Popular Song in the Age of Louis XIV

Music ◽  
2018 ◽  
Author(s):  
John Romey
Keyword(s):  
Public Space ◽  
18Th Century ◽  
Social Role ◽  
Interdisciplinary Approach ◽  
Building Blocks ◽  
17Th Century ◽  
Audience Participation ◽  
Popular Song ◽  
Louis Xiv ◽  
Popular Songs

Across early modern Europe popular tunes functioned as canvases for new texts and they served thereby as a tool for oral and written communication. Song enabled literate, semiliterate, and illiterate members of the population to participate in the circulation of news, gossip, and rumors and to mock both current events and individuals through satire. When performed, songs also encouraged audience participation when a tune had a refrain. In France in the 17th and 18th centuries, popular songs, often referred to as vaudevilles or pont-neufs, permeated urban and rural soundscapes. Popular tunes played an important social role in the lives of individuals from all social spheres, from singers begging for donations in the streets to members of fashionable Parisian society who gathered at salons and at the court. Mondains, members of fashionable society who frequently had literary pretensions, composed and preserved (in manuscripts, known today as chansonniers, as well as in printed publications) song texts that circulated between friends, acquaintances, and in the streets. Vaudevilles became associated with the Pont-Neuf, a spacious “new” bridge that functioned as a central thoroughfare but also a public space in which Parisians came to shop, hear the latest gossip, and be entertained by charlatans, street singers, and itinerant actors. Popular song also flourished in close connection to theater, and in the late 17th century popular songs began to play an increasingly prominent role in the Parisian theaters, namely the Comédie-Italienne and the Comédie-Française. By the early 18th century, comic opera (opéra-comique) emerged as a flexible satirical genre of popular theater. In this genre, which at first intermingled sung tunes with spoken prose, vaudevilles served as musical and structural building blocks and enabled audience participation in a manner similar to street performances. Besides the use of vaudevilles, early French comic operas continued the tradition developed in street song and in the late-17th-century theaters of parodying operas and opera airs. Some airs from Jean-Baptiste Lully’s ballets and operas, for example, became vaudevilles and survive with many new texts intended to be sung to simplified versions of his melodies. People from all social ranks, including street performers, servants, salonnières, courtiers, playwrights, and actors created and performed these parodic songs. When we discuss a body of popular songs during the reign of Louis XIV, then, we must imagine a constantly changing repertory that absorbed any tune that was, in contemporary parlance, “in the mouths” of the population. The study of French popular song, therefore, requires a broad interdisciplinary approach.

scholarly journals Canções populares e o sentimento de missão educadora: Juvenal Galeno no contexto do romantismo brasileiro / Popular songs and the feeling of educational mission: Juvenal Galeno in the context of Brazilian romantism

2019 ◽  
Vol 3 (8) ◽  
pp. 3
Author(s):  
João Batista Andrade Filho ◽  
Francisco Ari De Andrade
Keyword(s):  
18Th Century ◽  
Popular Song ◽  
Johann Gottfried Herder ◽  
Educational Mission ◽  
Political Independence ◽  
Popular Songs ◽  
The People ◽  
Romantic Movement ◽  
German Philosopher

