Symphonies and the Public Display of Topics

2014 ◽  
Author(s):  
Elaine Sisman
Keyword(s):  
Eighteenth Century ◽  
Human Activity ◽  
Expanding Universe ◽  
Public Display ◽  
Musical Life ◽  
The Public ◽  
Multiple Audiences ◽  
The Church ◽  
Different Levels ◽  
Musical Styles

To the multiple audiences for whom Haydn, Mozart, Beethoven, and their contemporaries composed—patrons, publishers, players, and an expanding universe of listeners at different levels of knowledge—symphonies were the ubiquitous markers of public musical life in the later eighteenth century, opening and sometimes closing concerts and theatrical events. To heighten their appeal and intelligibility, classical composers found topics for their symphonies in the expressive worlds of opera and theater, as well as in the realms of human activity in nature, at court, or (less often) in the church. In so doing, they heightened their listeners’ range of musical experiences and the possibility of shared interpretations. Rereading contemporaneous opinion to find surprising topical correlations, this chapter develops an understanding of symphonic topics that draws both on referential musical styles and on the textures and colors of the orchestra itself.

scholarly journals Feminism and the Public Sphere in Anne Brontë's The Tenant of Wildfell Hall

1998 ◽  
Vol 53 (1) ◽  
pp. 1-24 ◽  
Author(s):  
Rachel K. Carnell
Keyword(s):  
Eighteenth Century ◽  
Public Sphere ◽  
Historical Context ◽  
Narrative Structure ◽  
Century Model ◽  
Separate Spheres ◽  
The Public ◽  
Cultural Power ◽  
The Public Sphere ◽  
Different Levels

The bipartite narrative structure of Anne Brontë's The Tenant of Wildfell Hall (1848) has been interpreted recently as an attempt to subvert the traditional Victorian rubric of separate spheres. Reconsidering this novel in terms of Jürgen Habermas's concept of the eighteenth-century public sphere broadens the historical context for the way we understand the separate spheres. Within Brontë's critique of Victorian gender roles, we may identify a reluctance to address the Chartist-influenced class challenges to an older version of the public good. In hearkening back to an eighteenth-century model of the public sphere, Brontë espouses not so much a twentieth-century-style challenge to the Victorian model of separate spheres as a nineteenth-century-style nostalgia for the classical liberal model of bourgeois public debate. At the same time, the awkward rupture in Brontë's narrative represents the inherent contradictions between the different levels of discourse-literary, political, and scientific-within the public sphere itself and the complex ways in which these contradictions are both accorded and denied cultural power.

The Origins of the Fuging Tune

1981 ◽  
Vol 17 ◽  
pp. 1-32 ◽  
Author(s):  
Nicholas Temperley
Keyword(s):  
Eighteenth Century ◽  
Folk Music ◽  
Professional Training ◽  
Church Of England ◽  
Art Music ◽  
Musical Life ◽  
English Music ◽  
History Of ◽  
Definition Of ◽  
The Church

The fuging psalm or hymn tune is a form whose existence one would hardly suspect from any history of English music. Yet is was a product of the Church of England, and there are more than six hundred and fifty specimens in English eighteenth-century printed sources alone. Its neglect is readily explained by the fact that it lies on the borderline of art music: the musicians who developed it were obscure country singers without professional training; but at the same time it does not fall within the definition of ‘folk music’ that we have inherited from the Cecil Sharp era, for it is written music designed for rehearsed performance. We may or may not wish to hear or sing these tunes today. But our understanding of eighteenth-century English musical life must be incomplete if it does not take into account a form that was so distinctive and so widely appreciated at the time.

Conclusion

2019 ◽  
pp. 248-254
Author(s):  
Shaun Blanchard
Keyword(s):  
Twentieth Century ◽  
Eighteenth Century ◽  
Vatican Ii ◽  
Early Church ◽  
Reform Movements ◽  
Recent Past ◽  
Pius Ix ◽  
The Church ◽  
Different Levels ◽  
Continuity And Discontinuity

This book has argued that Vatican II should be understood as a point on an arc of reform that extends all the way back to the eighteenth century. Pushing the roots of the council back beyond the twentieth-century reform movements, modernism, Newman, and the Tübingen School helps us to better understand and interpret Vatican II reforms. Thus, the complexities of a hermeneutic of reform, which interprets the council as having both continuity and discontinuity, on different levels, with past Catholic teaching and theology, become clearer. A hermeneutic of reform should not only return to the “deepest patrimony” of the fathers or the early Church, but must also recognize that the agendas of failed Catholic reformers of the more recent past have sometimes survived, and have even been vindicated in certain ways. John O’Malley’s work has shown that to fully understand Vatican II, we must recognize that “in St. Peter’s, beside the thousands of [Council] Fathers . . . Pius IX and Pius XII, Marx and Freud, Lagrange and Rosmini, and De Maistre and Lamennais were there, listening to the infinite debate that changed the church.”...

