Pub Date : 2023-08-25DOI: 10.1017/s1478570623000180
W. Dean Sutcliffe
Sonate per Clavicembalo, volumes 9 and 10 Domenico Scarlatti (1685–1757), ed. †Emilia Fadini and Marco Moiraghi Milan: Ricordi, 2016 and 2021 Volume 9, pp. xv + 282, ISBN 978 8 875 92984 8 Volume 10, pp. lv + 219, ISBN 978 8 881 92003 7 - Volume 20 Issue 2
Domenico Scarlatti (1685-1757), ed. †Emilia Fadini and Marco Moiraghi Milan: Ricordi, 2016 and 2021 Volume 9, pp.
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Pub Date : 2023-08-25DOI: 10.1017/S1478570623000040
Tyler Bickford
Childhood is new. While every society certainly organizes itself in some form or another around age, the particular values that contemporary European and North American societies place on childhood and children are relatively recent and idiosyncratic. These include the valorization of childhood innocence (which might as easily be called naivety or even ignorance); the association of children with nature, in the sense both of animals and of essences; the expectation that children are vulnerable and must be sheltered, not only from work but also from participation in public life more generally; and the naturalization of expectations about ‘normal’ and universal trajectories of human development that have adult rationality as their end-point. In fact, as scholars in the maturing field of childhood studies often argue, the intensification of ideological and cultural investments in children and childhood was and is a defining feature of modernity. Since the early 1990s, such scholars – primarily in history, sociology, anthropology and literature – have traced how ideas about children and childhood developed in fields ranging from politics, law, philosophy and science to literature. The study of music and childhood has developed over a similar period in fits and starts, initially through the work of music-education scholars adopting ethnomusicological perspectives and then through individual efforts by music historians and ethnomusicologists, who have slowly sought each other out and begun to consolidate a subfield. I give this background because Adeline Mueller’s new book, Mozart and the Mediation of Childhood, marks a major milestone. It makes a compelling case for the centrality of music to the historical study of childhood, and it shows clearly how rethinking familiar music history through the lens of childhood can reveal striking new insights. Mueller demonstrates that music was not simply one more domain that was swept along by the social, political and ideological revolutions at the turn of the nineteenth century, but in fact that music was at the centre of the emergence of what we now recognize as the concept of the modern child. Mozart and the Mediation of Childhood is a nuanced, rigorous and thoughtful exploration of a broad range of fields in which Mozart – as a public figure and as an individual actor – was central to specific pivotal transformations in the European understanding of children and childhood. Mueller makes this case very effectively in her first chapter, which argues that modern childhood was understood very early on as a public identity, forged in and through the circulation of texts. This is an important claim, in part because modern ideologies of the public sphere emphasized rationality and the sublimation of individual particularity into the abstractions of textual circulation – qualities that were quite explicitly associated with maturity and adulthood (in addition, of course, to racial and gender hierarchies). So while M
{"title":"Mozart and the Mediation of Childhood Adeline Mueller Chicago: University of Chicago Press, 2021 pp. xiii + 287, ISBN 978 0 226 62966 7","authors":"Tyler Bickford","doi":"10.1017/S1478570623000040","DOIUrl":"https://doi.org/10.1017/S1478570623000040","url":null,"abstract":"Childhood is new. While every society certainly organizes itself in some form or another around age, the particular values that contemporary European and North American societies place on childhood and children are relatively recent and idiosyncratic. These include the valorization of childhood innocence (which might as easily be called naivety or even ignorance); the association of children with nature, in the sense both of animals and of essences; the expectation that children are vulnerable and must be sheltered, not only from work but also from participation in public life more generally; and the naturalization of expectations about ‘normal’ and universal trajectories