A partir do século XVIII, na Europa, muitos intelectuais europeus passaram a alimentar o gosto e o interesse pelas questões populares. O filósofo alemão Johann Gottfried Herder (1744-1803) é considerado um dos expoentes influenciadores de muitos intelectuais, cujas ideias alimentaram o movimento romântico. Contrariando a mentalidade racionalizante iluminista, tais ideias conduziram os adeptos dessa tendência a voltarem-se para os estudos da tradição campesina, buscando no povo e no seu passado glorioso o elemento constituidor da nacionalidade, particularmente na canção e na poesia populares. Aos intelectuais românticos estava esta questão posta como  missão educadora.  Em terras brasileiras, tal interesse se fortaleceu ainda no período Regencial, alimentado pela lógica do contexto que foi se constituindo logo após a nossa independência política. Deveu-se, sobretudo, à iniciativa dos intelectuais românticos brasileiros, nutridos dos referidos ideais do Romantismo europeu, notadamente francês, moldado pelo Espiritualismo Eclético, e firmes na convicção da missão restauradora de educação da pátria através da instituição de sua história e sua literatura. Em um percurso histórico e compreensivo, intentamos mostrar que as ações do poeta cearense Juvenal Galeno, expressas por suas obras, estavam sintonizadas com a referida causa romântica e assim, definir o mesmo como intelectual com propósito de missão educadora.* * *From the 18th century, in Europe, many European intellectuals began to feed the taste and interest in popular issues. The German philosopher Johann Gottfried Herder (1744-1803) is considered one of the influential exponents of many intellectuals, whose ideas fueled the romantic movement. Contrary to the rationalizing Enlightenment mentality, such ideas led the adherents of this tendency to turn to the studies of the peasant tradition, seeking in the people and in their glorious past the element constituting the nationality, particularly in popular song and poetry. To romantic intellectuals this question was posed as an educative mission. In Brazilian lands, this interest was strengthened even in the Regencial period, fueled by the logic of the context that was becoming soon after our political independence. It was mainly due to the initiative of the Brazilian Romantic intellectuals, nourished by the ideals of European Romanticism, notably French, shaped by Eclectic Spiritualism, and firm in the conviction of the restorative mission of education of the motherland through the institution of its history and its literature. In a historical and comprehensive way, we tried to show that the actions of the Ceará poet Juvenal Galeno, expressed by his works, were in tune with the aforementioned romantic cause and thus, to define the same as intellectual with purpose of educative mission.

THE ARISTOCRAT BECOMES A COURTIER… FEATURES OF EUROPEAN ARISTOCRATIC CULTURE IN THE 17th CENTURY

Via Latgalica ◽  
2008 ◽  
pp. 62
Author(s):  
Deniss Hanovs
Keyword(s):  
Middle Ages ◽  
18Th Century ◽  
Wide Spectrum ◽  
17Th Century ◽  
Capital City ◽  
Traumatic Experience ◽  
Court Culture ◽  
French Society ◽  
Louis Xiv ◽  
The Status

