‘The Uttermost Perfection of all Wind Instruments’: Franz Tausch (1762–1817) as Virtuoso Clarinettist and Director of the Conservatorium Der Bläseinstrumente in Berlin

2020 ◽  
Vol 101 (2) ◽  
pp. 238-269
Author(s):  
Emily Worthington
Keyword(s):  
Eighteenth Century ◽  
Social Hierarchy ◽  
Formative Period ◽  
Wind Instruments ◽  
Musical Culture ◽  
Musical Education ◽  
Written Sources

Abstract The life of clarinettist Franz Tausch (1762–1817) spanned a formative period of development both for his instrument and the culture he operated within, yet he has been neglected because of his lack of association with a major composer. Tausch received his musical education at the Mannheim and Munich courts, where he was exposed to broad cultural and musical influences. His compositions for clarinet show his playing to have foreshadowed the virtuosity associated with his pupils Heinrich Baermann and Bernhard Henrik Crusell. This can particularly be seen in his exploitation of the new possibilities afforded by instruments with a fully chromatic bottom octave, as well as in his incorporation of extreme high-register writing in his concertos. Tausch’s transition from a life of court service to successfully establishing himself within the diverse musical culture and social hierarchy of Berlin is documented in the changing nature of his compositions as well as contemporary written sources. His life is a case study of a trajectory typical of many musicians working at the end of the eighteenth century.

Lord Dacre and the Politics of the Scottish Enlightenment

2005 ◽  
Vol 84 (2) ◽  
pp. 202-220 ◽  
Author(s):  
Colin Kidd
Keyword(s):  
Political Economy ◽  
Eighteenth Century ◽  
Cultural History ◽  
Economic Transformation ◽  
Scottish Enlightenment ◽  
North East ◽  
The Social ◽  
Romantic Movement ◽  
Scottish History

Hugh Trevor-Roper (Lord Dacre) made several iconoclastic interventions in the field of Scottish history. These earned him a notoriety in Scottish circles which, while not undeserved, has led to the reductive dismissal of Trevor-Roper's ideas, particularly his controversial interpretation of the Scottish Enlightenment, as the product of Scotophobia. In their indignation Scottish historians have missed the wider issues which prompted Trevor-Roper's investigation of the Scottish Enlightenment as a fascinating case study in European cultural history. Notably, Trevor-Roper used the example of Scotland to challenge Weberian-inspired notions of Puritan progressivism, arguing instead that the Arminian culture of north-east Scotland had played a disproportionate role in the rise of the Scottish Enlightenment. Indeed, working on the assumption that the essence of Enlightenment was its assault on clerical bigotry, Trevor-Roper sought the roots of the Scottish Enlightenment in Jacobitism, the counter-cultural alternative to post-1690 Scotland's Calvinist Kirk establishment. Though easily misconstrued as a dogmatic conservative, Trevor-Roper flirted with Marxisant sociology, not least in his account of the social underpinnings of the Scottish Enlightenment. Trevor-Roper argued that it was the rapidity of eighteenth-century Scotland's social and economic transformation which had produced in one generation a remarkable body of political economy conceptualising social change, and in the next a romantic movement whose powers of nostalgic enchantment were felt across the breadth of Europe.

The Nonconformist Inheritance

2018 ◽  
Author(s):  
Isabel Rivers
Keyword(s):  
Eighteenth Century ◽  
Seventeenth Century ◽  
Church Of England ◽  
John Bunyan ◽  
John Wesley ◽  
Religious Attitudes ◽  
Pilgrim's Progress ◽  
The Many ◽  
John Owen

This chapter analyses the editions, abridgements, and recommendations of texts by seventeenth-century nonconformists that were made by eighteenth-century dissenters, Methodists, and Church of England evangelicals. The nonconformist writers they chose include Joseph Alleine, Richard Baxter, John Flavel, John Owen, and John Bunyan. The editors and recommenders include Philip Doddridge, John Wesley, Edward Williams, Benjamin Fawcett, George Burder, John Newton, William Mason, and Thomas Scott. Detailed accounts are provided of the large number of Baxter’s works that were edited, notably A Call to the Unconverted and The Saints Everlasting Rest, and a case study is devoted to the many annotated editions of Bunyan’s Pilgrim’s Progress and the ways in which they were used. The editors took into account length, intelligibility, religious attitudes, and cost, and sometimes criticized their rivals’ versions on theological grounds.

