scholarly journals Roses Strewn Upon the Path: Rehearsing Familial Devotion in Late Eighteenth-Century German Songs for Parents and Children

2021 ◽  
Vol 6 ◽  
Author(s):  
Adeline Mueller
Keyword(s):  
Eighteenth Century ◽  
Nuclear Family ◽  
Family Members ◽  
Read Aloud ◽  
Late Eighteenth Century ◽  
Parents And Children ◽  
Children's Songs ◽  
Late Eighteenth ◽  
Drawing Room ◽  
First Time

Intra- and inter-generational family singing is found throughout the world’s cultures. Children’s songs across many traditions are often performed with adult family members, whether simultaneously (in unison or harmony) or sequentially (as in call-and-response). In one corpus of printed children’s songs, however, such musical partnering between young and old was scripted, arguably for the first time. Children’s periodicals and readers in late eighteenth-century Germany offered a variety of poems, theatricals, riddles, songs, stories, and non-fiction content, all promoting norms around filial obedience, virtue, and productivity. Readers were encouraged to share and read aloud with members of their extended families. But the “disciplining” going on in this literature was as much emotional as it was moral. Melodramatic plots to dialogues, plays, and Singspiele allowed for tenderness and affection to be role-played in the family drawing room. And the poems and songs included in and spun off from these periodicals constituted, for the first time, a shared repertoire meant to be sung and played by young and old together. Duets for brothers and sisters, parents and children—with such prescriptive titles as “Brotherly Harmony” and “Song from a Young Girl to Her Father, On the Presentation of a Little Rosebud”—not only trained children how to be ideal sons, daughters, and siblings. They also habituated mothers and fathers to the new culture of sentimental, devoted parenthood. In exploring songs for family members to sing together in German juvenile print culture from 1700 to 1800, I uncover the reciprocal learning implied in text, music, and the act of performance itself, as adults and children alike rehearsed the devoted bourgeois nuclear family.

scholarly journals Historical Hypermetrical Hearing

2015 ◽  
Vol 21 (3) ◽  
Author(s):  
Stefan Caris Love
Keyword(s):  
Eighteenth Century ◽  
Late Eighteenth Century ◽  
Cyclic Model ◽  
Late Eighteenth ◽  
First Time

This paper proposes a cyclic model to represent how hypermeter in the minuet was perceived by the typical late eighteenth-century listener: a first-time listener intimately familiar with the local style. The listener seeks to match the music to a quadruple hypermetrical cycle whenever possible. Disruptions to the cycle includeinterruption, where a cyclic hyperdownbeat arrives unexpectedly early;deferral, where an expected cyclic hyperdownbeat is delayed; and irregular hypermetrical schemas. The fluctuation between easy hypermetrical regularity and tense disruption animates the music for the listener.

PER UN INVENTARIO DEL CARTEGGIO DI ALBERTO FORTIS

Nuncius ◽  
1990 ◽  
Vol 5 (1) ◽  
pp. 127-203 ◽  
Author(s):  
ŽARKO MULJAČIĆ
Keyword(s):  
Eighteenth Century ◽  
Late Eighteenth Century ◽  
Late Eighteenth ◽  
First Time

Abstract<title> SUMMARY </title>Presented is Alberto Fortis' correspondence list (Padova, 9 november 1741 - Bologna, 21 october 1803), which includes, to date, 1338 letters written and received by Fortis.Many letters are here reported for the first time, and many data relative to letters already published have been revised and corrected.The large extent of the Fortis' interests, the number of his correspondents and the chronologic extension of his correspondence (1760-1803) make this collection of his letters a very useful tool for historians of the late eighteenth century.

Belinda

2020 ◽  
Author(s):  
Maria Edgeworth
Keyword(s):  
Eighteenth Century ◽  
Interracial Marriage ◽  
Marriage Market ◽  
Moral Maturity ◽  
Domestic Life ◽  
Serious Illness ◽  
Radical Feminist ◽  
Late Eighteenth Century ◽  
Late Eighteenth ◽  
Drawing Room

‘It is singular, that my having spent a winter with one of the most dissipated women in England should have sobered my mind so completely.’ Maria Edgeworth's 1801 novel, Belinda, is an absorbing, sometimes provocative, tale of social and domestic life among the English aristocracy and gentry. The heroine of the title, only too conscious of being ‘advertised’ on the marriage market, grows in moral maturity as she seeks to balance self-fulfilment with achieving material success. Among those whom she encounters are the socialite Lady Delacour, whose brilliance and wit hide a tragic secret, the radical feminist Harriot Freke, the handsome and wealthy Creole gentleman Mr Vincent, and the mercurial Clarence Hervey, whose misguided idealism has led him into a series of near-catastrophic mistakes. In telling their story Maria Edgeworth gives a vivid picture of life in late eighteenth-century London, skilfully showing both the attractions of leisured society and its darker side, and blending drawing-room comedy with challenging themes involving serious illness, obsession, slavery and interracial marriage.