As John Adamson outlined in his voluminous comparative analysis of European court culture, „in the period between 1500 and 1750 a „Versailles model” of a court as a self-sufficient, situated in a free space, architectonically harmonious city-residency remote from the capital city, where the king’s household and administration was located, was an exception.” The Versailles conception and „model” both architectonically and in terms of practical functioning of the court was spread and secured in the 18th century, developing into a model of absolutism which was imitated to different extents. The spectrum of the adoption of the court of Louis XIV by material and intellectual culture reached from the grand ensembles of palaces of Carskoye Selo in Peterhof, Russia, Drottningholm in Sweden and Sanssouci in Germany to several small residences of the German princes’ realms in Weimar, Hanover, and elsewhere in Europe. Analyzing the works of several researchers about the transformation of the French aristocracy into court society, a common conclusion is the assurance of the symbolic autocratic power by Louis XIV to the detriment of the economic and political independence of the aristocracy. In this context, A. de Tocqueville points at the forfeiture of the power of the French aristocracy and its influence and a simultaneous self-isolation of the group, which he defines as a „caste with ideas, habits and barriers that they created in the nation.” Modern research, when revisiting the methods of the resarch on the aristocracy and when expanding the choice of sources, is still occupied with the problem defined in the beginning of the 19th century by A. de Tocqueville: The aristocracy lost its power and influence, and by the end of the 18th century also its economic basis for its dominance in French society. John Levron defines courtiers as functional mediators between the governor and society, calling them a „screen”.1 In turn, Ellery Schalk stated that in the time of Louis XIV the aristocracy was going through an elite identity crisis, when alongside the old aristocracy involved in military professions (noblesse d’épée), the governor allowed a new, so-called administrative aristocracy (noblesse de robe) to hold major positions and titles of honour. Along with the transformation of the traditional aristocratic hierarchy formed in the early Middle Ages, which John Lough described as an anachronism already back in the 17th century, also the status of governor and its symbolic place in the aristocratic hierarchy changed. It shall be noted that it is the question of a governor’s role in the political culture of absolutism by which the ideas of many researches can be distinguished. Norbert Elias thinks that an absolute monarch was a head of a family, which included the whole state and thereby turned into a governor’s „household”. Timothy Blanning, on the other hand, thinks that the court culture of Louis XIV was the expression of the governor’s insecurity and fears. This is a view which the researcher seems to derive from the traumatic experience of the Fronde (the aristocrats’ uprising against the mother of Louis XIV, regent Anna of Austria), which the culturologist K. Hofmane interpreted from a psychoanalytical point of view and defined Louis XIV as a conqueror of chaos and a despotic governor. In the wide spectrum of opinions, it is not the governor’s political principles which are postulated as a unifying element, but scenarios of the representation of power, their aims and various tools that are combined in the concept of court culture. N. Elias names symbolic activities in the court etiquette as the manifestation of power relations, whereas M. Yampolsky identifies a symbolic withdrawal of a governor’s body from the „circulation in society”, when a governor starts to represent himself, thereby alienating himself from society. George Gooch in this way reprimanded Louis XV as he thought this development would deprive the royal representation from the sacred. In turn, Jonathan Dewald in his famous work „European Aristocracy” noted that Louis XIV was not the first to use the phenomenon of the court for securing the personal authority of a governor, and refers to the courts during the late period of the Italian Renaissance as predecessors of French court culture. What role did the monarch’s closest „viewers” – the courtiers – play in this? K. Hofmane by means of comparison with the ancient Greek mythical monster Gorgon comes to conclusion that the court had to provide prey for the Gorgon (the king), who is both scared and fascinated by the terrific sight (of power and glory). The perception of the court as a collective observer implies the presence of the observed and worshiped object, the king. The public life of Louis XIV, which was subjected to the complicated etiquette, provided for the hierarchical access to the king’s public body. Let’s remember the „Memoirs” of Duc de Saint-Simon that gives a detailed description of the symbolic privileges granted to the courtiers, which along the material gifts (pensions, concessions and land plots) were tools for the formation of the identity and the status of a new aristocrat/courtier – along with the right to touch the king’s belongings, his attire, etc. The basis for securing the structure of the court’s hierarchy was provided by the governor’s body along the lines mentioned above, which according to the understanding of representation by M. Yampolsky was withdrawn from society and placed within the borders of the ensemble of the Versailles palace. There, by means of several tools, including dramatic works of art, the governor’s body was separated from its symbolic content and hidden behind the algorithms of ritualized activities. Blanning also speaks about a practice of hiding from the surrounding environment, thereby defining court culture as a hiding-place that a governor created around himself. It was possible to look at a governor and thereby be observed by him not only on particular festivals, when a governor was available mostly for court society, but also in different works of visual art, for example, on triumphal archs, in engravings, or during horse-racings.

Dažu vācu muzikālo tradīciju pārnese latviešu kultūrtelpā 18. gadsimta II pusē

Letonica ◽  
2020 ◽  
Author(s):  
Māra Grudule
Keyword(s):  
18Th Century ◽  
Musical Instrument ◽  
German Society ◽  
Original Form ◽  
Musical Life ◽  
Popular Songs ◽  
Death Of Jesus ◽  
Musical Traditions ◽  
Insight Into

