18th Century Music Research Papers (original) (raw)

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- Musicology, Baroque Music, 18th Century Music History, 18th Century Music

In this paper I address questions of continuity and process building in
Mozart’s string quintet K.516. I attempt to show that this work, probably more than any other Mozart composition, exemplifies the concept of an overall structure, crossing the borders between the individual movements. I further argue that, allowing for a metaphorical interpretation, the G minor String Quintet may be viewed as a representation of grief process as described in modern psychology.

- by Uri Rom
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- Harmonic Analysis, Psychology of Music, Music Psychology, Musical Expression
- by Alexander Komarov
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- Music History, Musicology, Manuscript Studies, Russian Music

From 1737 to 1745 Michel Chabanon appeared on the stage of the Jesuit College Louis-le-Grand to dance, to play music and to act. The few sources known about Chabanon as a boarder reveal his gift for dance and violin and inform about theatrical, musical and choreographic practices he knew during his childhood. On the occasion of grand ballet danced each August as part of the ceremony marking the end of the scholastic year, young Michel Chabanon has been made sensitive to the different styles of dance: belle danse, “grotesque” dance, danse haute, pantomime. He saw on the jesuit stage the greatest dancers of his time and danced with young professionals sometimes promised to fame, as Noverre. College Louis-le-Grand actually gathered professional dancers from the different parisian Ballets (Académie royale de musique, Comédie française, Comédie italienne, Opéra-comique) and integrated in its Ballets the different choreographic practices of the mid-18th century. Then the College can appear a haut-lieu of dance linked to the parisian choreographic space.

- by Marie Demeilliez
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- History of Education, Jesuit history, French Baroque Music, Ballet
- by Marie Demeilliez
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- Music History, 17th Century Music, 18th Century Music
- by Lefteris Kordis
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- 18th Century Music History, 18th Century Music

Esta monografía es el resultado de la investigación realizada en mi tesis doctoral "La música en la Catedral de Sevilla en el s. XVIII: La obra de Pedro Rabassa y su difusión en España e Hispanoamérica" (Universidad de Granada, 2002). Tiene como principales objetivos estudiar la actividad musical que tuvo lugar en la Catedral de Sevilla durante los tres primeros cuartos del siglo XVIII (1700-1775) y analizar la producción musical de Pedro Rabassa, el maestro de capilla más relevante del período cuyas obras tuvieron una amplia difusión en instituciones peninsulares y americanas. El trabajo consta de tres volúmenes. El I comprende el estudio propiamente dicho, que incluye la introducción, dos partes y las conclusiones generales. La introducción aborda sucesivamente el plan de trabajo de la investigación, el estado de la cuestión, las fuentes y metodología empleadas y un estudio del contexto histórico sevillano y su relación cultural con América en el siglo XVIII. El volumen II incluye siete apéndices: 1) notas biográficas sobre los músicos de la Catedral de Sevilla en el siglo XVIII que reúne la información localizada tanto en las fuentes documentales de la época como en la bibliografía reciente; 2) selección de documentos sobre la música en la Catedral de Sevilla durante el período estudiado; 3) dieciocho tablas sobre músicos, actividad musical y reutilización de textos literarios en la Capilla hispalense; 4) íncipits de los textos literarios a los que Pedro Rabassa puso música; 5) catálogo general de la producción del compositor y teórico; 6) relación de las principales fuentes consultadas; y 7) índice de gráficos, láminas y tablas incluidas en el volumen I. Al final del volumen II reflejamos la bibliografía consultada para la elaboración del trabajo.
El volumen III contiene la edición musical de veinte obras seleccionadas de Pedro Rabassa que han sido analizadas en el estudio. La edición incluye, además de la transcripción musical, los íncipits originales, las notas críticas y los textos de las piezas.
Aqui se ofrece el volumen I de los III de los que consta.
El resto puede verse en línea: http://www.centrodedocumentacionmusicaldeandalucia.es/opencms/publicaciones/2012/sevilla-musica-pedro-rabassa
Puede adquirirse en: https://www.juntadeandalucia.es/servicios/publicaciones/detalle/77843.html

- by Rosa Isusi-Fagoaga
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- Musicology, Choral Music, Spanish Music, 18th Century Music
- by Théodora Psychoyou and +1
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- Gay And Lesbian Studies, Biblical Studies, Performance Studies (Music), French Baroque Music

In the 18th century, the introduction of new musical genres such as the sonata, the quartet or the quintet - largely linked to the nascent Classicism -, will be the origin of a repertoire that will have famous and internationally renowned representatives in the Iberian Peninsula, including authors from Italy. And one of the composers who practiced both styles (religious and instrumental) is Antonio Soler (1729-1783), known as 'Padre Soler', due to his status as a Jerome monk. However, the biography of this musician has been - and continues to be in many texts - full of errors and inaccuracies that must be corrected as soon as possible, so that the image of the musician comes as close as possible to reality (incorporating for this the data of the most recent research on the musician and his time).