Poetics and subjectivities between classicism and Romanticism

2018 ◽  
Author(s):  
Andrew Kahn ◽  
Mark Lipovetsky ◽  
Irina Reyfman ◽  
Stephanie Sandler
Keyword(s):  
Eighteenth Century ◽  
Case Studies ◽  
Literary Culture ◽  
Human Subjectivity ◽  
Literary Forms ◽  
Russian Poetry ◽  
Development Of Identity ◽  
Further Development

In the context of Sentimentalism in the 1770s, literary culture opened up to representations of human subjectivity. The chapter considers genres of poetry devoted to the themes of pleasure, death, and posterity. It also considers the spaces of poetry and modes of exchange, whether through the album, the salon, and the verse epistle. Two case studies explore the use of different literary forms in the further development of identity, individual and also authorial. The first looks at Radishchev’s experiment in writing a fictional diary as a psychological exercise. The second examines the tradition of imitation of Horace’s Monument poem in Russian poetry in the eighteenth century as well as by later poets, such as Pushkin and Brodsky. The case study shows how these Russian versions express changing ideas about imitation and originality as well as poets’ concern with posterity.

scholarly journals Turkic poetic heritage as symbol and spectacle of identity: observations on Turkmenistan's Year of Magtymguly celebrations

2017 ◽  
Vol 45 (2) ◽  
pp. 321-336
Author(s):  
Paul Michael Taylor
Keyword(s):  
Eighteenth Century ◽  
Identity Formation ◽  
Nation Building ◽  
Power Structure ◽  
Public Culture ◽  
Top Down ◽  
Cultural Activities ◽  
Cultural Sector

This paper presents one case study of state-sponsored cultural activities that occurred throughout 2014, Turkmenistan's Year of Magtymguly, the 290th anniversary of this Turkmen poet's birth. Such activities constitute examples of public culture; they can organize representations of a society's past and present to reaffirm for participants the values and power structure of their society and revalidate its philosophical underpinnings. After examining this Turkic poet's iconicity, this paper compiles 2014's celebratory events from disparate sources, complementing broader general literature on Central Asia's spectacles of public culture and their role in nation-building and identity-formation. Rather than merely resulting from any top-down decision specifying required activities nationwide, the year's events involved numerous synergies as artists, museum and theater administrators, composers, and other cultural-sector workers benefited by responding to the potential of aligning their work with a theme as broad, as widely appreciated, and as eligible for various forms of support as this one. In addition, Turkmenistan's strong central leadership benefited from this widely shared and highly visible celebration, especially emphasizing one element within Magtymguly's eighteenth-century vision, an end to his people's tribal conflicts within a unified Turkmenistan under one leader.

scholarly journals Experiencing Folk Music in Children

2020 ◽  
Vol 22 ◽  
Author(s):  
Konstanca Zalar
Keyword(s):  
Folk Music ◽  
Social Role ◽  
Symbolic Play ◽  
Musical Language ◽  
Musical Culture ◽  
Music Making ◽  
Slovene Language ◽  
Social Competences ◽  
Phenomenological Case Study

