Introduction

2020 ◽  
pp. 1-14
Author(s):  
L. Poundie Burstein
Keyword(s):  
Nineteenth Century ◽  
Eighteenth Century ◽  
Sonata Form ◽  
Musical Form

Musical form is often discussed by appealing to metaphors that compare formal sections either to types of containers or to segments of journeys. Although both metaphors are usually combined and used interchangeably by most music analysts, since the nineteenth century container metaphors for form have tended to dominate. This contrasts with what was witnessed during the eighteenth century, where journey metaphors for musical form were more prevalent. The introductory chapter broadly compares container metaphors and journal metaphors for form, especially as they apply to sonata-form expositions in works composed during the Galant era. This chapter also introduces some of the features that tend to distinguish eighteenth-century formal discussions from modern ones, and it concludes with a preview of some of the strategies to be explored in subsequent chapters.

Journeys Through Galant Expositions

2020 ◽  
Author(s):  
L. Poundie Burstein
Keyword(s):  
Nineteenth Century ◽  
Eighteenth Century ◽  
Vantage Point ◽  
Sonata Form ◽  
Musical Form ◽  
Standard Series ◽  
And Performance

Through much of the eighteenth century, commentators often described musical form in relation to a type of journey leading toward a set of specific tonal/harmonic/melodic/rhythmic goals, punctuated along the path by a standard series of resting points. Partly in reaction to developments witnessed in music composed during the high Classical era onward, since around the nineteenth century descriptions of musical form have tended to combine or even replace these “journey” metaphors with those that rely more heavily on architectonic analogies. When dealing with works composed around the middle of the 1700s, however, there are advantages for viewing musical form as it unfolds, much in the manner described by those who composed, improvised, listened to, and performed at the time. Taking as its focus the part of the movement now known as the exposition, this study analyzes the form of sonata-form works from Galant era by applying concepts and methodologies that stem from the eighteenth century, particularly those proposed by Heinrich Christoph Koch. It argues that analyzing this music through such a vantage point provides a valuable opportunity for understanding its form in a down-to-earth manner that can directly inform practical aspects of listening and performance.

Introduction

2012 ◽  
pp. 1-12
Author(s):  
Shaul Stampfer
Keyword(s):  
Nineteenth Century ◽  
Eighteenth Century ◽  
Eastern Europe ◽  
First World War ◽  
World War ◽  
Jewish Settlement ◽  
The First World War ◽  
Separate Identity ◽  
First World

This introductory chapter describes the unique aspects of the yeshivas of nineteenth-century Lithuania. These yeshivas represented a major attempt on the part of traditional Jewry to cope with the challenges of modernity. The Jews of nineteenth-century Lithuania thus defined had several distinguishing characteristics. In religious terms, most were traditional, in the sense that they had withstood the innovations of hasidism; in fact, the strength of the opposition to that movement in Lithuania was such that they came collectively to be known as mitnagedim (opponents) — that is, opponents of hasidism. Economically, they were mostly poorer than Jews in other major areas of Jewish settlement, such as Poland or Bukovina, and lived in more crowded conditions. Until 1764, they benefited from self-government under the Va'ad Medinat Lita (Council of the Land of Lithuania). By the beginning of the eighteenth century this body had ceased to function, but the distinction between the Jews of Lithuania and those of the neighbouring regions continued to exist — not least because the Lithuanian Jews spoke a distinctive dialect of Yiddish. These and other factors ensured that they continued to maintain a separate identity among the Jews of eastern Europe until the First World War.

scholarly journals Introduction

2021 ◽  
pp. 1-18
Author(s):  
Ozan Ozavci
Keyword(s):  
Nineteenth Century ◽  
Eighteenth Century ◽  
Great Powers ◽  
The Self ◽  
Great Power ◽  
Late Eighteenth ◽  
Eastern Question ◽  
Local Actors ◽  
Eighteenth And Nineteenth Centuries