- by Enrique Igoa
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- Spanish Music, 18th Century Music, Iberian Peninsula, Domenico Scarlatti

Johannes Menkes Lehrbuch Kontrapunkt II behandelt die Kompositionstechnik der Barockzeit und stellt damit die Fortsetzung zu Kontrapunkt I dar. Claudio Monteverdi bezeichnete die moderne Musikpraxis seiner Zeit, die wir heute als Beginn des Barock beschreiben, als »Seconda prattica«. Der Band legt daher einen besonderen Schwerpunkt auf das 17. Jahrhundert und erklärt, mit welchen Techniken und Denkweisen Komponisten wie Monteverdi, Purcell, Corelli, Couperin, Händel oder Bach komponiert haben. Dabei stützt sich das Lehrbuch konsequent auf die ganz pragmatische zeitgenössische Satzlehre der Barockzeit und macht in zahlreichen neu gesetzten Beispielen aus historischen Lehrbüchern vergessenes Wissen wieder neu zugänglich.

- by Johannes Menke
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- Music Theory Pedagogy, Music Theory, Musicology, History of Music Theory

Improvisation and the Rhetoric of Beginning, in Das flüchtige Werk. Pianistische Improvisation der Beethoven-Zeit, herausgegeben von Michael Lehner, Nathalie Meidhof und Leonardo Miucci, unter redaktioneller Mitarbeit von Daniel Allenbach, Edition Argus, Schliengen 2019 (Musikforschung der Hochschule der Künste Bern, Band 12), pp. 15-33

- by Maria Grazia Sità
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- Music Improvisation, 18th Century Music

The Musical Archive of the Cathedrals of Zaragoza possesses an interesting early source for
the study of the music of Georg Friedrich Händel (*1685; †1759). It is a manuscript volume,
carefully copied and professionally and luxuriously bound in parchment, containing
a copy of the Suites de pièces pour le clavecin, which the Anglo-German musician would
print for the first time in London in 1720. This copy, made in Rome on 26 March 1727,
only seven years after his editio princeps, and owned by Francisco Xavier Nebra, bears witness
to the early knowledge of the best European music of the time in Spain as well as the
fluid musical connections between Italy and Spain.

- by Antonio Ezquerro
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- Baroque Music, 18th Century Spain, G F Handel, Harpsichord
- by Agnese Pavanello
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- Musicology, Baroque Music, 18th Century Music, Violin sonatas

This article describes a new expert-labelled dataset featuring harmonic, phrase, and cadence analyses of all piano sonatas by W.A. Mozart. The dataset draws on the DCML standard for harmonic annotation and is being published adopting the FAIR principles of Open Science. The annotations have been verified using a data triangulation procedure which is presented as an alternative approach to handling annotator subjectivity. This procedure is suited for ensuring consistency, within the dataset and beyond, despite the high level of analytical detail afforded by the employed harmonic annotation syntax. The harmony labels also encode contextual information and are therefore suited for investigating music theoretical questions related to tonal harmony and the harmonic makeup of cadences in the classical style. Apart from providing basic statistical analyses characterizing the dataset, its music theoretical potential is illustrated by two preliminary experiments, one on the terminal harmonies of cadences and the other on the relation between performance durations and harmonic density. Furthermore, particular features can be selected to produce more coarse-grained training data, for example for chord detection algorithms that require less analytical detail. Facilitating the dataset's reusability, it comes with a Python script that allows researchers to easily access various representations of the data tailored to their particular needs.

- by Johannes Hentschel and +1
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- Music Theory, Empirical Musicology, Mozart, Music analysis

This article investigates the sources of the recapitulation using statistical methods. The recapitulation has traditionally been viewed as an expansion of small ternary forms, resulting in a top-down approach, whereby the repeat of expositional material is explained in rotational terms. Here I present a bottom-up approach, demonstrating that the recapitulation arose as a concatenation between two previously independent practices: the double return of the opening theme in the tonic in the middle of the second half of a two-part form, and the thematic matching between the ends of the two halves of two-part form. Drawing on a corpus of more than seven hundred instrumental works dated 1650–1770, I demonstrate that these two practices arose and functioned independently from each other, increasing in frequency and in length, before being subsumed into an overarching rotational practice.