Scottish Literature in a Time of Change

2019 ◽  
pp. 199-212
Author(s):  
Ian Campbell
Keyword(s):  
Eighteenth Century ◽  
Public Perception ◽  
Religious Practice ◽  
Christian Faith ◽  
Scottish Literature ◽  
Church Of Scotland ◽  
The Public ◽  
The Church ◽  
Century Literature ◽  
Public Worship

This essay attempts, by selective reference to a range of works in several genres, to identify and comment on some of the ways in which Scottish writers have responded to centuries of development and change in public worship and the exercise of personal Christian faith since the middle of the eighteenth century. As the Church of Scotland and the public perception of worship have changed, notably so in the last century, literature has tried to find a way which accurately reflects that change, while highlighting some of the legacy of Scotland’s religious practice.

The Catholic Publicist

1955 ◽  
Vol 17 (1) ◽  
pp. 5-18
Author(s):  
Waldemar Gurian
Keyword(s):  
Eighteenth Century ◽  
Public Opinion ◽  
Human Nature ◽  
Decisive Role ◽  
General Situation ◽  
Modern World ◽  
Good Society ◽  
The Public ◽  
The Church

In the progressive alienation of the modern world from Christianity and the Church, in what is described as intellectual secularization, the publicist plays a decisive role.* The mere mention of the name of Voltaire suggests what the significance of anti-Church publicist work may be. In the name of reason it appeals against the superstition of religion, in the name of justice it covers with contempt and ridicule the claims of tradition, it directs its attacks against existing institutions, and it contrasts the light of secular philosophy to the darkness of Church dogma. All that is done in a facile, universally understandable way. The enlightened publicist does not seek to make an impression on the learned. He does not try to astonish by the fullness of his knowledge. He tries to draw the public opinion of good society to his side and to gain it for his cause. With such assurance does he proceed that he seems to achieve his goal. An educated man who has been shaped by eighteenth century France cares to hear nothing more about the Church as a divine institution. Enlightenment and public opinion became the same thing. Public opinion simply coincided with what the Enlightened publicist prescribed for it. Indeed, it was already apparent in the eighteenth century that it is not a simple thing to decide what corresponds to reason, justice, and untutored human nature. In the name of a sentimental inner religion Rousseau fought against the negative Enlightenment of the Encyclopedists, the circle of Voltaire and Diderot. But this struggle changed nothing in the general situation. Public opinion remained decisive. It was selfevidently opposed to tradition generally and, thus, also to the Church. If the reader of Voltaire jeered and ridiculed religion, the reader of Rousseau shed tears over the Savoyard Vicar, who, in metamorphosing Church dogma into a religion of feeling and humanity, thus deprived religion of its substance. Both would hear nothing of that fosterer of superstition and that oppresser of knowledge, that Church against which they had set themselves up as priests of public opinion, as publicists.

Maxim Berezovsky C-dur symphony in a context of new biographical scenario of artist’s life-creativity

2018 ◽  
pp. 13-25
Author(s):  
Olha Shumilina
Keyword(s):  
Eighteenth Century ◽  
Instrumental Music ◽  
Analytical Approach ◽  
Spiritual Direction ◽  
Theoretical Research ◽  
Orchestral Music ◽  
Musical Life ◽  
Analysis And Synthesis ◽  
Mental Modeling ◽  
Independent Work

Relevance of the study. The article studies recently found symphony of the prominent Ukrainian composer of the second half of the eighteenth century Maxim Berezovsky. He is widely known now as the author of cyclic spiritual concerts written for the Orthodox worship, and is practically unknown as a musician instrumentalist associated with the imperial theater and the court musical life. The work of M. Berezovsky as a secular musician determined the creative interest in composing instrumental music intended for secular chamber and orchestral music. Main objective of the article is a clarification of M.Berezovsky symphony as one of secular field artworks in the light of new summaries about artist’s life-creativity. Methodology. Taking into account peculiarities of the material and the analytical approach to its study, the methods of theoretical research have been chosen(abstraction, analysis and synthesis, induction and deduction, mental modeling, ascension from abstract to concrete, etc.). Conclusions. As a result of a study the symphony analysis in a context of new authentic statements about M.Berezovsky’s life-creativity. It was stated that this artwork was written not accidentally and detects absolute awareness of the artist in all composer’s niceties – how to build a topic and build a homophonic construction based on it, in a technique of orchestral construction, form creations of that time and etc. From the beginning of his creative career, M. Berezovsky was well aware of the possibilities of the orchestra as a performer, attached to the Italian opera and instrumental music. Symphony enriches our imagination about the works of M. Berezovsky in the field of secular instrumental and operatic music and extends the range of works of the artist beyond the spiritual direction. Some signs indicate that the Symphony was not an independent work, but an overture to the opera Demofont.