Through everyday exposure to language and music, individuals within a nation become sensitive to the melodic and rhythmical structure of their folk musical culture. It represents improvisational abilities of individuals and groups as well. Despite all changes, it indisputably maintains all characteristic of music parameters as inheritance of past ages. Due to its social role, it appears throughout everyones life and it also represents an important part of childrens life. In the study that was carried out with two groups of children between six and nine years of age, we were interested in determining how do children experience music making with elements of folk music and how it is possible to create the circumstances which can provide the spontaneity of folk music within the structured environment (like primary school). The research was designed as a phenomenological case study. This method allowed us to gather data which provided a deeper insight into the ways in which participants are able to play using elements of folk music and the way they feel while using such material. The results show that, contrary to the basic fact of spontaneity in folk music, 6 and 7 year old participants were not able to use music parameters to play with and had yet to learn how does the symbolic play on the basis of communication in musical language work out. The most natural way to bridge the gap between learning songs and experiencing individual musical expression in a manner of folk music in children seems to be a creative work with lyrics in Slovene language. We also found that children develop social competences of a great value, when they are involved in a symbolic play with folk music elements in the improvisational mode. Key words: folk music; improvisation; music language; music making

scholarly journals Amateur Piano Music-Making and the Ufa Section of the Imperial Russian Musical Society

ICONI ◽  
2019 ◽  
pp. 73-82
Author(s):  
Ninel F. Garipova ◽  
Keyword(s):  
Piano Music ◽  
Piano Performance ◽  
Musical Culture ◽  
Early 19Th Century ◽  
The Public ◽  
Musical Education ◽  
Music Making ◽  
Academic Genres ◽  
The City ◽  
In Virtue Of

The geographic position of Ufa, which in the early 19th century was a deep province, was not conducive to the development of musical culture. However, we must consider as an important element in its formation the active spread of household music-making and the wish of amateurs to participate in the city’s concert life. The “Society for Singing, Music and the Art of Drama” was founded in 1885 in Ufa following the wishes of the city residents. The twenty-year-long existence of the Society has left a considerable trace in the development of musical education and the exposure of the public to the academic genres of the art of piano performance; it played a signifi cant role in the development of musical literacy and the musical hearing of the residents of Ufa. In virtue of a number of existing social reasons the Society was closed down, but following the request of the most educated part of the local nobility and intelligentsia the Ufa Section of the Imperial Russian Musical Society (IRMS). Having existed for only a few years, until the revolution of 1917, it was able to lead the art of music to a new, higher level. Professionals with a higher musical education were conducive to the further expansion of promotion of music with their concert performances and teaching lessons in the musical classes and enhanced the development of the art of professional music in Bashkiria.

A Newly Discovered Annotated Partimento Manuscript : "Rudimenti di Musica per Accompagnare del Sig. r Maestro Vignali" (1789)

2021 ◽  
Vol 8 (1) ◽  
pp. 60-88
Author(s):  
Sean Curtice ◽  
Lydia Carlisi
Keyword(s):  
Eighteenth Century ◽  
Real Time ◽  
Present Article ◽  
Teaching Methods ◽  
Oral Tradition ◽  
English Language ◽  
Musical Culture ◽  
First Time ◽  
Unknown Manuscript

The partimento tradition of eighteenth-century Italy developed within a musical culture that prioritized oral pedagogy. While these teaching methods were successful in producing generations of great composers, they have left scholars with vexing questions concerning the precise manner in which partimenti should be realized. The recent appearance of a remarkable and previously unknown manuscript—"Rudimenti di Musica per Accompagnare del Sig. Maestro Vignali," dated 1789—promises to shed invaluable new light on the oral tradition of partimento instruction. The manuscript's likely author is Gabriele Vignali (c. 1736– 1799), a maestro di cappella active in Bologna; it is unique in the presently known canon owing to the detailed footnotes that accompany each of its twenty-four Bassi (one in each major and minor key). Vignali's annotations provide precisely the sort of commentary that was ordinarily restricted to real-time explanation, teaching the student to recognize keys, scale degrees, modulations, cadences, typical bass progressions, and significant motives. The present article and accompanying English-language edition examine this exceptional partimento collection in detail, offering modern partimentisti the opportunity for the first time to listen in, as it were, on a series of lessons between an eighteenth-century maestro and his student.

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