Giulia Frasi: Singer of Sentiment

2020 ◽  
Author(s):  
Jonathan Rhodes Lee
Keyword(s):  
Eighteenth Century ◽  
Contemporary Culture ◽  
Musical Education ◽  
Artistic Representation ◽  
Musical Works ◽  
Public Persona ◽  
English Stage

Abstract Handel and his artistic collaborators worked in an age that prized the moral potential of emotion, particularly as mobilized in artistic representation. From weeping comedies and moving she-tragedies on the English stage to sentimental novels in the private closet and even powerfully moving sermons from the nation’s pulpits, eighteenth-century audiences received a constant onslaught of emotionally charged rhetoric that aimed at inspiring virtue. This article provides several examples of how Handel’s music, particularly his works of the 1740s and 1750s, operated within this contemporary culture of sentiment; it uses the career of Handel’s last leading lady, Giulia Frasi (fl. 1742–72), as an illustration of the nexus between these ethical-aesthetic trends, Handel’s musical works, and this singer’s career. Examination of Frasi’s musical education, the works that she performed, and her public persona shows that she cultivated a place in the culture of sentiment, both on and off the stage.

Problem of Forming of Musical-Performing Competency of Pedagogue- Musicians on the Base of Vanguard Works for Folk Instruments

2020 ◽  
Vol 19 (3) ◽  
pp. 68-75
Author(s):  
N.I. Anufrieva ◽  
◽  
A.P. Efremenko ◽  
Keyword(s):  
Training Programs ◽  
Traditional Approach ◽  
Teaching Methodology ◽  
Music Pedagogy ◽  
Folk Culture ◽  
University Teachers ◽  
Avant Garde ◽  
Musical Education ◽  
Musical Works ◽  
Educational Potential

the article highlights the problems of developing the teacher-musicians’ performing skills on the material of works of avant-garde composers for folk instruments and proposes ways to solve them. Folk instruments and avant-garde music are still perceived as incompatible phenomenaby many contemporaries, and educational programs in the field of training “Pedagogical Education” (profile “Musical Education”) inherit the traditional approach, which implies the mastery of folk instruments by performers, primarily the classical repertoire, closely related to Russian folk culture. As a result, avant-garde compositions for an accordion or guitar remain out of the attention of both university teachers and their pupils, future specialists in the field of music pedagogy and cultural and educational activities. Conclusions of the study: it is necessary to change the attitude towards folk instruments and the educational potential of avant-garde music for folk instruments; training programs require improvement in the content and composition of disciplines, among which the analysis of musical works and the art of interpretation deserve particular attention; in the teaching methodology, preference should be given to the problematic method and the practice-oriented approach.

Aristotle's Approach to Poetry

1981 ◽  
Vol 28 (1) ◽  
pp. 23-39
Author(s):  
B. R. Rees
Keyword(s):  
Eighteenth Century ◽  
Major Part ◽  
Structural Pattern ◽  
Classical Text ◽  
Samson Agonistes ◽  
Tom Jones ◽  
Artistic Representation ◽  
History Of ◽  
Western European ◽  
First Time

These are the opening words of Aristotle's Poetics, generally recognized as the most influential work in the history of Western European drama and poetic theory since the Renaissance. The initial statement of the scope of the inquiry is a formidable one; but a reader coming to it for the first time might well be forgiven for concluding that it promises far more than it achieves. Is it possible, he might ask, that all this is contained in a slim volume occupying no more than 47 pages in the Oxford Classical Text and 45 in the Penguin translation? Reading further, he might become even more disillusioned: what he discovers is that, after a very brief and perfunctory introduction on poetry as a form of mimesis or artistic representation, Aristotle limits himself to a discussion of tragedy, a cursory treatment of epic, and a few passing references to comedy, and that, even in the case of tragedy, by far the major part of the argument is devoted to an examination of plot. Can this really be the work which excited scholars in the Renaissance, inspired Milton to write Samson Agonistes, an Aristotelian drama if there ever was one, provided the structural pattern and dramatic conventions for the plays of Racine and Corneille, gave Fielding the principles on which he based his Tom Jones, influenced Goethe and Lessing and, through Lessing, Coleridge, and has won the attention and admiration of critics writing in English from James Harris at the end of the eighteenth century to Richard MacKeon in the second half of the twentieth? And, if so, why?

scholarly journals Gotycyzm/gotycyzmy – rekwizyty i metamorfozy

2017 ◽  
pp. 325-338
Author(s):  
Agnieszka Izdebska
Keyword(s):  
Eighteenth Century ◽  
Close Connection ◽  
Contemporary Culture ◽  
The Uncanny

The article deals with phenomena of the Gothic the most often described as a set of often-linked elements rather than a fixed genre. The text presents a variety of cultural incarnations of the convention: from the eighteenth century novel by horror movies to subcultural style of Goths. This essay also examines the basic Gothic concepts, like the uncanny and the abject, which determine the worlds depicted in Gothic narratives, especially characters who remain in close connection with the space formed as a labyrinth. Finally, the article is an attempt to answer the question about the source of the expansion of the aesthetics of the Gothic in the contemporary culture.

The Eighteenth-Century English Stage

1975 ◽  
Vol 70 (1) ◽  
pp. 157
Author(s):  
M. E. Kimberley ◽  
Kenneth Richards ◽  
Peter Thomson
Keyword(s):  
Eighteenth Century ◽  
English Stage

scholarly journals 7. A Model of Integrality of Musical and Teaching Activities at the Lesson of Musical Education

2016 ◽  
Vol 11 (1) ◽  
pp. 58-65
Author(s):  
Marina Caliga
Keyword(s):  
Music Education ◽  
Teaching Activities ◽  
Musical Education ◽  
Student Integration ◽  
Musical Works ◽  
Musical Knowledge ◽  
The Subject

Abstract In this article the author investigates and applies accumulated experience in music education through the methodological integrality of musical didactic activities at musical education lesson. In this regard, musical didactic activities are not only pedagogical acts of transmission of musical knowledge, but their mission is the living of sound messages, the discovery of self through art and student integration through musical didactic activities. Integrating through musical didactic activities, students discover, create, analyze, summarize, compare, apply, reflect, operating various mechanisms of musical didactic activities, becoming not only the receiver, but also the subject of musical works.

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