Hypermetric Manipulations in Haydn and Mozart

2021 ◽  
Author(s):  
Danuta Mirka
Keyword(s):  
Eighteenth Century ◽  
Chamber Music ◽  
Real Time ◽  
Dynamic Model ◽  
Music Theory ◽  
Phrase Structure ◽  
Modern Music ◽  
Comprehensive Account ◽  
Cognitive Study

This book presents a systematic discussion of hypermeter and phrase structure in eighteenth-century music. It combines perspectives from historical and modern music theory with insights from the cognitive study of music and introduces a dynamic model of hypermeter that allows the analyst to trace the effect of hypermetric manipulations in real time. This model is applied in analyses of string chamber music by Haydn and Mozart. The analyses shed a new light upon this celebrated musical repertory, but the aim of this book goes far beyond an analytical survey of specific compositions. Rather, it is to give a comprehensive account of the ways in which phrase structure and hypermeter were described by eighteenth-century music theorists, conceived by eighteenth-century composers, and perceived by eighteenth-century listeners.

Hypermeter

2021 ◽  
pp. 1-56
Author(s):  
Danuta Mirka
Keyword(s):  
Twentieth Century ◽  
Eighteenth Century ◽  
Dynamic Model ◽  
Music Theory ◽  
American Music ◽  
Recent History ◽  
Modern Concept ◽  
History Of ◽  
Cognitive Study ◽  
Point Of Departure

This chapter unearths a number of cues that point to eighteenth-century recognition of what today is called hypermeter and retraces the line of tradition that led from eighteenth-century music theory to the emergence of the modern concept of hypermeter in the twentieth century. It departs from the eighteenth-century concept of compound meter, related to hypermeter by some modern authors, and from the analogy between measures and phrases posited by Johann Philipp Kirnberger and Johann Abraham Peter Schulz in Johann Georg Sulzer’s Allgemeine Theorie der schönen Künste (1771–74). While compound meter proves irrelevant for the development of hypermeter, the analogy between measures and phrases, adopted by Gottfried Weber in his Versuch einer geordneten Theorie der Tonsetzkunst (1817) and further refined by German music theorists, provides the point of departure for the development of the concept of hypermeter in American music theory. The further course of the chapter traces more recent history of this concept. It evaluates the contribution of Schenkerian theory and the cognitive study of music, and it introduces a dynamic model of hypermeter as an extension of the dynamic model of meter presented by the author in Metric Manipulations in Haydn and Mozart (2009).

Hypermeter, Phrase Structure, and Rhetorical Figures

2021 ◽  
pp. 299-321
Author(s):  
Danuta Mirka
Keyword(s):  
Eighteenth Century ◽  
Music Theory ◽  
Phrase Structure ◽  
Rhetorical Figures

The theory of music-rhetorical figures, originating with Joachim Burmeister and Christoph Bernhard, was relaunched by Johann Mattheson and further developed by Johann Adolph Scheibe and Johann Nikolaus Forkel. Its integration into the theory of melody was attempted by Heinrich Christoph Koch in Musikalisches Lexikon (1802). The renewed attempt, undertaken in this chapter, reveals an unsuspected bond between two conceptually interrelated but historically unrelated branches of eighteenth-century music theory. The chapter explores effects of rhetorical figures upon hypermeter. It focuses on two rhetorical figures—ellipsis and anadiplosis—and indicates that further rhetorical figures account for some of the phrase expansions discussed in chapter 6.

P. A. LOCATELLI AND J.-M. LECLAIR: LEGACY IN THE XIX CENTURY FONDAZIONE MIA, BERGAMO, 17–19 OCTOBER 2014

2015 ◽  
Vol 12 (2) ◽  
pp. 274-276
Author(s):  
LUCA LÉVI SALA
Keyword(s):  
Eighteenth Century ◽  
North America ◽  
Chamber Music ◽  
Fiftieth Anniversary ◽  
The Third ◽  
Xix Century

In October 2014 scholars from Europe and North America took part in a conference dedicated to two important figures active during the eighteenth century as composers and virtuosos of the violin, to mark the two hundred and fiftieth anniversary of their death: Pietro Antonio Locatelli (Bergamo, 1695–Amsterdam, 1764) and Jean-Marie Leclair l’aîné (Lyon 1697–Paris, 1764). The event was organized by the Centro Studi Opera Omnia Luigi Boccherini (Lucca) in partnership with the Fondazione MIA of Bergamo and the Palazzetto Bru Zane – Centre de Musique Romantique Française in Venice, and also with the collaboration of the Edizione Nazionale Italiana delle Opere Complete di Locatelli. Accommodated in the magnificent Sala Locatelli of the Fondazione MIA, the conference was subdivided into six sessions. First came ‘Pietro Antonio Locatelli and His Legacy’, with speakers Paola Palermo (Bergamo), Christoph Riedo (Universität Freiburg, Switzerland) and Ewa Chamczyk (Uniwersytet Warszawski), followed by ‘French Routes’, featuring Étienne Jardin (Palazzetto Bru Zane – Centre de Musique Romantique Française), Candida Felici (Conservatorio di Musica di Cosenza) and Paola Besutti (Università di Teramo). The third session, ‘Pierre-Marie-François de Sales Baillot’, was held to mark the bicentenary of Baillot's foundation of his séances de musique de chambre (chamber music concerts).