The article gives insight into a specific component of the work of Baltic enlightener Gotthard Friedrich Stender (1714–1796) that has heretofore been almost unexplored — the transfer of German musical traditions to the Latvian cultural space. Even though there are no sources that claim that Stender was a composer himself, and none of his books contain musical notation, the texts that had been translated by Stender and published in the collections “Jaunas ziņģes” (New popular songs, 1774) and “Ziņģu lustes” (The Joy of singing, 1785, 1789) were meant for singing and, possibly, also for solo-singing with the accompaniment of some musical instrument. This is suggested, first, by how the form of the translation corresponds to the original’s form; second, by the directions, oftentimes attached to the text, that indicate the melody; and third, by the genres of the German originals cantata and song. Stender translated several compositions into Latvian including the text of the religious cantata “Der Tod Jesu” (The Death of Jesus, 1755) by composer Karl Heinrich Graun (1754–1759); songs by various composers that were widely known in German society; as well as a collection of songs by the composer Johann Gottlieb Naumann (1741–1801) that, in its original form, was published together with notation and was intended for solo-singing (female vocals) with the accompaniment of a piano. This article reveals the context of German musical life in the second half of the 18th century and explains the role of music as an instrument of education in Baltic-German and Latvian societies.

scholarly journals Labour Conflicts and Working-Class Culture in Early Modern Holland

1990 ◽  
Vol 35 (3) ◽  
pp. 377-420 ◽  
Author(s):  
Rudolf Dekker
Keyword(s):  
Working Class ◽  
Early Modern ◽  
Textile Industry ◽  
18Th Century ◽  
Economic Recession ◽  
17Th Century ◽  
Class Culture ◽  
Informal Workers ◽  
Ancien Régime ◽  
Modern Era

SUMMARYFrom the 15th to the 18th century Holland, the most urbanized part of the northern Netherlands, had a tradition of labour action. In this article the informal workers' organizations which existed especially within the textile industry are described. In the 17th century the action forms adjusted themselves to the better coordinated activities of the authorities and employers. After about 1750 this protest tradition disappeared, along with the economic recession which especially struck the traditional industries. Because of this the continuity of the transition from the ancien régime to the modern era which may be discerned in the labour movements of countries like France and England, cannot be found in Holland.

Origine et diffusion des expressions romanes du type jaune paille

2021 ◽  
Vol 133 (1) ◽  
pp. 3-27
Author(s):  
Sara Matrisciano ◽  
Franz Rainer
Keyword(s):  
20Th Century ◽  
19Th Century ◽  
18Th Century ◽  
17Th Century ◽  
16Th Century ◽  
Romance Languages ◽  
Short Discussion ◽  
Colour Term ◽  
The 19Th Century ◽  
And Diffusion

All major Romance languages have patterns of the type jaune paille for expressing shades of colour represented by some prototypical object. The first constituent of this pattern is a colour term, while the second one designates a prototypical representative of the colour shade. The present paper starts with a short discussion of the controversial grammatical status of this pattern and its constituents. Its main aim, however, concerns the origin and diffusion of this pattern. We have not found hard and fast evidence that Medieval Italian pigment compounds of the type verderame influenced the rise of the jaune paille pattern, which first appears in French in the 16th century. This pattern continued to be a minority solution during the 17th century, but established itself during the 18th century. In the 19th century, Italian, Spanish and Portuguese adopted the pattern jaune paille, while it did not reach Catalan and Romanian before the 20th century.

Revising the Assumption that Ḥadīṯ Studies Flourished in the 11th/17th-Century Ḥiǧāz: Ibrāhīm al-Kūrānī’s (d. 1101/1690) Contribution

Arabica ◽  
2021 ◽  
Vol 68 (1) ◽  
pp. 1-35
Author(s):  
Naser Dumairieh
Keyword(s):  
General Framework ◽  
18Th Century ◽  
Critical Role ◽  
17Th Century ◽  
Main Interest ◽  
Islamic World ◽  
The Core ◽  
Revival Movement ◽  
Almost All

