scholarly journals Melodic ornamentation from Muffat to Telemann

2021 ◽  
Author(s):  
◽  
Megan Ward
Keyword(s):  
19Th Century ◽  
Large Volume ◽  
18Th Century ◽  
Vocal Music ◽  
Primary Sources ◽  
Musical Culture ◽  
French Music ◽  
Stringed Instruments ◽  
German States ◽  
And Performance

<p>Writers on 18th-century musical ornamentation have traditionally focused on the execution of notated ornaments, and on certain disputes arising from ambiguous and contradictory primary sources. Less attention has been given to the addition of ornaments where not prescribed by the composer. Such ornaments can be short, defined, patterns such as trills, turns, and mordents, or larger measured or unmeasured additions known as diminutions, divisions, or passaggi.  Additions of this nature are only in the rarest of cases compulsory. However, the practice of more or less spontaneous embellishment by the performer was so integral to pre-19th-century musical culture that this must have had a significant effect on composition.  The scope of this thesis is loosely defined by its titular composers, covering the period between Georg Muffat‟s later publications in the last years of the 17th century and G.P. Telemann‟s death in 1767. Both lived and worked in the German states, a region which had traditionally looked to Italian models of composition and performance. This period saw a flowering of German composition into its own unique and diverse genre which integrated aspects of various styles, most prominently Italian and French music.  This thesis centres on stringed instruments, but is directly relevant to woodwind players. Many aspects are also transferrable to the keyboard and to vocal music; however, these musicians will find a large volume of more targeted research elsewhere.</p>

scholarly journals Melodic ornamentation from Muffat to Telemann

2021 ◽  
Author(s):  
◽  
Megan Ward
Keyword(s):  
19Th Century ◽  
Large Volume ◽  
18Th Century ◽  
Vocal Music ◽  
Primary Sources ◽  
Musical Culture ◽  
French Music ◽  
Stringed Instruments ◽  
German States ◽  
And Performance

<p>Writers on 18th-century musical ornamentation have traditionally focused on the execution of notated ornaments, and on certain disputes arising from ambiguous and contradictory primary sources. Less attention has been given to the addition of ornaments where not prescribed by the composer. Such ornaments can be short, defined, patterns such as trills, turns, and mordents, or larger measured or unmeasured additions known as diminutions, divisions, or passaggi.  Additions of this nature are only in the rarest of cases compulsory. However, the practice of more or less spontaneous embellishment by the performer was so integral to pre-19th-century musical culture that this must have had a significant effect on composition.  The scope of this thesis is loosely defined by its titular composers, covering the period between Georg Muffat‟s later publications in the last years of the 17th century and G.P. Telemann‟s death in 1767. Both lived and worked in the German states, a region which had traditionally looked to Italian models of composition and performance. This period saw a flowering of German composition into its own unique and diverse genre which integrated aspects of various styles, most prominently Italian and French music.  This thesis centres on stringed instruments, but is directly relevant to woodwind players. Many aspects are also transferrable to the keyboard and to vocal music; however, these musicians will find a large volume of more targeted research elsewhere.</p>

Theater and Performance in the 19th Century

2021 ◽  
Author(s):  
Douglas Jones ◽  
Amadi Ozier
Keyword(s):  
African American ◽  
African Americans ◽  
19Th Century ◽  
18Th Century ◽  
New Negro ◽  
American Theater ◽  
Black Life ◽  
Theatrical Practice ◽  
And Performance ◽  
Free African Americans

Theater and performance of the long 19th century (1789–1914) is one of the most dynamic fields in African American studies today. Scholars have turned to these embodied practices to understand the achievements, hardships, and imaginaries of black life in this period because enslaved and free African Americans were often denied access to, or the wherewithal to use, the archivable materials we traditionally use for historical research. The field has devised innovative methodologies and reading practices to reimagine and theorize the aesthetics, affects, labor demands, and politics of African American theater and performance in this period. These critical strategies have helped to offset some of the challenges that hinder the study of all live performance. In spite of these limitations, generative observations of theatrical and performance cultures of the enslaved and free African Americans are available, albeit often beneath layers of condemnation, mockery, and scorn. This article focuses on primary works that document, and criticism that analyzes, the origins and evolution of African American theater culture from the late 18th century up to but not including the New Negro (or Harlem) Renaissance (c. 1920). It also offers representative studies of contemporaneous dance and music that help to contextualize black theatrical practice, but it leaves the bulk of that scholarship to other bibliographies. Major archival collections, canonical play texts, and a broad range of criticism clustered in major scholarly categories of African American theater and performance of the era are included here.

scholarly journals Documentary Evidence for the Eighteenth and Nineteenth Century Location of the Adaes Indians

2013 ◽  
Author(s):  
Darryl Pleasant
Keyword(s):  
19Th Century ◽  
18Th Century ◽  
Red River ◽  
Primary Sources ◽  
Documentary Evidence ◽  
Land Claims ◽  
Historic Sites ◽  
Early 19Th Century ◽  
Relational Information ◽  
Early 18Th Century

The location of the habitation sites of the Adaes Indians has not been thoroughly investigated by archaeologists and historians. Most researchers have placed Adaes habitation sites in the general vicinity of Los Adaes simply because the presidio and mission were named after the Adaes Indians. This paper will focus on historical documentation to provide a better understanding of the location of the habitation sites of the Adaes Indians during the 18th and early 19th centuries. The earliest accounts presented are narratives of travels along the Red River in the early 18th century. While they unfortunately have no definitive geographical data such as plat maps or land claims, they still provide relational information which can be interpreted along with the more precise geographical documentation of the latter 18th century. All of the late 18th and early 19th century documents reviewed for this paper are primary sources such as conveyances, successions and land claims. The evidence presented in this paper will reveal that the “homeland” of the Adaes was in southern Desoto Parish, Louisiana and extreme northern Natchitoches Parish. This area is approximately twenty miles north of Los Adaes, which agrees with the Spanish documents and with John Sibley’s location of the Adaes. Archaeologically, there is an abundant sample of historic sites that date to the 18th and 19th centuries in that region. These appear as pure aboriginal sites or mixtures of aboriginal and European components.