The Introductory chapter discusses the overarching question of the book: how did it all begin? Since when did the self-defined Great Powers of the nineteenth century––Austria, Britain, France, Prussia, and Russia––come to assume responsibility for providing security in the Levant. Why? The Introduction traces the answer of these questions to the late eighteenth and nineteenth centuries, and maintains that Great Power interventions in the nineteenth-century Levant need to be considered not only in reference to their immediate causes, theatres, and implications. It is essential to take into account the continuity that European and Levantine actors saw in regional affairs from the late eighteenth century through until at least the mid-nineteenth. There is a need to foreground the persistent patterns or cultures of security within which violence was generated and sustained, and how the quest for security acted as an organizing principle of international relations. It also discusses the importance of considering these interventions in the fabric of the Eastern Question. It invites the readers to view the latter not only as a European question, as the existing literature has us believe, but also as an Ottoman question, whereby the agency of the Ottoman ministers and other local actors was more central than has been documented.

Other Eighteenth-Century Approaches to Expositions

2020 ◽  
pp. 91-104
Author(s):  
L. Poundie Burstein
Keyword(s):  
Eighteenth Century ◽  
Sonata Form ◽  
Theoretic Approach ◽  
Musical Form

Toward the end of the eighteenth century, some music commentators—including Francesco Galeazzi, A. C. F. Kollmann, and Franz Christoph Neubauer—reacted to recent stylistic trends in their discussion of music form. Accordingly, their writings placed greater emphasis on cadences (as opposed to resting points of various types), implied sections, and thematic character as vital elements for understanding musical form, thereby serving as harbingers for later discussions of musical form. Even so, their observations and descriptions of the section that modern terminology labels as the sonata-form exposition—as well as the works they choose as exemplars of the form—suggest a theoretic approach that differs in some telling ways from what is typical in modern accounts of sonata form.

Introduction

2013 ◽  
pp. 1-2
Author(s):  
Antony Polonsky
Keyword(s):  
Nineteenth Century ◽  
Eighteenth Century ◽  
Jewish Community ◽  
Jewish Population ◽  
Late Nineteenth Century ◽  
Secular Culture ◽  
Late Eighteenth Century ◽  
Late Eighteenth ◽  
Late Nineteenth

This introductory chapter provides an overview of the Jewish population of Poland–Lithuania. During the years of its flourishing, it gave rise to a unique religious and secular culture in Hebrew and Yiddish and enjoyed an unprecedented degree of self-government. Even after the upheavals which marked the beginning of the downfall of the Polish–Lithuanian Commonwealth, the Jewish community continued to grow and even to recover some of its vitality. In the late eighteenth century these lands saw the birth and development of hasidism, an innovative revivalist movement, which was eventually to win the allegiance of a large proportion of the Jewish population and which remains very much alive in the Jewish world today. The partitions of Poland at the end of the eighteenth century and again in 1815 divided Polish Jewry between the tsarist, Habsburg, and Prussian states. In all these areas, and particularly in the Pale of Settlement, the late nineteenth century saw the appearance and increasing ascendancy of ethnic and national conceptions of Jewish self-identification, in particular Zionism and Jewish autonomism.

The First Movement of Mahler’s Tenth Symphony and the “Burden” of Romantic Form

2019 ◽  
Vol 41 (2) ◽  
pp. 323-340
Author(s):  
Eric Hogrefe
Keyword(s):  
Twentieth Century ◽  
Eighteenth Century ◽  
Sonata Form ◽  
Musical Form ◽  
Classical Form ◽  
Hayden White ◽  
Metaphor And Metonymy

AbstractStudies of post-Classical form must inevitably contend with the issue of how eighteenth-century practices retain relevance in later repertory. This article offers a framework for considering musical form and historical distance around the beginning of the twentieth century. Following historian Hayden White, I analyze the first movement of Mahler’s Tenth Symphony as an example of formal troping. Mahler’s movement is shown to enact a conflict between metaphor and metonymy in its treatment of Adagio practice and sonata form. In portraying Mahler’s form tropologically, this article emphasizes the role of historical distance within Mahler’s formal imagination.