L’artigiano gentiluomo or, Larinda e Vanesio

10.31022/c009 ◽  
1979 ◽  
Author(s):  
Johann Adolf Hasse
Keyword(s):  
Eighteenth Century ◽  
Chamber Music ◽  
Comic Opera

This early intermezzo, which predates Pergolesi's La serva padrona, sheds new light on the eighteenth-century Italian comic opera. Scholars and performers will welcome this contribution to a neglected genre of vocal chamber music and to the further study of Hasse.

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.

FROM LAVAPIÉS TO STOCKHOLM: EIGHTEENTH-CENTURY VIOLIN FANDANGOS AND THE SHAPING OF MUSICAL ‘SPANISHNESS’

2020 ◽  
Vol 17 (2) ◽  
pp. 177-199
Author(s):  
ANA LOMBARDÍA
Keyword(s):  
Eighteenth Century ◽  
Popular Culture ◽  
Cultural Identity ◽  
Chamber Music ◽  
Musical Identity ◽  
Violin Sonata ◽  
Violin Music ◽  
Musical Traditions ◽  
Solo Violin

ABSTRACTSince the mid-eighteenth century the fandango has been regarded as the epitome of Spanish cultural identity. It became increasingly popular in instrumental chamber music, as well-known examples by Domenico Scarlatti, Antonio Soler and Luigi Boccherini show. To date, published musicological scholarship has not considered the role of solo violin music in the dissemination of the fandango or the shaping of a ‘Spanish’ musical identity. Now, eight rediscovered pieces – which can be dated to the period 1730–1775 – show that the violin was frequently used to perform fandangos, including stylized chamber-music versions. In addition to offering evidence of the violin's role in the genre, these pieces reveal the hybridization of the fandango with foreign musical traditions, such as the Italian violin sonata and French courtly dances, demonstrating hitherto overlooked negotiations between elite and popular culture in mid-eighteenth-century Spain. Analysis of these works’ musical features challenges traditional discourses on the ‘Spanishness’ of the fandango and, more broadly, on the opposition between ‘native’ and ‘foreign’ music in eighteenth-century Spain.

Performance of a Track Geometry Car-Based Real-Time Dynamics Simulator Using Multiple Vehicle Types

2003 ◽  
Author(s):  
Clifford S. Bonaventura ◽  
Joseph W. Palese ◽  
Allan M. Zarembski
Keyword(s):  
Real Time ◽  
Dynamic Model ◽  
Dynamic Simulation ◽  
Simulation System ◽  
Time Dynamic ◽  
Track Geometry ◽  
Time Dynamics ◽  
Rail Vehicle ◽  
Empty Condition ◽  
Traveling Speed

A real-time dynamic simulation system designed to identify sections of track geometry that are likely to cause unsafe rail vehicle response is discussed. Known as TrackSafe, this system operates onboard a track geometry vehicle where the geometry measurements are passed as inputs to the dynamic model of one or more rail vehicle types. In order to comprehensively analyze the effect of the existing geometry on rail vehicle behavior, the system is capable of simultaneously simulating the response of several vehicle models, each over a range of traveling speeds. The resulting response predictions for each modeled vehicle and each simulated traveling speed are used to assess the track geometry condition and to identify locations leading to potentially unsafe response. This paper presents the latest work in the development of TrackSafe, specifically, the development and testing of eight new vehicle models is presented. The new car types modeled include a box car, flat car, and both a long and short tank car. Each can be simulated in a fully loaded or empty condition. Accuracy of the models is discussed in detail.

Zur Narrativisierung der Natur

Rhetorik ◽  
2019 ◽  
Vol 38 (1) ◽  
pp. 18-37 ◽  
Author(s):  
Carl Niekerk
Keyword(s):  
Eighteenth Century ◽  
Natural History ◽  
Dynamic Model ◽  
Narrative Strategies ◽  
Temporal Dynamic ◽  
Histoire Naturelle ◽  
Narrative Structures ◽  
The One ◽  
Spatially Oriented

Abstract This essay investigates the narrative structures employed to describe nature in Johann Friedrich Blumenbach’s Beyträge zur Naturgeschichte (1790). Blumenbach’s text can be read as the product of two fundamentally different (and opposed) narrative models which both have roots in the eighteenth-century discipline of natural history. On the one hand, the text shows traces of a static, predominantly spatially oriented model of representing nature, associated during the eighteenth century in particular with Carl Linné’s influential Systema naturae (first published 1735). The text, however, also demonstrates the advantages of a temporal, dynamic model of nature, introduced into Enlightenment natural history by Buffon’s Histoire naturelle (1749–1788). In addition, Blumenbach’s text also articulates the transition from natural history to anthropology, a new discipline emerging in the final decades of the eighteenth century that provides Blumenbach, who will be instrumental for its introduction, with a new set of narrative strategies.

Sign in / Sign up

Export Citation Format

Share Document