of human development that have adult rationality as their end-point. In fact, as scholars in the maturing field of childhood studies often argue, the intensification of ideological and cultural investments in children and childhood was and is a defining feature of modernity. Since the early 1990s, such scholars – primarily in history, sociology, anthropology and literature – have traced how ideas about children and childhood developed in fields ranging from politics, law, philosophy and science to literature. The study of music and childhood has developed over a similar period in fits and starts, initially through the work of music-education scholars adopting ethnomusicological perspectives and then through individual efforts by music historians and ethnomusicologists, who have slowly sought each other out and begun to consolidate a subfield. I give this background because Adeline Mueller’s new book, Mozart and the Mediation of Childhood, marks a major milestone. It makes a compelling case for the centrality of music to the historical study of childhood, and it shows clearly how rethinking familiar music history through the lens of childhood can reveal striking new insights. Mueller demonstrates that music was not simply one more domain that was swept along by the social, political and ideological revolutions at the turn of the nineteenth century, but in fact that music was at the centre of the emergence of what we now recognize as the concept of the modern child. Mozart and the Mediation of Childhood is a nuanced, rigorous and thoughtful exploration of a broad range of fields in which Mozart – as a public figure and as an individual actor – was central to specific pivotal transformations in the European understanding of children and childhood. Mueller makes this case very effectively in her first chapter, which argues that modern childhood was understood very early on as a public identity, forged in and through the circulation of texts. This is an important claim, in part because modern ideologies of the public sphere emphasized rationality and the sublimation of individual particularity into the abstractions of textual circulation – qualities that were quite explicitly associated with maturity and adulthood (in addition, of course, to racial and gender hierarchies). So while M","PeriodicalId":11521,"journal":{"name":"Eighteenth Century Music","volume":"18 1","pages":"191 - 193"},"PeriodicalIF":0.1,"publicationDate":"2023-08-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77518702","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-08-25DOI: 10.1017/S1478570623000167
Ana Sánchez-Rojo
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Pub Date : 2023-08-25DOI: 10.1017/s1478570623000234
{"title":"ECM volume 20 issue 2 Cover and Front matter","authors":"","doi":"10.1017/s1478570623000234","DOIUrl":"https://doi.org/10.1017/s1478570623000234","url":null,"abstract":"","PeriodicalId":11521,"journal":{"name":"Eighteenth Century Music","volume":"6 1","pages":"f1 - f4"},"PeriodicalIF":0.1,"publicationDate":"2023-08-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72927718","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-08-25DOI: 10.1017/s1478570623000222
An abstract is not available for this content. As you have access to this content, full HTML content is provided on this page. A PDF of this content is also available in through the ‘Save PDF’ action button.
{"title":"Notes on Contributors","authors":"","doi":"10.1017/s1478570623000222","DOIUrl":"https://doi.org/10.1017/s1478570623000222","url":null,"abstract":"An abstract is not available for this content. As you have access to this content, full HTML content is provided on this page. A PDF of this content is also available in through the ‘Save PDF’ action button.","PeriodicalId":11521,"journal":{"name":"Eighteenth Century Music","volume":"69 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-08-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135285806","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-08-25DOI: 10.1017/S1478570623000052
Teresa Cascudo