Abstract The Ḥiǧāz in the 11th/17th century has long been considered the center of a “revival” movement in ḥadīṯ studies. This assumption has spread widely among scholars of the 11th-/17th- and 12th-/18th-century Islamic world based on the fact that the isnāds of many major ḥadīṯ scholars from almost all parts of the Islamic world from the 11th/17th century onward return to a group of scholars in the Ḥiǧāz. The scholarly group that is assumed to have played a critical role in the flourishing of ḥadīṯ studies in the 11th/17th-century Ḥiǧāz is called the al-Ḥaramayn circle or network. However, to date, there have been no studies that investigate what was actually happening in that century concerning ḥadīṯ studies. Examining the actual ḥadīṯ studies of one of the scholars at the core of al-Ḥaramayn circle, i.e. Ibrāhīm b. Ḥasan al-Kūrānī, will unpack the main interest of Ḥiǧāzī scholars in ḥadīṯ literature, reveal previously unstudied aspects of ḥadīṯ studies in the 11th/17th-century Ḥiǧāz, correct some unexamined assumptions, and situate the ḥadīṯ efforts of scholars of the 11th/17th-century Ḥiǧāz within a general framework of developments within ḥadīṯ studies.

Conversations with the Malabar Pagans (according to the Documents of the Danish Royal Tranquebar Mission)

2021 ◽  
pp. 259
Author(s):  
Kseniia D. Nikolskaia
Keyword(s):  
18Th Century ◽  
Local Population ◽  
Special Kind ◽  
17Th Century ◽  
East India Company ◽  
Basic Principles ◽  
Hindu Religion ◽  
The University ◽  
Local Languages ◽  
Coromandel Coast

At the beginning of the 17th century, the Danish East India company (Dansk Østindisk Kompagni) was established in Europe. In particular, Tranquebar (Dansborg fortress) became the stronghold of the Danes in India. In another hundred years, at the very beginning of the 18th century, the first Lutheran missionaries appeared on the Coromandel coast. At this time the Danish Royal mission was established in Tranquebar, funded by king Frederick IV. It consisted mainly of Germans who graduated from the University of the Saxon city of Halle. Those missionaries not only actively preached among the local population, but also studied languages of the region, translated Gospels into local languages and then published it in the printing house they created. They also trained neophytes from among the local children. One of the first missionaries in Tranquebar was pastor Bartholomäus Ziegenbalg, who lived in India from 1706 to 1719. Information about Pastor's activities in the Royal Danish mission has been preserved in his letters and records. These letters and papers were regularly printed in Halle in the reports of the Royal Danish Mission («Ausführliche Berichte an, die von der königlichen dänischen Missionaren aus Ost-Indien»). However, besides letters and reports, this edition constantly published texts of a special kind, called «conversations» (das Gespräch). They looked like dialogues between pastor Bartholomäus Ziegenbalg and local religious authorities. Those brahmans explained the basic principles of the Hindu religion, and their opponent showed them the absurdity of their creed by comparing it with the main tenets of Christianity. The following is a translation of one of these dialogues.

The Album De Colbert: The Image of Shipbuilding

2021 ◽  
Vol 163 (A3) ◽  
Author(s):  
M Corradi
Keyword(s):  
Seventeenth Century ◽  
Methodological Approach ◽  
17Th Century ◽  
Royal Navy ◽  
Louis Xiv ◽  
Shipbuilding Industry ◽  
The World ◽  
The Creation

The Album de Colbert compiled by an anonymous author in the second half of the seventeenth century is among the most important illustrated testimonies of the art of shipbuilding. Probably commissioned by Jean-Baptiste Colbert, Minister of Finance and Minister of the Navy of the kingdom of France, the Album was composed to make Louis XIV understand the complexity of shipbuilding. It was also made to support the creation of a navy with the ambition of being competitive with the Royal Navy and with the intent of modernising and expanding the French shipbuilding industry. The fifty plates that make up this illustrated treatise unravel the story of the construction of a first-rank 80-gun line vessel, from the laying of the keel to the launch. It is a unique document that has no contemporaries or precursors because it is not a didactic collection of boats, like the previous treaties that had a completely different methodological approach, more technical-descriptive than illustrative, but it wants to go beyond the scientific treatise. Its purpose was instead to measure itself with representation, showing through the strength of drawing and images the peculiar aspects of the reality of shipbuilding, using iconography as a means of transmitting knowledge related to the world of shipyards and shipbuilding in the 17th century.