scholarly journals Possible implementation of Heinrich Christoph Koch’s analytical terminology in contemporary analytical practice

Muzikologija ◽  
2018 ◽  
pp. 159-177
Author(s):  
Jasna Veljanovic
Keyword(s):  
Eighteenth Century ◽  
Music Theory ◽  
Scientific Work ◽  
Sonata Form ◽  
Musical Form ◽  
Introductory Essay ◽  
Analytical Practice

This paper aims to interpret two capital works of Heinrich Christoph Koch, the most important theorist of the eighteenth century: Musical Lexicon (Musikalisches Lexikon) and Introductory Essay on Composition (Versuch einer Anleitung zur Composition) in three volumes, from the viewpoint of his analytical terminology. For better understanding of the piece, and bearing in mind that his Introductory Essay is a textbook, and therefore has a pedagogical nature, his view on the composer?s relation with his work is discussed, and with it, creating a piece based on three parameters: conception, realization and elaboration, as well as the concepts of feeling, genius, fervour, impression and taste. Koch?s relationship to the work from the viewpoint of the analysis of musical form and its dissection is considered. Some concepts, which have always been used in the analysis of form, whose meaning is understood by default, are explained: character, genre, style. This paper arises from the necessity of re-examining Koch?s analytical terminology and to introduce it into today?s analytical practice, especially for the better understanding of music of the baroque and classical periods and its more logical explication. Special emphasis has been given to sonata form, which is necessary to be seen in a different way, in accordance with the stylistic period in which it was created. Koch?s music theory is completely neglected in the textbook literature and therefore the contribution of this scientific work is twofold: the analysis of Koch?s postulates as well as an attempt to implement them in todays? practice.

Historical Fragments’ Mobile Echo

Transfers ◽  
2017 ◽  
Vol 7 (2) ◽  
pp. 115-119 ◽  
Author(s):  
Susan E. Bell ◽  
Kathy Davis
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Eighteenth Century ◽  
Cultural Revolution ◽  
Ming Dynasty ◽  
Third Century ◽  
Refugee Crisis ◽  
The Third ◽  
Opium War ◽  
The Subject

Translocation – Transformation is an ambitious contribution to the subject of mobility. Materially, it interlinks seemingly disparate objects into a surprisingly unified exhibition on mobile histories and heritages: twelve bronze zodiac heads, silk and bamboo creatures, worn life vests, pressed Pu-erh tea, thousands of broken antique teapot spouts, and an ancestral wooden temple from the Ming dynasty (1368–1644) used by a tea-trading family. Historically and politically, the exhibition engages Chinese stories from the third century BCE, empires in eighteenth-century Austria and China, the Second Opium War in the nineteenth century, the Chinese Cultural Revolution of the mid-twentieth century, and today’s global refugee crisis.

Living Same-Name Siblings and British Historical Demography

2011 ◽  
pp. 15-36 ◽  
Author(s):  
Chris Galley ◽  
Eilidh Garrett ◽  
Ros Davies ◽  
Alice Reid
Keyword(s):  
Nineteenth Century ◽  
Eighteenth Century ◽  
Historical Demography ◽  
Vital Registration ◽  
Regional Variations ◽  
Quantitative Evidence ◽  
Registration Data ◽  
Vital Registration Data ◽  
The Rich ◽  
Isle Of Skye

This article examines the extent to which living siblings were given identical first names. Whilst the practice of sibling name-sharing appeared to have died out in England during the eighteenth century, in northern Scotland it persisted at least until the end of the nineteenth century. Previously it has not been possible to provide quantitative evidence of this phenomenon, but an analysis of the rich census and vital registration data for the Isle of Skye reveals that this practice was widespread, with over a third of eligible families recording same-name siblings. Our results suggest that further research should focus on regional variations in sibling name-sharing and the extent to which this northern pattern occurred in other parts of Britain.

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