Writing about the history of music in Spain involves a peculiar exercise that some more radical anthropologists might term acculturation. This concept, which broadly refers to the substitution of one culture for another, could be used to characterize the process of arrival and initial diffusion in Spain of what we now call ‘ classical music ’ . Proof that it was felt as a threat to Spanish culture is the journalistic polemic within which, at the end of the eighteenth century, the expression ‘ national music ’ was used for the first time. The controversial repertories were Italian opera and the music of Haydn, both of which delighted some of the country ’ s elite groups (see Teresa Cascudo, ‘ Territory is the Key: A Look at the Birth of “ National Music ” in Spain (1799 – 1803) ’ , in Confronting the National in the Musical Past , ed. Elaine Kelly, Markus Mantere and Derek Scott (London: Routledge, 2018), 196 – 207). The adoption by the elite of the musical practices associated with these repertories, and particularly in the case of the string quartet, has been considered as part of a much more comprehensive ‘ civilizing ’ process, to use the expression of Norbert Elias (see Carolina Queipo, ‘ Prácticas musicales y procesos de civilización de la élite financiera y comercial en la España de Fernando VII: el caso de A Coruña ’ , in Procesos de civilización: culturas de élites, culturas populares. Una historia de contrastes y tensiones (siglos XVII – XIX) , ed. José María Imizcoz Beunza, Máximo García Fernández and Javier Esteban Ochoa de Eribe (Bilbao: Universidad del País Vasco, 2019), 191 – 212). The debate that the ‘ Classics Off-Centre ’ conference attempted to stimulate was situated at the intersection
写西班牙音乐史涉及到一种特殊的练习，一些更激进的人类学家可能称之为文化适应。这个概念广义上指的是一种文化对另一种文化的替代，可以用来描述我们现在所说的“古典音乐”在西班牙到达和最初传播的过程。它被认为是对西班牙文化的威胁的证据是，在18世纪末的新闻论战中，“民族音乐”这个词第一次被使用。有争议的剧目是意大利歌剧和海顿的音乐，这两者都让该国的一些精英团体感到高兴(见Teresa Cascudo，“领土是关键:看看西班牙“民族音乐”的诞生(1799 - 1803)”，在面对音乐过去的民族，伊莱恩凯利，马库斯曼特雷和德里克斯科特(伦敦:劳特利奇，2018)，196 - 207)。采用的精英音乐实践与这些剧目,尤其是弦乐四重奏的情况下,被认为是更全面的“文明”的过程中,使用诺伯特·伊莱亚斯的表达(见卡Queipo,“Practicas音乐拥有proceso de civilizacion de la精英financiera y en la西班牙de费尔南多七:埃尔卡索de后防线,”,在proceso civilizacion:文化精英,文化民众。《紧张对比的历史》(siglos XVII - XIX)， jos María Imizcoz Beunza, Máximo García Fernández和Javier Esteban Ochoa de Eribe主编(毕尔巴鄂:País瓦斯科大学，2019)，191 - 212)。“经典偏离中心”会议试图激发的辩论就在这个交叉点上
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Pub Date : 2023-08-25DOI: 10.1017/S1478570623000210
Gesa zur Nieden, Berthold Over
Music manuscripts and prints from the eighteenth century have increasingly been regarded by scholars of early-modern music historiography as integral components not only of musical performances, but also of music-based sociability and various forms of exchange and reception. Two historical figures who relate to all of these issues are the London publishers John Walsh (1665/1666– 1736) and his son of the same name (1709–1766), who printed and distributed dances, instrumental pieces, selected arias and entire aria corpuses from operas and oratorios between 1694 and 1766. Research on their prints has so far taken place largely in Britain, and has focused for the most part on George Frideric Handel and on printing techniques. The conference ‘Walsh in Europe and Beyond’, held at the Alfried Krupp Wissenschaftskolleg Greifswald and at the Universität Greifswald, extended this field through a systematic investigation of European and international sheet-music collections, their provenance and the traces of their use. Its aim was to uncover Europe-wide and global distribution channels, user groups and the aesthetic or political functions of eighteenth-century music. The papers presented over the two and a half days were mainly grouped into regional areas. In our introduction, we (Gesa zur Nieden (Universität Greifswald) and Berthold Over (Universität Greifswald)) pointed to several points of departure when investigating the distribution and function of Walsh’s prints in Europe. The presence of these publications in the British Isles and Continental Europe offers many hints: frequent maritime trade facilitated the shipping of these prints, while individuals and diplomatic networks functioned as intermediaries and conduits for transmission. The uses of the Walsh prints are difficult to define with certainty; they seem to flow between categories of material for domestic music-making and objects for remembering performances, promoting celebrity and sharing in contemporaneous discourses about opera. In his keynote address ‘Cultural Transfer in Music in the Age of Enlightenment: Methodology and Research Questions’Martin Eybl (Universität für Musik und darstellende Kunst Wien), starting with Gottfried van Swieten’s order for English prints, painted a cultural-historical picture that linked dissemination to the concepts of influence, cultural transfer, reception and mobility/migration, as well as discourses on translation studies and histoire croisée. He identified several aspects and agents related to the distribution of music: the buying public, cultural localization, mediators of musical material (arrangers, compilers) and limitations (such as regions not using Roman typeface, as in the case of Russia). In his paper ‘The Music Editions of John Walsh Junior and His Successors: Working Practices, Publishing Strategies and Reception’, Donald Burrows (The Open University, Milton Keynes) offered a comprehensive insight into Walsh’s operating principles and policies