- by Yoel Greenberg
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- Music Theory, 18th Century Music, Corpus-Based Studies, Sonata form

"Durch Nacht zum Licht" (und zurück in die Nacht): Formstrategien, dramaturgische Funktionen und semantische Implikationen der Dur-Aufhellung in Reprisen "klassischer" Moll-Sonatenformen [in: Dur versus Moll – Zur Geschichte der Semantik... more

- by Luigi Collarile
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- Intellectual History, Cultural Studies, Music, Church Music

This volume explores the important role that epistolary exchanges play in the reconstruction of musical and theatrical contexts all over Europe in the early modern age, with particular attention to the century of the Enlightenment. Correspondence often bears witness to the reconstruction of performers’ careers and theatrical venues, and to the transfers of professionals and repertoires, as well as to social themes and production issues. Archival sources, private letters, and official documents are not only rich in precious data and information, but can also provide material for new research perspectives, related both to their methodological implications and to the interpretation of music and theatre in a given time and place, along with raising questions about historical performance practices and their current revival.

- by Cristina Fernandes
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- Cultural History, Musicology, Theatre History, Performance Practice (Music)

Działający na przełomie XVIII i XIX w. Wacław Raszek należy do grona muzyków, o których-mimo zainteresowania ze strony badaczy-wiadomo nader niewiele. Na lakoniczne komunikaty dotyczące Wacława Raszka (czasami określanego jako Raszko, Raszke czy Raschek), ale też Ludwika, Ludwika Wacława, a nawet Antoniego Raszka, natknąć się można m.in. w opracowaniach poświęconych życiu muzycznemu w Gidlach 1 , na Jasnej Górze w Częstochowie 2 czy w kościele pw. św. Benona w Warszawie 3. Niejasności dotyczące właściwie wszystkich podstawowych informacji na temat muzyka, tj. jego imienia, lat życia, ośrodków, w których przebywał, czy przypisywanych mu utworów muzycznych, doprowadziły do licznych nieścisłości, pomyłek i niesprawdzonych hipotez. Przedstawione w poniższym artykule dane faktograficzne mają na celu nie tylko znaczne uporządkowanie, lecz także poszerzenie wiedzy na temat muzyka, który odegrał niebagatelną rolę w życiu muzycznym przełomu XVIII i XIX w. na ziemiach polskich.

- by Jolanta Bujas-Poniatowska and +2
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- Music History, 18th Century Music, Cultural History of Music, 19th Century Music

The antiperiod, which James Webster’s 1991 book, Haydn’s Farewell Symphony and the Idea of Classical Style: Through-Composition and Cyclic Integration in His Instrumental Music, describes as ‘a period whose consequent cadences off the tonic and hence is more “open” than the antecedent’, has received short shrift in the literature. This study seeks to remedy the antiperiod’s relative neglect, proposing that this form-functional type, common ca. 1750 in a variety of designs at many different formal levels, influenced thematic tonal procedures through to at least 1800. The study identifies two basic models: the parallel antiperiod, wherein the two phrases begin alike, and the contrasting antiperiod, where the second phrase develops from opening material or begins with new motivic content. The antiperiod, unlike the standard periodic model, is dynamic and open-ended, much like the sentences and sentence-like hybrids identified in William Caplin’s 1998 book, Classical Form: A Theory of Formal Functions for the Instrumental Music of Haydn, Mozart, and Beethoven. Its harmonic plan, moreover, can expand to encompass larger formal regions (main theme or transition as a presentation phrase, for which the subordinate theme acts as continuation).

- by James S . MacKay
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- Music Theory, 18th Century Music, Sonata form, Sonata Theory

in: Music Migrations in the Early Modern Age: Markets, Patterns, Styles (2015), ed. Vjera Katalinić, Zagreb: Croatian Musicological Society, 2016, 103-117.
Having the emphasis on the presence of the migrant musicians, their adaptation as well as cultural and artistic contribution to environment in which they found temporal or permanent place to live and work, this article provides information about music life in the town of Hvar by examining the role of both domestic and foreign musicans who worked on its cultivation and development during the 17th and 18th century.

- by Maja Milošević Carić
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- Music History, 17th Century Music, 18th Century Music, Island of Hvar

Commissioned in 1722 for the Holy Week services at the Dresden Hofkapelle, Zelenka's Miserere in D minor (ZWV 56) demonstrates virtuosic handling of a wide range of contrapuntal techniques. Zelenka drew upon his deep knowledge of past musical traditions, honed through his earlier studies in Vienna with Fux and his circle, to provide individual sections of the Miserere with systematic explorations of freely imitative, canonic and fugal writing as well as subtle demonstrations of invertible counterpoint, retrograde motion and melodic inversion. The result is a work that offers insight into Zelenka's abilities to exploit the combinative potential of his motivic materials in settings that maintain expressive as well as technical originality. The present study adopts a range of analytical techniques to uncover the inner workings of Zelenka's counterpoint, thereby providing greater understanding of this composer's versatility and accomplishments.