Maxim Berezovsky C-dur symphony in a context of new biographical scenario of artist’s life-creativity

2018 ◽  
pp. 13-25
Author(s):  
Olha Shumilina
Keyword(s):  
Eighteenth Century ◽  
Instrumental Music ◽  
Analytical Approach ◽  
Spiritual Direction ◽  
Theoretical Research ◽  
Orchestral Music ◽  
Musical Life ◽  
Analysis And Synthesis ◽  
Mental Modeling ◽  
Independent Work

Relevance of the study. The article studies recently found symphony of the prominent Ukrainian composer of the second half of the eighteenth century Maxim Berezovsky. He is widely known now as the author of cyclic spiritual concerts written for the Orthodox worship, and is practically unknown as a musician instrumentalist associated with the imperial theater and the court musical life. The work of M. Berezovsky as a secular musician determined the creative interest in composing instrumental music intended for secular chamber and orchestral music. Main objective of the article is a clarification of M.Berezovsky symphony as one of secular field artworks in the light of new summaries about artist’s life-creativity. Methodology. Taking into account peculiarities of the material and the analytical approach to its study, the methods of theoretical research have been chosen(abstraction, analysis and synthesis, induction and deduction, mental modeling, ascension from abstract to concrete, etc.). Conclusions. As a result of a study the symphony analysis in a context of new authentic statements about M.Berezovsky’s life-creativity. It was stated that this artwork was written not accidentally and detects absolute awareness of the artist in all composer’s niceties – how to build a topic and build a homophonic construction based on it, in a technique of orchestral construction, form creations of that time and etc. From the beginning of his creative career, M. Berezovsky was well aware of the possibilities of the orchestra as a performer, attached to the Italian opera and instrumental music. Symphony enriches our imagination about the works of M. Berezovsky in the field of secular instrumental and operatic music and extends the range of works of the artist beyond the spiritual direction. Some signs indicate that the Symphony was not an independent work, but an overture to the opera Demofont.

Homicide in Scotland, 1800–1849: Numbers and Theories (2)

2019 ◽  
Vol 98 (2) ◽  
pp. 214-240
Author(s):  
W. W. J. Knox
Keyword(s):  
Eighteenth Century ◽  
Cause Of Death ◽  
Family Members ◽  
Private Sphere ◽  
The Public ◽  
Common Location ◽  
Spontaneous Action

This article challenges a series of orthodox propositions put forward by historians writing on the decline in homicide levels over the last three hundred years. Firstly, there was a decline in impulsive violence; secondly, there was a shift from stranger to intimate killing; and thirdly, there was a transition of the site of murder from the public to the private sphere. It will be argued that murder remained a mainly spontaneous action, a response to highly charged or impassioned insults and words, sometimes alcohol-fuelled and while the killing of spouses and other immediate family members increased over the course of 150 years (1700–1849), the pattern established in the second half of the eighteenth century was hardly disturbed since most victims were known to their assailants as family, friends or workmates. Stranger killing became more commonly associated with drunken brawls in taverns or in the streets; homicides that involved premeditative action, such as robbery, were rarely the cause of death. It is also clear that the street rather than the home was the most common location, again reflecting the spontaneous and opportunistic character of homicide.

The Samarin Family and the Parish Question in the Russian Empire. 1860s–1910s

2019 ◽  
Vol 54 ◽  
pp. 235-246
Author(s):  
Alexey L. Beglov
Keyword(s):  
Twentieth Century ◽  
Russian Empire ◽  
Public Discussion ◽  
The Public ◽  
The Social ◽  
Church Life ◽  
The Russian Empire ◽  
In The Beginning ◽  
The Church ◽  
Do So

The article examines the contribution of the representatives of the Samarin family to the development of the Parish issue in the Russian Empire in the late 19th and early 20th centuries. The issue of expanding the rights of the laity in the sphere of parish self-government was one of the most debated problems of Church life in that period. The public discussion was initiated by D.F. Samarin (1827-1901). He formulated the “social concept” of the parish and parish reform, based on Slavophile views on society and the Church. In the beginning of the twentieth century his eldest son F.D. Samarin who was a member of the Special Council on the development the Orthodox parish project in 1907, and as such developed the Slavophile concept of the parish. In 1915, A.D. Samarin, who took up the position of the Chief Procurator of the Most Holy Synod, tried to make his contribution to the cause of the parish reforms, but he failed to do so due to his resignation.

Feminist Interpretations of Action and the Public in Hannah Arendt’s Theory

2020 ◽  
Vol 65 (Special Issue) ◽  
pp. 87-103
Author(s):  
Noémi Bíró
Keyword(s):  
Human Activity ◽  
Political Thought ◽  
Hannah Arendt ◽  
Political Action ◽  
Theoretical Framework ◽  
Public Realm ◽  
The Public ◽  
The Social ◽  
Social Feminism ◽  
Definition Of

"Feminist Interpretations of Action and the Public in Hannah Arendt’s Theory. Arendt’s typology of human activity and her arguments on the precondition of politics allow for a variety in interpretations for contemporary political thought. The feminist reception of Arendt’s work ranges from critical to conciliatory readings that attempt to find the points in which Arendt’s theory might inspire a feminist political project. In this paper I explore the ways in which feminist thought has responded to Arendt’s definition of action, freedom and politics, and whether her theoretical framework can be useful in a feminist rethinking of politics, power and the public realm. Keywords: Hannah Arendt, political action, the Public, the Social, feminism "

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