18世纪的音乐手稿和版画越来越多地被早期现代音乐史学学者视为不可或缺的组成部分，不仅是音乐表演，而且是基于音乐的社交和各种形式的交流和接受。与所有这些问题相关的两个历史人物是伦敦出版商约翰·沃尔什(1665/1666 - 1736)和他的同名儿子(1709-1766)，他们在1694年至1766年间印刷并发行了歌剧和清唱剧中的舞蹈、器乐作品、精选咏叹调和整个咏叹调文集。到目前为止，对他们版画的研究主要集中在英国，主要集中在乔治·弗里德里希·亨德尔和印刷技术上。在Alfried Krupp Wissenschaftskolleg Greifswald和Universität Greifswald举行的“沃尔什在欧洲及其他地区”会议，通过对欧洲和国际乐谱收藏、它们的来源和使用痕迹的系统调查，扩展了这一领域。其目的是揭示18世纪音乐在欧洲和全球范围内的分销渠道、用户群体以及美学或政治功能。在两天半的时间里，提交的论文主要按地区分组。在我们的介绍中，我们(geesa zur Nieden (Universität Greifswald)和Berthold Over (Universität Greifswald))在调查沃尔什版画在欧洲的分布和功能时指出了几个出发点。这些出版物在不列颠群岛和欧洲大陆的存在提供了许多线索:频繁的海上贸易促进了这些印刷品的运输，而个人和外交网络则充当了传播的中介和渠道。沃尔什指纹的用途很难确定;它们似乎在两种类别之间流动，一种是国内音乐创作的材料，另一种是纪念演出、宣传名人和分享当代关于歌剧的话语的物品。martin Eybl (Universität f r Musik und darstellende Kunst Wien)在他的主题演讲“启蒙时代音乐中的文化转移:方法论和研究问题”中，从Gottfried van sweeten的英文印刷顺序开始，描绘了一幅文化历史图景，将传播与影响、文化转移、接受和流动/迁移等概念联系起来，以及翻译研究和历史交叉交叉。他确定了与音乐发行相关的几个方面和代理人:购买公众、文化本地化、音乐材料的中介(编曲者、编译者)和限制(如不使用罗马字体的地区，如俄罗斯)。在他的论文《小约翰·沃尔什及其继任者的音乐版本:工作实践，出版策略和接受》中，唐纳德·巴罗斯(米尔顿凯恩斯开放大学)对沃尔什的操作原则和政策提供了全面的见解。年轻的
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Pub Date : 2023-08-25DOI: 10.1017/s1478570623000106
B. Ife
‘Texting Scarlatti: Composition, Reception, Performance’ is a two-year research project funded by the Leverhulme Trust (reference number RPG-2022-338), with additional support from the Research England Participatory Research Fund. Although the project is based at the Guildhall School in London, the project team is multi-disciplinary and international: Luisa Morales (Festival Internacional de Música de Tecla Española, Spain), Marco Moiraghi (Italy), Jérémie Lumbroso (USA), Jasper van der Klis (Netherlands) and Barry Ife (UK). A further substantial group of up to fifty volunteer ‘citizen scientists’ is assisting our work. The project is undertaking the first comprehensive and systematic study of all surviving eighteenth-century manuscript and printed copies of Scarlatti’s keyboard sonatas. The words ‘comprehensive’ and ‘systematic’ are crucial to the project’s ambitions in terms of scope and methodology:
“斯卡拉蒂短信:作曲、接收、表现”是一个为期两年的研究项目，由Leverhulme信托基金(参考编号RPG-2022-338)资助，并得到英国研究参与研究基金的额外支持。虽然这个项目是在伦敦的市政厅学校进行的，但项目团队是多学科和国际的:Luisa Morales(西班牙的Festival Internacional de Música de Tecla Española)， Marco Moiraghi(意大利)，jsamrsammie Lumbroso(美国)，Jasper van der Klis(荷兰)和Barry Ife(英国)。另外一个由多达50名志愿“公民科学家”组成的庞大团体正在协助我们的工作。该项目正在对所有现存的18世纪斯卡拉蒂键盘奏鸣曲的手稿和印刷副本进行第一次全面和系统的研究。“全面”和“系统”这两个词对于项目的范围和方法来说是至关重要的:
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Pub Date : 2023-08-25DOI: 10.1017/S1478570623000179
Kim Sauberlich
Authority emanates from Roger Mathew Grant ’ s Peculiar Attunements: How Affect Theory Turned Musical . From the back cover, readers learn that the monograph has garnered praise from leading literary critic Sianne Ngai and that Carolyn Abbate refers to it as a ‘ tour-de-force ’ . In the course of four chapters on operatic and instrumental music, Peculiar Attunements traces a central transformation in musical aesthetics, all while claiming to provide a new history of affect that places music at the centre of its discussion. First, Grant shows how early-modern and eighteenth-century music critics replaced the doctrine of mimesis – in which artworks produce human affects by imitating worldly things – with a concept that privileged an understanding of the individual body ’ s capacity to apprehend indeterminate reverberations. This is what Grant calls the notion of attunement. Second, the book discusses the persistence of eighteenth-century modes of musical attunement in affect theory today. Grant thus formulates his thesis as a critique, one that traces ‘ the structure of events in intellectual history that created these parallel historical turns away from representation and toward affect ’ (23). A self-avowed work of intellectual history, Peculiar Attunements surveys a combination of sources in aesthetic theory, canonical and otherwise
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