Pub Date : 2022-08-04DOI: 10.1017/S1478570622000173
Qingfan Jiang
Abstract This article offers a fresh perspective on the study of the eighteenth-century musical dialogue between China and France, not as an episode of exotic encounter but as an intellectual movement that profoundly shaped how scholars conceived of music and the study of its theories within an increasingly integrated world. Taking Jean-Philippe Rameau's and Jean-Jacques Rousseau's explorations into the origins of music as an example, I foreground the importance of Chinese music in the formation of their influential concepts of the corps sonore and of the unity of music and language respectively. While these two thinkers made two opposing claims about the origins of music, both used Chinese music as key evidence to support their arguments. Moreover, certain Jesuit missionaries, particularly Jean-Joseph-Marie Amiot, played a crucial role in the global transmission of musical knowledge that enabled French thinkers like Rameau and Rousseau to incorporate music beyond Western Europe. Ultimately, this article reverses the Eurocentric narrative that tends to trace the influence of ‘Western music’ on other parts of the world by showing how Chinese music exerted a major impact on musical debates in France. Situating the study of eighteenth-century music in a global context, I demonstrate what we commonly recognize as ‘Western music theory’ was shaped by knowledge from the East.
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Pub Date : 2022-08-04DOI: 10.1017/S1478570622000045
M. Talbot
Abstract In his own time Diogenio Bigaglia (1678–1745) was viewed as the equal of Venice's three great amateur musicians active during the first half of the eighteenth century (Tomaso Albinoni, Alessandro Marcello and Benedetto Marcello), but he is largely forgotten today. Part of the reason is the secluded, uneventful life he led as a Benedictine monk at the abbey of San Giorgio Maggiore. This article analyses an impressive early work: a twelve-movement Dixit Dominus probably composed between 1700 and 1710. This work occupies the borderland between late seventeenth-century musical practice and the more progressive musical forms, styles and techniques introduced in the early eighteenth century. It survives in a late eighteenth-century copy by the Venetian copisteria of Giuseppe Baldan that probably passed via Domenico Dragonetti to Vincent Novello, who donated it to the British Museum in 1843. The music contains many attractive features, including an imaginative use of the instruments and dextrous counterpoint, pointing the way forward to the choral masterpieces of Bigaglia's maturity.
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Pub Date : 2022-08-04DOI: 10.1017/S1478570622000148
Szymon Paczkowski
[...]numbers could be moved from one opera to another with no detriment to the latter work's dramatic structure, so long as they still reflected the emotions expressed by the original. Initially planned as an in situ event, the Covid-19 pandemic meant that it took place online, which – despite the lack of human contact – helped boost the number of observers and the reception of the event among opera and theatre scholars. Berthold Over (Universität Greifswald), in his paper ‘The Art of Cooking a Pasticcio: Musical Recipes and Ingredients for Pasticcio Operas’, employed culinary analogies to explain the concept of ‘unity in diversity’ that was typical of this genre. Barbara Wiermann (Sächsische Landesbibliothek – Staats- und Universitätsbibliothek, Dresden), in ‘Source Studies – Authority Data – Digital Musicology’, highlighted the fluid concept of the work in the pasticcio genre and also the diversity of the relevant sources, which today results in numerous problems with standardizing data.
[…[8]个数字可以从一部歌剧搬到另一部歌剧，而不会损害后一部作品的戏剧结构，只要它们仍然反映了原作品所表达的情感。最初计划为现场活动，但新冠肺炎大流行意味着它在网上进行，尽管缺乏人际接触，但这有助于增加观察员人数，并在歌剧和戏剧学者中受到欢迎。Berthold Over (Universität Greifswald)在他的论文《烹饪杂烩歌剧的艺术:杂烩歌剧的音乐食谱和配料》中，用烹饪类比来解释这一流派典型的“多样性中的统一”概念。Barbara Wiermann (Sächsische Landesbibliothek - Staats- und Universitätsbibliothek, Dresden)在“来源研究-权威数据-数字音乐学”中强调了pasticcio流派中工作的流动概念以及相关来源的多样性，这在今天导致了许多标准化数据的问题。
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Pub Date : 2022-08-04DOI: 10.1017/S1478570622000057
R. Geoffroy-Schwinden
Music, Pantomime & Freedom in Enlightenment France follows the trajectory of pantomime from the commedia dell ’ arte tradition on Parisian foire stages to its integration into the reform operas of Christoph Willibald Gluck and Antonio Salieri. The status of pantomime rose from the 1730s to the 1750s, particularly through Jean-Jacques Rousseau ’ s Le devin du village (1752 – 1754), and it came to be accepted as a more articulate form of gesture than ‘ decorative ’ dance ( la belle danse ). At times, it was even believed to communicate more effectively than language. As the demand for operatic veri-similitude grew through the 1770s, Gluck drew on both pantomime and pantomime-inspired musical gestures to propel dramatic action forward. By the 1780s, Salieri was using gesture and motion within music not only to articulate conflicting or unspoken thoughts, as Gluck had done, but also to dramatize inaction. Hedy Law emphasizes that pantomime falls within a genealogy of dance as well as an archaeology of communication: through a comprehensive study of pantomime in Paris, she narrates how the significance of physical and musical gesture was honed and refined over the course of the eighteenth century.
