◽  
2016 ◽  
Vol 31 (4) ◽  
pp. 827-843 ◽  
Author(s):  
Sanna Karhu
Keyword(s):  
Theoretical Background ◽  
Gender Violence ◽  
Recent Criticism ◽  
Prior Work ◽  
Monique Wittig ◽  
Military Violence ◽  
Gender Trouble ◽  
Critique Of Violence ◽  
To Receive ◽  
Scholarly Attention

Although Judith Butler's theorization of violence has begun to receive growing scholarly attention, the feminist theoretical background of her notion of violence remains unexplored. In order to fill this lacuna, this article explicates the feminist genealogy of Butler's notion of violence. I argue that Butler's theorization of violence can be traced back to Gender Trouble, to her discussion of Monique Wittig's argument that the binary categorization of sex can be conceived as a form of discursive violence. I contend, first, that Butler starts to develop her notion of “gender violence” on the basis of her reading of Wittig, and second, that Butler's more recent writings on military violence and the ethics of nonviolence build on her early interpretation of Wittig. On the basis of my reading, I suggest, in contrast to recent criticism, that Butler's later critique of violence is not at odds with but rather expands upon her prior work on violence.

scholarly journals Platonism about Goodness—Anselm’s Proof in the Monologion

2019 ◽  
Vol 3 (2) ◽  
pp. 3-30
Author(s):  
Jeffrey E. Brower
Keyword(s):  
State Of Affairs ◽  
To Receive ◽  
Scholarly Attention

In the opening chapter of the Monologion, Anselm offers an intriguing proof for the existence of a Platonic form of goodness. This proof is extremely interesting, both in itself and for its place in the broader argument for God’s existence that Anselm develops in the Monologion as a whole. Even so, it has yet to receive the scholarly attention that it deserves. My aim in this article is to begin correcting this state of affairs by examining Anslem’s proof in some detail. In particular, I aim to clarify the proof’s structure, motivate and explain its central premises, and begin the larger project of evaluating its overall success as an argument for Platonism about goodness.

Oceanic Intimacies

2021 ◽  
Vol 34 (2) ◽  
pp. 147-165
Author(s):  
Mona Narain
Keyword(s):  
Eighteenth Century ◽  
Two Dimensional ◽  
Middle Passage ◽  
Slave Ships ◽  
The Caribbean ◽  
Historical Accounts ◽  
Do So

In this essay, I explore what intimacies might be revealed if we trace oceanic entanglements created by eighteenth-century maritime routes and journeys in historical and contemporary imaginative reconstructions of such histories. I respond to Lisa Lowe’s proposal to use “intimacies as a heuristic,” and to decentre the European notion of “the human” constructed by colonial epistemologies. To do so, I offer two counter-histories, embedded in and through different waters, which challenge imperial two-dimensional epistemologies. “Porous Intimacies” discusses the seafaring part of Sheikh I’tesamuddin’s The Wonders of Vilayet (1765), one of the first travelogues written by an Indian about Europe. “Immersive Intimacies” analyzes David Dabydeen’s poem “Turner” (1995), which imaginatively reconstructs the middle passage of captured Africans on British slave ships bound for the Caribbean. Rethinking former historical accounts within and outside colonial and liberal frameworks, I analyze new intimacies through oceanic connections.

scholarly journals Polyphony and Poikilia: Theology and Aesthetics in the Exegesis of Tradition in Georgian Chant

Religions ◽  
2019 ◽  
Vol 10 (7) ◽  
pp. 402
Author(s):  
(Freedman)
Keyword(s):  
Historical Development ◽  
Folk Song ◽  
Geometrical Approach ◽  
Musical Structure ◽  
To Receive ◽  
The Trinity ◽  
Scholarly Attention ◽  
Over Time

Georgian polyphonic chant and folk song is beginning to receive scholarly attention outside its homeland, and is a useful case study in several respects. This study focuses on the theological nature of its musical material, examining relevant examples in light of the patristic understanding of hierarchy and prototype and of iconography and liturgy. After brief historical and theological discussions, chant variants and paraliturgical songs from various periods and regions are analysed in depth, using a primarily geometrical approach, describing the iconography and significance of style, musical structure, contrapuntal relationships, melodic figuration, and ornamentation. Aesthetics and compositional processes are discussed, and the theological approach in turn sheds light on questions of historical development. It is demonstrated that Georgian polyphony is a rich repository of theology of the Trinity and the Incarnation, and the article concludes with broad theological reflections on the place of sound as it relates to text, prayer, and tradition over time.

scholarly journals The Tales of Two Cultures: Ecclesiastical Texts and Nahua and Maya Catholicisms

2010 ◽  
Vol 66 (03) ◽  
pp. 353-377 ◽  
Author(s):  
Mark Z. Christensen
Keyword(s):  
Eighteenth Century ◽  
Legitimate Authority ◽  
Two Cultures ◽  
Late Eighteenth Century ◽  
Uniform Manner ◽  
Doctrine Of The Church ◽  
To Receive ◽  
Religious Material ◽  
The Church ◽  
Editing Process

[Priests should use] … an abbreviated catechism, scrupulously extracted from the Roman one so that the faithful receive the pure and sound Doctrine of the Church with uniformity and with the authority accordant to the Provincial Council … therefore, with luck, random works destitute of legitimate authority and revision in matters so grave will not circulate such important material. When in the late eighteenth century the prelates of the Fourth Mexican Provincial Council ordered all clergy to stricdy employ their newly printed catechism, they provided a valuable description of the colonial Church and its relationship to unofficial ecclesiastical texts. The Fourth Provincial Council's call for the faithful to receive the doctrines of the Church in a sanctioned and uniform manner acknowledged the presence of a variety of Catholic discourses that stemmed from colonial religious works deemed to be “destitute of legitimate authority and revision.” Such unofficial ecclesiastical texts avoided the editing process that both the clergy and Crown established to ensure the orthodoxy of all printed religious material. In so doing, the texts could convey diverse, unorthodox interpretations of Catholicism. These unofficial ecclesiastical texts, and the role they played in producing multiple versions of Catholicism, constitute the focus of this study.

scholarly journals Sustainable Illumination for Baroque Paintings with Historical Context Considerations

2020 ◽  
Vol 12 (20) ◽  
pp. 8705
Author(s):  
Pedro Luengo
Keyword(s):  
Eighteenth Century ◽  
Seasonal Changes ◽  
Light Exposure ◽  
Historical Context ◽  
Zero Energy ◽  
Museum Displays ◽  
Zero Energy Building ◽  
Sustainable Conservation ◽  
Scholarly Attention ◽  
Selection Of

The topic of museum illumination and conservation has been richly developed in recent years to take steps toward a zero-energy building concept. Most artworks preserved in museums’ expositions were designed for specifically defined light contexts, wherein daylight and seasonal changes were part of the artistic effect, an issue which has received little scholarly attention. From this premise, this paper aims to prove that defining the original illuminative context of artworks is required for a sustainable conservation, perception, and ultimate interpretation. To do this, a selection of seventeenth and eighteenth century churches and palaces from Europe, the Americas, and Asia will be presented using modern conservation frameworks for artworks. The results demonstrate that both aspects, chosen materials and light exposure, were connected, allowing the spaces to be effective without consuming too much electric lighting. This leads to a discussion about if museum displays should incorporate this context, if it is a more sustainable solution, and if it presents the artworks more accurately to visitors, even as other problems may arise.

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