Performance topics in harpsichord music in the second half of the 18th century – Part 2. Arpeggio

2019 ◽  
Vol 2 (12) ◽  
pp. 33-44
Author(s):  
Marek Pilch
Keyword(s):  
Classical Music ◽  
18Th Century ◽  
Music Performance ◽  
Historical Context ◽  
17Th Century ◽  
Modern Trend ◽  
Special Significance ◽  
Performance Style ◽  
Keyboard Music ◽  
Performance Traditions

The article on the rendering of the arpeggio is a continuation of the cycle devoted to performance topics in harpsichord music in the second half of the 18th century, the first part of which was published in “Notes Muzyczny” no. 2(10)2019. The author’s assumption is that the condition necessary for acquiring a convincing interpretation of works from the period of Classicism on the harpsichord is following the arpeggio mannerism in compliance with the performance style shaped in the 17th century called style brisé (luthé) and characteristic of the forms such as the allemande, tombeau or préludes non mesuré. Despite the arpeggio’s diversity, unlike ornaments, this mannerism has not been thoroughly described. That is why doubts often occur as to whether or to what extent it can be used in instances when it is not explicitly required. In the context of classical music performance on the harpsichord the arpeggio is of special significance as it is a very important mean of expression. In its many shades it is one of the mannerisms the use of which is a performer’s decision. The modern trend of historical performance has updated the approach towards this mannerism for keyboard music from the classical period, allowing the use of performance traditions of the 17th and the first half of the 18th centuries. While performing arpeggios, one should be guided by the awareness of the historical context, musical sense, but also the instrument’s idiom, and apply them wherever they enhance the sound of the harpsichord and affections of a given fragment of a composition. The article discusses the guidelines on the ways of rendering of arpeggios, mainly based on the Klavierschule oder Anweisung zum Klavierspielen für Lehrer und Lernende by Daniel Gottlob Türk (1789) and its use options in harpsichord music of the second half of the 18th century exemplified by works by W. A. Mozart.

scholarly journals A genomic and historical synthesis of plague in 18th century Eurasia

2020 ◽  
Vol 117 (45) ◽  
pp. 28328-28335
Author(s):  
Meriam Guellil ◽  
Oliver Kersten ◽  
Amine Namouchi ◽  
Stefania Luciani ◽  
Isolina Marota ◽  
...  
Keyword(s):  
Western Europe ◽  
Multidisciplinary Approach ◽  
Historical Data ◽  
18Th Century ◽  
Climatic Factors ◽  
Historical Context ◽  
17Th Century ◽  
Black Death ◽  
Slow Decline

Plague continued to afflict Europe for more than five centuries after the Black Death. Yet, by the 17th century, the dynamics of plague had changed, leading to its slow decline in Western Europe over the subsequent 200 y, a period for which only one genome was previously available. Using a multidisciplinary approach, combining genomic and historical data, we assembledY. pestisgenomes from nine individuals covering four Eurasian sites and placed them into an historical context within the established phylogeny. CHE1 (Chechnya, Russia, 18th century) is now the latest Second Plague Pandemic genome and the first non-European sample in the post-Black Death lineage. Its placement in the phylogeny and our synthesis point toward the existence of an extra-European reservoir feeding plague into Western Europe in multiple waves. By considering socioeconomic, ecological, and climatic factors we highlight the importance of a noneurocentric approach for the discussion on Second Plague Pandemic dynamics in Europe.

Contexts for Couperin’s L’art de toucher le clavecin

Early Music ◽  
2020 ◽  
Vol 48 (3) ◽  
pp. 335-346
Author(s):  
Marie Demeilliez
Keyword(s):  
Human Body ◽  
18Th Century ◽  
Personal Control ◽  
Vocal Pedagogy ◽  
17Th Century ◽  
Cultural Contexts ◽  
Valuable Source ◽  
School Teaching ◽  
Keyboard Music ◽  
Close Relationship

Abstract One of the best-known texts on 18th-century French harpsichord playing, Couperin’s L’art de toucher le clavecin (1716), has long been considered a valuable source for performers of French Baroque keyboard music. This article investigates the cultural contexts that shaped its text and its aesthetic preoccupations. Various passages dealing with the human body (on seating and position, and on fingering) can be related to the rules of civility and personal control taught by 17th-century etiquette books. Other passages such as the practical exercises show resemblances with vocal pedagogy and graded exercises used in school teaching of the time. Although Couperin claimed that his was the first and only method to deal with good keyboard playing, the book is shaped by a close relationship with other musical treatises (whether for harpsichord or other instruments) published in France during the previous few decades.