RELATIONS OF THE GEORGIAN MAMLUKS OF EGYPT WITH THEIR HOMELAND IN THE LAST DECADES OF THE EIGHTEENTH CENTURY

2002 ◽  
Vol 45 (3) ◽  
pp. 320-341 ◽  
Author(s):  
Daniel Crecelius ◽  
Gotcha Djaparidze
Keyword(s):  
Eighteenth Century ◽  
Native Language ◽  
Family Members ◽  
The Caucasus ◽  
Caucasus Region ◽  
Late Eighteenth Century ◽  
Wide Range ◽  
Late Eighteenth ◽  
Langue Maternelle

AbstractThis study uncovers the close relations the Georgian mamluks of Egypt maintained with their homeland in the late eighteenth century. On the basis of a wide range of archival and published sources, including a series of four unique letters from Ibrahim Bey al-Kabir and important members of his household, the authors conclude that these Georgian mamluks retained their native language, were aware of the politics of the Caucasus region, received frequent visits from their parents or other relatives, and sent gifts to family members or gave money to build useful structures (a defensive tower, or even a church) in their native villages. Cette étude dévoile les étroites relations que les Mamelouks géorgiens en Egypte entretenaient avec leur pays natal à la fin du 18e siècle. Se fondant sur des sources variées d'archives et de documents publiés, dont une série de quatre lettres exceptionnelles d'Ibrahim Bey al-Kabir et d'importants membres de sa maison, les auteurs établissent que les Mamelouks géorgiens avaient conservé leur langue maternelle et étaient au courant de la politique dans la région du Caucase. Ils révèlent que leurs parents et d'autres membres de la famille leur rendaient souvent visite et qu'ils envoyaient des cadeaux à leurs familles ou des sommes d'argent pour édifier des bâtiments d'utilité publique (une tour de défense voire une église) dans leurs villages natals.

scholarly journals "The Brain-Sucker: Or, the Distress of Authorship”: A Late Eighteenth-Century Satire of Grub Street

Authorship ◽  
2015 ◽  
Vol 4 (1) ◽  
Author(s):  
Ingo Berensmeyer ◽  
Gero Guttzeit ◽  
Alise Jameson
Keyword(s):  
Eighteenth Century ◽  
Print Culture ◽  
Short Fiction ◽  
Critical Edition ◽  
Late Eighteenth Century ◽  
Cultural Implications ◽  
Late Eighteenth ◽  
First Time ◽  
The Brain

Originally printed in the first issue of The British Mercury in 1787, “The Brain-Sucker: Or, the Distress of Authorship” is a piece of satirical short fiction that has so far received only little attention in discussions of eighteenth-century print culture and practices of authorship. Probably written by the Scottish radical John Oswald (c. 1760-1793), “The Brain-Sucker” is told in the form of a letter by a farmer who tells an absent friend about his unfortunate son Dick, whose brain has become infected by poetry. This “disorder” leads Dick to London, where he falls prey to a ruthless publisher, known as “the Brain-sucker”, who keeps him like a slave in a Grub Street garret. The farmer then travels to London to save his son from the clutches of the Brain-Sucker. We present the text, for the first time, in a critical edition, collated from the three surviving copies, with textual and explanatory notes. In the accompanying essay, we discuss the text’s context of origin in late eighteenth-century Grub Street and the cultural implications of its satirical presentation of authorship.

Four Violin Concertos, Part 2

10.31022/c005 ◽  
1976 ◽  
Author(s):  
Giovanni Battista Viotti
Keyword(s):  
Eighteenth Century ◽  
Late Eighteenth Century ◽  
Late Eighteenth ◽  
Violin Concertos ◽  
The Times ◽  
First Time

This edition presents four representative works, which appear here for the first time in full score, and which emerge from different periods in the career of the most revered violinist of the late eighteenth century. Of attractive musical quality, these concertos (one of which includes ornamentation added by the composer) document Viotti's development and reflect the taste of the times.

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