《法国启蒙时期的音乐、哑剧与自由》遵循了哑剧的发展轨迹，从巴黎早期的艺术喜剧传统到与克里斯托夫·威廉德·格鲁克和安东尼奥·萨列里的改革歌剧相融合。哑剧的地位从1730年代到1750年代上升，特别是通过让-雅克卢梭的Le devin du village(1752 - 1754)，它开始被接受为一种比“装饰”舞蹈(la belle danse)更清晰的姿态形式。有时，它甚至被认为比语言更有效地交流。随着18世纪70年代对歌剧真实性的需求不断增长，格拉克利用哑剧和受哑剧启发的音乐手势来推动戏剧动作的发展。到18世纪80年代，萨列里在音乐中使用手势和动作，不仅像格拉克那样表达冲突或未说出来的想法，而且还戏剧化了不作为。海蒂·劳强调哑剧属于舞蹈谱系，也属于交流考古学:通过对巴黎哑剧的全面研究，她讲述了肢体和音乐手势的重要性是如何在十八世纪的过程中得到磨练和完善的。
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Pub Date : 2022-08-04DOI: 10.1017/s147857062200001x
A. Woolley
The 2021 Handel Institute Conference went ahead as an in-person event despite continuing diffi-culties for international travel. Some speakers had to withdraw very late in the day, to be replaced by members of the Institute ’ s council, who gave papers that either had been presented at other recent events or had had to be withdrawn. A small conference in plenary sessions grouping papers into pairs in generous slots of forty minutes each – making for a very welcome convivial atmosphere – it was a triumph in the circumstances. This year ’ s theme, Interactions and Influences, was prompted by the anniversary of Royal Academy opera Muzio Scevola (1721), composed jointly by Amadei, Bononcini and Handel. In the end, only five of the sixteen papers addressed it directly. Nevertheless, many of them, presented by emerging and established scholars based in the UK, Europe and the US, were of extremely high quality. The stimulating tone was set from the beginning by a refreshing and imaginative harpsichord recital by Bridget Cunningham after an evening reception at the Foundling Museum. It interspersed selected movements from Handel ’ s ground-breaking 1720 Suites de Pieces with little-performed contemporary arrangements of arias from Muzio Scevola and Floridante . Fittingly enough, the first paper the following morning, my Woolley, Nova was concerned with the keyboard music Handel composed before his Italian period. I proposed on the basis of the ritornello-like structures in some these pieces that Handel perhaps the first German composer to explore the Italian instrumental-concerto style and that through it he developed skills as a virtuoso keyboard player. This presentation was paired with a wide-ranging paper North Texas) on the eighteenth-century reception of Handel ’ s Water Music and Music for the Royal Fireworks . the role of these suites in framing the monarchy ’ s public image and highlighted their historical significance, they heard in concert-like settings that, for
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Pub Date : 2022-08-04DOI: 10.1017/s1478570622000033
W. D. Sutcliffe
{"title":"Cayetano Brunetti: Complete Oboe Sextets Gaetano (Cayetano) Brunetti (1744–1798) Il Maniatico Ensemble / Robert Silla (oboe) IBS Classical IBS92021; two discs, 130 minutes","authors":"W. D. Sutcliffe","doi":"10.1017/s1478570622000033","DOIUrl":"https://doi.org/10.1017/s1478570622000033","url":null,"abstract":"","PeriodicalId":11521,"journal":{"name":"Eighteenth Century Music","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-08-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78205229","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 : 2022-08-04DOI: 10.1017/s147857062200015x
Rupert Ridgewell
Of particular note was a leaf of Beethoven's transcriptions from the poetry of Herder alongside his own personal reflections on the power of nature, written first in pencil – apparently outdoors – before being inked over (Zweig MS 15). Visitors could place their elbows on a wooden panel and clasp their hands over their ears, allowing the vibrations created by the music to be conveyed from the panel via bones in the elbow and upper arm to the inner ear, thus bypassing the ear canal. Franz Xaver Stöber's engraving of Beethoven's funeral procession provided a striking visual representation of the unprecedented scale of and public interest in the event.