Class, Control, and Classical Music

2019 ◽  
Author(s):  
Anna Bull
Keyword(s):  
Music Education ◽  
Cultural Production ◽  
Classical Music ◽  
Historical Context ◽  
Ethnographic Study ◽  
Middle Classes ◽  
Class Culture ◽  
White Middle Class ◽  
Music Ensembles ◽  
The Aesthetic

Through an ethnographic study of young people playing and singing in classical music ensembles in the south of England, this book analyses why classical music in England is predominantly practiced by white middle-class people. It describes four ‘articulations’ or associations between the middle classes and classical music. Firstly, its repertoire requires formal modes of social organization that can be contrasted with the anti-pretentious, informal, dialogic modes of participation found in many forms of working-class culture. Secondly, its modes of embodiment reproduce classed values such as female respectability. Thirdly, an imaginative dimension of bourgeois selfhood can be read from classical music’s practices. Finally, its aesthetic of detail, precision, and ‘getting it right’ requires a long-term investment that is more possible, and makes more sense, for middle- and upper-class families. Through these arguments, the book reframes existing debates on gender and classical music participation in light of the classed gender identities that the study revealed. Overall, the book suggests that inequalities in cultural production can be understood through examining the practices that are used to create a particular aesthetic. It argues that the ideology of the ‘autonomy’ of classical music from social concerns needs to be examined in historical context as part of the classed legacy of classical music’s past. It describes how the aesthetic of classical music is a mechanism through which the middle classes carry out boundary-drawing around their protected spaces, and within these spaces, young people’s participation in classical music education cultivates a socially valued form of self-hood.

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.

‘17TH CENTURY KEYBOARD MUSIC’

1991 ◽  
Vol 72 (2) ◽  
pp. 353-353
Author(s):  
BRUCE GUSTAFSON
Keyword(s):  
17Th Century ◽  
Keyboard Music

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.

Assessment of Health Risks in Musicians of the Slovene Philharmonic Orchestra, Ljubljana, Slovenia

2004 ◽  
Vol 19 (3) ◽  
pp. 140-145
Author(s):  
Rajko Črnivec
Keyword(s):  
Health Status ◽  
Musculoskeletal Disorders ◽  
Classical Music ◽  
Music Performance ◽  
Significant Proportion ◽  
Control Group ◽  
Length Of Service ◽  
Physical Impairments ◽  
Musculoskeletal Problems ◽  
Performance Ability

This study consisted of medical examination and comparison of results obtained in 70 musicians from the Slovene Philharmonic Orchestra, Ljubljana. The main goals of the study were to identify performance-related musculoskeletal disorders, to assess the health status and working capacity of the musicians, and to propose measures for improved protection of their health. The results were compared with results obtained in a control group of 28 marketing workers at Philip Morris Enterprise, Ljubljana. Musculoskeletal problems of the studied group of Slovene musicians were compared with problems of 109 musicians of the Berlin Opera Orchestra examined at the Institute of Occupational Health, Berlin, Germany. We identified performance-related diseases (inflammatory and degenerative skeletal disorders and minor occupational hearing impairments) that were most frequent. A significant proportion of performing musicians had overuse syndrome, caused by excessive use of the extremities and characterized by cumulative microtrauma exceeding human physiologic limits, and dermatologic problems, such as finger calluses and “fiddler’s neck.” The most frequent musculoskeletal problems were due to repetitive motion, unphysiologic postures (isometric strain on the affected muscles), and prolonged sitting position during performances. The highest level of musculoskeletal disorders was noted in the double bass and cello sections, followed by violin, viola, woodwind, and brass players. The severity of physical impairments and restricted ability to perform music were correlated with age, duration of classical music performance, and total length of service. In the group of Slovenian musicians, the incidence of health problems in general was twice as high as in the control group, whereas the incidence of musculoskeletal disorders was six times as high as that in the control group. Health status of the musicians in terms of moderate and severe physical impairments was worse than in the control group. Measures for improved health protection and better performance ability were proposed.

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.

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