- by Denis Collins
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- Music Theory, Musicology, History of Music Theory, 18th Century Music

This scientific seminar aims to be a forum for researchers interested in studying the music of the Iberian courts in the 18th and 19th centuries. Music is a fundamental aspect of court culture not only in the Old Regime but also in the contemporary era. The relationship between music and constitutional monarchies is a field hitherto unexplored that we also propose to deepen. Performing arts and the representation of power will be the core subject of this year's meeting, but issues related to private practice and the enjoyment of music and dance by members of the royal families, as well as the dissemination of these practices outside the court will also be addressed. Organized by the research group "Historical and Cultural Studies in Music" of the INET-md and the Instituto Complutense de Ciencias Musicales (ICCMU) of the Universidad Complutense de Madrid, this research seminar intends to be a space for the exchange, discussion and critical review of court music from an interdisciplinary perspective that allows to frame it in a broad cultural, artistic, social and political context. After a first edition in Madrid, in October 2018, this second edition was hosted by the Ajuda National Palace (Lisbon).

Vassilis Vavoulis, Music & Letters, Vol. 96, No. 1 (Feb., 2015), pp. 128-130

zusammen mit Karten Mackensen (Ed.). structura & experientia musicae 2; Mainz: Are-Verlag 2011. Contents and Summaries. An edition of two considerable conceptualizations of musicology in the early german enlightenment. The book... more

zusammen mit Karten Mackensen (Ed.). structura & experientia musicae 2; Mainz: Are-Verlag 2011.
Contents and Summaries.
An edition of two considerable conceptualizations of musicology in the early german enlightenment. The book comprises two essays, translation of the latin texts, paratextual documents and critical commentary.

- by Luigi Collarile
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- Cultural History, Cultural Studies, Early Music, Music History

Schweizer Jahrbuch für Musikwissenschaft 30 (2010), pp. 117-161. – In 1675 the monastery of Einsiedeln (Switzerland) acquired by the Jesuits a residence in Bellinzona. This house used until 1852 represents a very important ‘pied-à-terre’ to Italy and especially to Milan. An exceptional cultural transfer occurs along this way with an intense circulation of musical sources. Aim of this study is, on the one hand, to investigate the modalities of circulation of music between Milan and Einsiedeln; on the other, to show how this swiss connection has influenced the selection of Italian music.

- by Luigi Collarile
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- Cultural Studies, Music, Church Music, Music History

On 6 December 2006, students of the Royal Conservatoire of Brussels performed two one-act pasticci arranged by the author of this article: I genia and Ipermestra. Assembled as experiments in the young discipline of artistic research in music, both ‘cut & paste’ operas o ered opportunities to explore issues of music-dramatic syntax in opera seria. In this article, I explain how individual arias and recitatives were combined into two meta-compositions that sometimes respected, and sometimes overrode eighteenth-century generic conventions. By revisiting the scores, libretti, archives and rst-hand memories pertaining to this venture, I will show that ‘pastiching’ (pasticciare) is more than a historical form; it is a transhistorical method, involving a broad network of agencies, operators, and stakeholders whose strategies can be artistic and non-artistic, convergent and divergent. Pastiching does not necessarily result in ‘works’, xed in time and space, but rather produces meta-compositional assemblages, the transience and formal instability of which provide opportunities to showcase neglected repertoire and tackle outdated musical ontologies.

- by Bruno Forment
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- Artistic Research, Artistic Research of Music, 18th Century Music, Opera Seria
- by Agnese Pavanello
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- Musicology, Baroque Music, 17th Century Music, 18th Century Music History

Bilbao: BIDEBARRIETA III Anuario de Humanidades y Ciencias Sociales de Bilbao, 1998

- by Joseba Berrocal
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- Musicology, Feminism, Spain (History), 18th Century Music History

This article considers the reception of Tartini’s music in France, as documented by a series of printed works published in Paris in the mid-eighteenth century, and also by the printed version of Tartini’s lessons (the Traité des agréments) and by the anthology L’Art du violon by Jean-Baptiste Cartier, in which Tartini, with Arcangelo Corelli, is the most frequently represented Italian author. Central to the dissemination of Tartini’s music in France during the eighteenth century was the violinist’s French students, to whom the above publications are connected. But special credit goes to the violinist and composer Pierre Baillot, whose teaching activity at the Conservatory of Paris, founded in the last years of the eighteenth century (resulting in Baillot’s treatises for the violin), conveys Tartini’s teaching and music to the nineteenth century, thus contributing centrally to maintaining the significance and the
memory of the violinist from Pirano."

