Search results for: the-musical-dilettante

Women and Musical Salons in the Enlightenment

Author : Rebecca Cypess
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A study of musical salons in Europe and North America between 1760 and 1800 and the salon hostesses who shaped their musical worlds. In eighteenth-century Europe and America, musical salons—and the women who hosted and made music in them—played a crucial role in shaping their cultural environments. Musical salons served as a testing ground for new styles, genres, and aesthetic ideals, and they acted as a mediating force, bringing together professional musicians and their audiences of patrons, listeners, and performers. For the salonnière, the musical salon offered a space between the public and private spheres that allowed her to exercise cultural agency. In this book, musicologist and historical keyboardist Rebecca Cypess offers a broad overview of musical salons between 1760 and 1800, placing the figure of the salonnière at its center. Cypess then presents a series of in-depth case studies that meet the salonnière on her own terms. Women such as Anne-Louise Brillon de Jouy in Paris, Marianna Martines in Vienna, Sara Levy in Berlin, Angelica Kauffman in Rome, and Elizabeth Graeme in Philadelphia come to life in multidimensional ways. Crucially, Cypess uses performance as a tool for research, and her interpretations draw on her experience with the instruments and performance practices used in eighteenth-century salons. In this accessible, interdisciplinary book, Cypess explores women’s agency and authorship, reason and sentiment, and the roles of performing, collecting, listening, and conversing in the formation of eighteenth-century musical life.

The Chap book

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The Musical World

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The Crisis of the Opera A Study of Musical Hermeneutics

Author : Ion Piso
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This study in artistic hermeneutics contains objections and critiques that have been generated by the contemporary cultural scenery of musical interpretation, especially related to the opera performances. Nevertheless, as the reader will surely notice, such critique can be very well applied to the entire spectrum of contemporary culture, as the phenomena described here are ubiquitous. Ion Piso’s ‘alarm signal’-study is essential reading, particularly as it comes from somebody who has over half a century’s experience of being an artist-interpreter in world opera. As such, Piso is well-placed to offer such a critique, and thus fulfil Goethe’s challenging desideratum: “You can only judge fairly what you, yourself, are able to accomplish”; as the following quotations fully illustrate: “J. Piso was the new duke [...] He incarnates all the virtues that an interpreter must have for this role, and which are seldom met with in one person. These are the reasons why the duke of Mantova has become a role for which they are looking for specialized tenors. Piso is both young and lean, elegant and full of temperament, a very credible and conquering playboy [...] La donna e mobile has the qualities of Gigli, and his legato sounds always seductive. Furthermore, who else brings together these days, the finesse of the belcanto with such a prodigality of brilliant high-notes?” – K. Honolka, Stuttgart, April 1964 “[Piso in Werther, was the highlight of the season as] he represents the true Romantic style – which is the mode in which this role should be interpreted, what more can be said...” – A. J. Potter, Opera, London, February 1968 “The virtuosity of Piso’s technique produces a special pleasure to the listener, especially by the manner in which the most powerful forte comes to fade away in the most delicate piano. Through a rich variety of expressive tools, he was able to reveal the contents of the Lieds by interpreting them with an excellent diction technique.” – Potsdamer Blick, March 17, 1966 “Piso is the embodiment of the multilateral tenor, who has become today almost obsolete, due to the melodious charm of his voice, to his sensitivity, and to the homogeneity of his voice in all registers, even in the most ‘exposed’ passages.” – Die Union, Dresden, March 4, 1966

Mozart s Piano Concertos

Author : Simon P. Keefe
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The theoretical and musical background to the relationship between the piano and orchestra in Mozart's concertos.

Music Publishing in Europe 1600 1900

Author : Rudolf Rasch
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Chamber Music

Author : John H Baron
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Chamber Music: A Research and Information Guide is a reference tool for anyone interested in chamber music. It is not a history or an encyclopedia but a guide to where to find answers to questions about chamber music. The third edition adds nearly 600 new entries to cover new research since publication of the previous edition in 2002. Most of the literature is books, articles in journals and magazines, dissertations and theses, and essays or chapters in Festschriften, treatises, and biographies. In addition to the core literature obscure citations are also included when they are the only studies in a particular field. In addition to being printed, this volume is also for the first time available online. The online environment allows for information to be updated as new research is introduced. This database of information is a "live" resource, fully searchable, and with active links. Users will have unlimited access, annual revisions will be made and a limited number of pages can be downloaded for printing.

Gendering Musical Modernism

Author : Ellie M. Hisama
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This book explores the work of three significant American women composers of the twentieth century: Ruth Crawford, Marion Bauer and Miriam Gideon. It offers information on both their lives and music and skillfully interweaves history and musical analysis in ways that both the specialist and the more general reader will find compelling. Ellie Hisama suggests that recognising the impact of a composer's identity on the music itself imparts valuable ways of hearing and understanding these works and breaks important new ground towards constructing a feminist music theory.

Baroque Music

Author : Peter Walls
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Research in the 20th and 21st centuries into historical performance practice has changed not just the way performers approach music of the 17th and 18th centuries but, eventually, the way audiences listen to it. This volume, beginning with a 1915 Saint-Sa lecture on the performance of old music, sets out to capture musicological discussion that has actually changed the way Baroque music can sound. The articles deal with historical instruments, pitch, tuning, temperament, the nexus between technique and style, vibrato, the performance implications of musical scores, and some of the vexed questions relating to rhythmic alteration. It closes with a section on the musicological challenges to the ideology of the early music movement mounted (principally) in the 1990s. Leading writers on historical performance practice are represented. Recognizing that significant developments in historically-inspired performance have been led by instrument makers and performers, the volume also contains representative essays by key practitioners.

Music Making in North East England during the Eighteenth Century

Author : Roz Southey
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The north-east of England in the eighteenth century was a region where many different kinds of musical activity thrived and where a wide range of documentation survives. Such activities included concert-giving, teaching, tuning and composition, as well as music in the theatre and in church. Dr Roz Southey examines the impulses behind such activities and the meanings that local people found inherent in them. It is evident that music could be perceived or utilized for extremely diverse purposes; as entertainment, as a learned art, as an aid to piety, as a profession, a social facilitator and a support to patriotism and nationalism. Musical societies were established throughout the century, and Southey illustrates the social make-up of the members, as well as the role of Gentlemen Amateurs in the organizing of concerts, and the connections with London and other centres. The book draws upon a rich selection of source material, including local newspapers, council and ecclesiastical records, private papers and diaries and accounts of local tradesman, as well as surviving examples of music composed in the area by Charles Avison, Thomas Ebdon and John Garth of Durham, amongst many others. Charles Avison's importance is focused upon particularly, and his Essay on Musical Expression is considered alongside other contemporary writings of lesser fame. Southey provides a fascinating insight into the type and social class of audiences and their influence on the repertoire performed. The book moves from a consideration of music being used as a 'fashion item', evidenced by the patronage of 'big name' soloists from London and abroad, to fiddlers, ballad singers, music at weddings, funerals, public celebrations, and music for marking the events of the American War of Independence and the French Revolutionary Wars. It can be seen, therefore, that the north east was an area of important musical activity, and that the music was always interwoven into the political, economic, religious and commercial fabric of eighteenth-century life.