Auber's Horses: L'Annee terrible and Apocalyptic Narratives

2007 ◽  
Vol 30 (3) ◽  
pp. 213-229 ◽  
Author(s):  
Delphine Mordey
Keyword(s):  
Cultural Change ◽  
Turning Point ◽  
Contemporary Music ◽  
Third Republic ◽  
Primary Sources ◽  
Second Empire ◽  
Musical Culture ◽  
French Music ◽  
Political Events ◽  
Timely Death

On 13 May 1871 Auber died. His passing was blamed on the horrors of the Franco-Prussian War, Siege and Commune, and provided a powerful symbol of the end of an era. Indeed, the idea that the debacle of 1870-71 caused a rupture in French music, one embodied in Auber's death, continues to influence music histories; political events are thought to mark a clear turning point away from the operettas of the Second Empire to the more serious works associated with the Third Republic. This notion of a turning point has much to recommend it, but the accepted history may ultimately be better viewed as an example of an apocalyptic narrative; after the event, the infamous frivolity of Napoleon III's era was seen to have led, inexorably, to defeat in the War, and to steep cultural change. I argue that this narrative was retrospectively constructed by contemporary music critics dissatisfied with existing French musical culture. The siege, the Commune, and the "timely" death of Auber were used as a means of bolstering demands for change: if the nation were to recover, she would have to change her ways, musical and otherwise. This constructed narrative obscures the picture suggested by primary sources; that not only had changes begun before the war, but that light-hearted forms continued to flourish afterward. It is clearly a narrative in need of historical revision.

Dyskusja na temat odpowiedzialności odszkodowawczej państwa za szkody wyrządzone przez bezprawne działania urzędników na Kongresie Prawników Niemieckich w Kilonii w 1906 roku

2017 ◽  
Vol 15 (2) ◽  
pp. 131-146
Author(s):  
Andrzej Adamczyk
Keyword(s):  
19Th Century ◽  
Legal Regulations ◽  
Legal Problems ◽  
Legal Questions ◽  
German States ◽  
Illegal Acts ◽  
State Liability ◽  
German Reich ◽  
The 19Th Century ◽  
German Association

One of the most important legal problems discussed in the 19th century by German lawyers was that of state liability due to damages resulting from illegal acts of its officials. An influential forum of exchange of ideas was the German Association of German Jurists which organized all-German congresses to solve legal questions in order to promote German unity. Although the problem of state responsibility was discussed at some of the Association congresses in the 19th century, the most interesting was that held in Kiel in 1905. It was due to the fact that many German states had at that time legal regulations concerning state liability, but they were quite different. That generated many complications, making realization of a legal unity within the German Reich difficult. Two proposals for solving this situation were presented at the Congress in Kiel by Otto von Gierke and Rudolf von Herrnritt. Their ideas constituted bases for the discussion which followed. The paper presents the discussion on the state liability, which took place at the Congress in Kiel.

Recovery from memory failure when recalling a memorized performance: The role of musical structure and performance cues

2021 ◽  
pp. 102986492110254
Author(s):  
Roger Chaffin ◽  
Jane Ginsborg ◽  
James Dixon ◽  
Alexander P. Demos
Keyword(s):  
Vocal Music ◽  
Musical Structure ◽  
Public Performance ◽  
Memory Failure ◽  
And Performance ◽  
Written Recall ◽  
Performance Gains ◽  
Over Time

To perform reliably and confidently from memory, musicians must able to recover from mistakes and memory failures. We describe how an experienced singer (the second author) recovered from mistakes and gaps in recall as she periodically recalled the score of a piece of vocal music that she had memorized for public performance, writing out the music six times over a five-year period following the performance. Five years after the performance, the singer was still able to recall two-thirds of the piece. When she made mistakes, she recovered and went on, leaving gaps in her written recall that lengthened over time. We determined where in the piece gaps started ( losses) and ended ( gains), and compared them with the locations of structural beats (starts of sections and phrases) and performance cues ( PCs) that the singer reported using as mental landmarks to keep track of her progress through the piece during the sung, public performance. Gains occurred on structural beats where there was a PC; losses occurred on structural beats without a PC. As the singer’s memory faded over time, she increasingly forgot phrases that did not start with a PC and recovered at the starts of phrases that did. Our study shows how PCs enable musicians to recover from memory failures.

Musical training improves memory for instrumental music, but not vocal music or words

2018 ◽  
Vol 48 (1) ◽  
pp. 150-159
Author(s):  
Jonathan M. P. Wilbiks ◽  
Sean Hutchins
Keyword(s):  
Instrumental Music ◽  
Musical Training ◽  
Vocal Music ◽  
Verbal Material ◽  
The Other ◽  
Musical Experience ◽  
Facilitative Effect ◽  
Musical Excerpts ◽  
And Performance ◽  
The Brain

In previous research, there exists some debate about the effects of musical training on memory for verbal material. The current research examines this relationship, while also considering musical training effects on memory for musical excerpts. Twenty individuals with musical training were tested and their results were compared to 20 age-matched individuals with no musical experience. Musically trained individuals demonstrated a higher level of memory for classical musical excerpts, with no significant differences for popular musical excerpts or for words. These findings are in support of previous research showing that while music and words overlap in terms of their processing in the brain, there is not necessarily a facilitative effect between training in one domain and performance in the other.

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