- by Agnese Pavanello
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- Music History, Musicology, 18th Century Music History, Historical Musicology

Describes the contents of a MS volume housed in the Državni Arhiv Hrvatske in Zagreb, coll. Kuhač, no. 53-II/16, which includes early copies of compositions by Joseph Haydn, Jan Křtitel Vanhal, and Ignaz Pleyel. The anthology, prepared for Juliana Erdődy (born Drašković) in Varaždin and dated 3 April 1772, contains the following Haydn keyboard pieces: theme and variations (Hob. XVII:3), theme with variations and minuets for piano four-hands, (Hob. XVIIa:1), and a sonata (Hob. XVI:27); songs for voice and keyboard: (Hob. XXVIa:10), <Das strickende Mädchen> (Hob. XXVIa:1), (Hob. XXVIa:6), (Hob. XXVIa:8), and (Hob. XXVIa:5). Most of these compositions were copied directly from autographs prior to publication. The collection preserves the earliest known source of several compositions and the most complete example of the variations.

- by Zdravko Blazekovic
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- Haydn, 18th Century Music, Croatian Music, Varaždin
- by Nathalie Hérold
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- Music, Early Music, Music Theory, Musicology

Organisation de la journée d'études « Autour du Trionfo del Tempo e del Disinganno de Haendel (E. Haïm/K. Warlikowski). Paroles d'artistes et de chercheurs », au Théâtre de Caen, le 03 février 2017. Avec le soutien du LASLAR et en... more

- by Anna Al-Araj
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- Mozart, Classical Music, Arvo Pärt, Interviews

В статье обобщаются сведения о музыкальной и литературной деятельности Джованни (Ивана) де Доминичиса, а также впервые целиком публикуется и комментируется написанная им на русском языке биография Джованни Паизиелло (1818) | The article summarizes the available information on the musical and literary activities of Giovanni (Ivan) de Dominicis. For the first time his biography of Giovanni Paisiello written in Russian in 1818 is being published along with our commentaries.

Throughout the 18th century, Luso-Brazilian sacred music was characterized by a significant variety of compositional styles and techniques — from the heritage of stile antico (or “learned style”) to the gradual incorporation of galant trends — that could coexist in the same work or model entire pieces according to the festive character, liturgical context or ceremonial functionality. For the reception of the galant style in the domain of sacred music contributed not only the circulation of musicians and repertoires and the contamination from other genres (such as opera, instrumental music and domestic music), but also the pedagogical practices of the Royal Patriarchal Seminary of Music, in Lisbon. This school, created by king John V in 1713 and specialized in church music, was the gateway to repertoires and teaching methods from the Neapolitan conservatories and other Italian and European musical circles and a centre of transformation and diffusion of this legacy. Based on the survey of music materials that belonged to this institution and are currently in the National Library of Portugal (especially Solfeggi and Partimenti and pieces of liturgical music), as well as on other scores of sacred music composed by students and teachers, this study aims to evaluate the role of the Patriarchal Seminary in the assimilation of composition practices and pedagogical methods associated with galant style. Particular attention will be given to the contribution of Italian composers active in Lisbon who have left strong marks on Portuguese musical life, such as Giovanni Giorgi and David Perez; to Portuguese composers who studied at the Neapolitan conservatories and later became masters of the Patriarchal Seminary, such as João de Sousa Carvalho and Jerónimo Francisco de Lima; and to composers who, having been students of the previous ones, also exerted a valuable pedagogical and creative action (that’s for instance the case of António Leal Moreira, José Joaquim dos Santos or Marcos Portugal, among others). Works by these and other composers also circulated in Brazil, some musicians born in the colony studied in Lisbon and others crossed the Atlantic to occupy professional positions, even before the court's transfer to Rio de Janeiro in 1807. This exchange also allows the establishment of an Atlantic bridge around this research topic.

- by Cristina Fernandes
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- Musical Composition, Music Education, 18th Century Music, Partimenti

Vassilis Vavoulis, Early Music , Vol. 38, No. 2, Performing Bach (May 2010), pp. 308-310

Hasse’s Travels. Alps, Courts and Opera Houses, in Musiker auf Reisen. Beiträge zum Kulturtransfer im 18. und 19. Jahrhundert, hg. Christoph-Hellmut Mahling, Augsburg, Wißner-Verlag, 2011, pp. 23-28