Skip to main content Accessibility help
×
  1. Home
  2. Publications
  3. Open Access
  4. Research Open

Refine listing

Refine listing

Access:
Content type:
Publication date:
Apply   From and To filters
Subject: Show more
Journals Show more
Publishers: Show more
Societies Show more
Series: Show more
Collections: Show more

Actions for selected content:

Select all | Deselect all
  • View selected items
  • Export citations
  • Download PDF (zip)
  • Save to Kindle
  • Save to Dropbox
  • Save to Google Drive

Save Search

You can save your searches here and later view and run them again in "My saved searches".

Please provide a title, maximum of 40 characters.
Cancel
×

109548 results in Open Access

Page 647 of 5478

  • ECM volume 18 issue 1 Cover and Back matter

  • Journal:
    Eighteenth-Century Music / Volume 18 / Issue 1 / March 2021
    Published online by Cambridge University Press:
    05 February 2021, pp. b1-b3
    • Article
      • You have access
    • PDF
    • Export citation

  • ‘THE FAMOUS VIDAL’: NEW LIGHT ON THE LIFE AND WORKS OF A GUITARIST IN LATE EIGHTEENTH-CENTURY FRANCE

  • DAMIÁN MARTÍN GIL
  • Journal:
    Eighteenth-Century Music / Volume 18 / Issue 1 / March 2021
    Published online by Cambridge University Press:
    05 February 2021, pp. 123-149

  • During the second half of the eighteenth century the Spanish guitar reached a level of popularity in France not equalled elsewhere. Among the various composers who contributed to the vogue for the instrument in this country, sources of the period refer to a certain Mr Vidal, a guitarist of Spanish origins who was regarded as one of the most important masters of the guitar in Europe. Despite multiple references to his musical activities no extensive study has yet been made, which leaves this figure only partially studied. In order to address this lacuna, this article reconstructs the life of this guitarist, placing his music in the environment in which he lived in order to obtain a clearer picture of the situation of the guitar and the role of Vidal as a composer, guitarist, publisher and teacher.

  • ECM volume 18 issue 1 Cover and Front matter

  • Journal:
    Eighteenth-Century Music / Volume 18 / Issue 1 / March 2021
    Published online by Cambridge University Press:
    05 February 2021, pp. f1-f4
    • Article
      • You have access
    • PDF
    • Export citation

  • ROUSSEAU'S AIR CHINOIS

  • NATHAN JOHN MARTIN
  • Journal:
    Eighteenth-Century Music / Volume 18 / Issue 1 / March 2021
    Published online by Cambridge University Press:
    05 February 2021, pp. 41-64

  • Among its various ancient and extra-European examples, the celebrated Plate N of Jean-Jacques Rousseau's Dictionnaire de musique includes a melody of Chinese provenance. Scholars have proposed three possible sources for the melody: Jean-Joseph-Marie Amiot, Jean-Baptiste Du Halde and the Abbé Prévost. By synthesizing the known sources and introducing additional archival evidence I establish that Rousseau took the melody from Du Halde, not Prévost – and definitely not Amiot. Along the way, I provide an account of Amiot's extant manuscripts and their circulation in Enlightenment Paris. These details begin to suggest the broader panorama of the French Enlightenment's encounter with China and the networks of trade, diplomacy and proselytization that facilitated it.

  • EVIDENCE OF THE PRACTICAL APPLICATION OF SOLFEGGIO PATTERNS IN THE MANUSCRIPT FOR THE 1707 NEAPOLITAN PERFORMANCE OF LA FEDE TRADITA E VENDICATA BY GASPARINI AND VIGNOLA

  • ERIC BOARO
  • Journal:
    Eighteenth-Century Music / Volume 18 / Issue 1 / March 2021
    Published online by Cambridge University Press:
    05 February 2021, pp. 171-184

  • The last two decades have seen the opening of several new paths in eighteenth-century musicology, and Robert O. Gjerdingen has opened one of these: schema theory. Schemata are ‘stock musical phrases employed in conventional sequences’ that function as harmonic, melodic and rhythmic frameworks for musical passages. Evidence of such schematic thinking has emerged through related studies on partimento and solfeggio. Solfeggio practice of the time manifests a schematic way of thinking about music, being mostly based on simple hexachordal patterns which, as studies progressed, could be embellished in different ways. Vasili Byros has addressed the ‘archaeology’ of hearing through reception history, and offered strong evidence that eighteenth-century ears did hear schemata. Interweaving corpus studies on music of the long eighteenth century (1720–1840), contemporary music criticism and reception history, as well as didactic documents from that era, Byros sheds new light on the ways in which schemata were perceived at the time. A recent contribution by Gilad Rabinovitch uses a live improvisation in the style of Mozart by Robert Levin to demonstrate the importance of conventional schemata for historical improvisation.

Page 647 of 5478