The ‘Genius of language’

2004 ◽  
Vol 31 (2-3) ◽  
pp. 367-388 ◽  
Author(s):  
Christiane Schlaps
Keyword(s):  
19Th Century ◽  
18Th Century ◽  
17Th Century ◽  
Wide Range ◽  
Dynamic Form ◽  
Text Types ◽  
Scientific Value ◽  
The 19Th Century ◽  
Static Concept ◽  
Interior Part

Summary The so-called ‘genius of language’ may be regarded as one of the most influential, and versatile, metalinguistic metaphors used to describe vernacular languages from the 17th century onwards. Over the centuries, philosophers, grammarians, trans­lators and language critics etc. wrote of the ‘genius of language’ in a wide range of text types and with reference to various linguistic positions so that a set of rather diverse types of the concept was created. This paper traces three prominent stages in the development of the ‘genius of language’ argument and, by identifying some of the most frequent types as they evolved in the context of the various linguistic dis­courses, endeavours to show the major transformations of the concept. While early on, discussion of the stylistic and grammatical type of the ‘genius of language’ concentrates on surface features in the languages considered, during the middle of the 18th century, the ‘genius of language’ is relocated to the semantic, interior part of language. With the 19th-century notion of an organological ‘genius of language’, the former static concept is personified and recast in a dynamic form until, taken to its nationalistic extremes, the ‘genius of language’ argument finally ceases to be of any epistemological and scientific value.

scholarly journals Findings of Early Hand Firearms from Southern Siberia

2019 ◽  
Vol 18 (5) ◽  
pp. 106-115
Author(s):  
A. P. Borodovsky ◽  
Yu. V. Oborin ◽  
S. L. Savosin
Keyword(s):  
Mass Production ◽  
18Th Century ◽  
Early Period ◽  
17Th Century ◽  
Armed Conflicts ◽  
Northern Asia ◽  
Southern Siberia ◽  
15Th Century ◽  
Different Origin ◽  
Written Sources

Purpose. This article is aimed at identifying early samples of hand firearms at different Siberian territories (Buriatia, the Upper Ob region). Such facts open new perspectives for studying and reconstructing the process of development and distribution of hand firearms in Northern Asia and helps identify regional peculiarities of this historic phenomenon. Results. One of the earliest firearms found on the territory of Southern Siberia is a bronze barrel of a Chinese hand firearms discovered in the valley of the Dzhida River in Buriatia, which refers to the Ming Epoch (the Yongle period). Judging by a serial number of the gun (50138), it was manufactured at the early period of mass production of hand firearms in China, i. e. in the first quarter of the 15th century. Currently, it is one of the earliest foreign samples of oriental firearms known in Siberia. In the Upper Ob region (in the surroundings of the Biysk Fortress (Ostrog), there was another tube of an early hand firearms found. It is of Russian origin and dates the second half of the 16th – beginning of the 17th century. These samples of Siberian firearms are archaic, which demonstrates a trend of using archaic weapons up to the beginning of the 18th century in the absence or lack of modern firearms. It is quite vividly demonstrated by the materials of the artillery treasure of the Umrevinsky Ostrog (1703). Conclusion. The buffer location of Southern Siberia between the growing territories of the Tsardom of Muscovy and Ming China starting from the 1500s A.D. determined the presence of foreign hand firearms of different origin. As evidenced by written sources, they were numerous on the territories where armed conflicts took place and defensive fortifications (Ostrogs) were subsequently constructed.

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