{"title":"Beethoven Exhibition at the British Library","authors":"Rupert Ridgewell","doi":"10.1017/s147857062200015x","DOIUrl":"https://doi.org/10.1017/s147857062200015x","url":null,"abstract":"Of particular note was a leaf of Beethoven's transcriptions from the poetry of Herder alongside his own personal reflections on the power of nature, written first in pencil – apparently outdoors – before being inked over (Zweig MS 15). Visitors could place their elbows on a wooden panel and clasp their hands over their ears, allowing the vibrations created by the music to be conveyed from the panel via bones in the elbow and upper arm to the inner ear, thus bypassing the ear canal. Franz Xaver Stöber's engraving of Beethoven's funeral procession provided a striking visual representation of the unprecedented scale of and public interest in the event.","PeriodicalId":11521,"journal":{"name":"Eighteenth Century Music","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-08-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77168209","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 : 2022-08-04DOI: 10.1017/S1478570622000124
Ewald Demeyere
Abstract It is now well established that stock voice-leading patterns were an essential component of eighteenth-century compositional and improvisational practices both in Italy and abroad. In this article I focus on one of those patterns, which, as far as I am aware, remains unscrutinized: a dominant pedal point in the bass with a paradigmatic upper voice that descends chromatically from scale steps 5 to 2. In the first two sections, I deal with this pattern successively in eighteenth-century music pedagogy, with special emphasis on the teaching of the Neapolitan maestro Fedele Fenaroli, and in actual galant repertory, thereby exploring both its voice-leading and its syntactic possibilities. In the third section, I compare how this dominant pedal relates to other, already identified pedal-based patterns.
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Pub Date : 2022-08-04DOI: 10.1017/S1478570622000070
Eric Boaro
This conference, presented online by the Centro Studi Opera Omnia Luigi Boccherini of Lucca, the Palma Choralis Research Group & Early Music Ensemble and the Dipartimento di Musica Antica ‘ Città di Brescia ’ came as manna from heaven for scholars of music theory. Organized during our Covid-scarred times, it allowed numerous academics and musicians from around the world to con-vene and shed new light on a variety of topics related to basso continuo. How might we achieve a historically informed basso-continuo practice? To what extent does basso-continuo practice manifest geographical and regional differences? What was the role of basso continuo in the reworking of pre-existing music? What is the relationship between basso continuo, partimenti and music education? And between basso continuo and other instruments? Answers to these questions were offered by the large gathering of scholars and musicians, both emerging and experienced, who took part in the four-day event. In this report I will emphasize only the main issues that emerged. I apologize, both to the readers of this report and to the conference ’ s speakers, for not including all forty papers: the high quality and quantity of the presentations forced me to select only those that expanded on the conference ’ s main themes as listed above. these issues: we basso-continuo :
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Pub Date : 2022-08-04DOI: 10.1017/S1478570622000112
Jen-yen Chen
Harry White ’ s The Musical Discourse of Servitude: Authority, Autonomy, and the Work-Concept in Fux, Bach, and Handel proceeds from an innovative premise, though not one without precedent: the linkage of two composers frequently paired in earlier musicological literature with a third who now-adays scarcely garners attention as a composer, though his oeuvre is of comparable size. The pre-cedent is Charles Burney ’ s, but the intervening two centuries seem to have produced no further instances of such a conjunction, at least not with the degree of absorbing attention devoted to it by White. Yet this stimulating new study manifestly demonstrates the fruits of closely examining Fux ’ s music and its Viennese imperial milieu in order to illuminate what its author terms the European musical imagination of the eighteenth century, as it was diversely realized by three exem-plary figures. White ’ view is defines pre-cariously to balance White ’ ’
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