Haydn Studies: Proceedings of the International Haydn Conference, Washington, D.C., 1975

Haydn Studies: Proceedings of the International Haydn Conference, Washington, D.C., 1975

Language: English

Pages: 610

ISBN: 0393014541

Format: PDF / Kindle (mobi) / ePub


This collection of Haydn studies is the meticulously edited result of the activities of the International Haydn Conference in Washington, D.C. in October of 1975.

In October, 1975, the International Haydn Conference was held in Washington, D.C., during the last eight days of the Haydn Festival at Kennedy Center. Scholars and musicians from all over the world were brought together for the conference, participating in panel discussions, round tables, and workshops.

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is clear. He begins with a proud listing of individual, large-scale compositions for both theatre and church, in some cases adding circumstantial details; only later does he turn to the third venue, the chamber (which in this context connotes all instrumental music). Here, however, he does not cite so much as a single work (or even a genre), but indulges in a long polemic against ‘Berlin’ critics of his music. A characteristic assessment not tied to Haydn’s own person is found in Ernst Ludwig

should take the form of ‘Cambridge Haydn Studies’. xiii 1 The consequences of presumed innocence: the nineteenth-century reception of Joseph Haydn1 leon botstein 1 The Haydn paradox: from engaged affection to distant respect The mystery that plagues the contemporary conception and reception of Haydn and his music has a long and remarkably unbroken history. Perhaps Haydn experienced the misfortune (an ironic one when one considers the frequency of premature deaths among his great

Rosina, which is hostile and cruel one moment, remorseful and tender the next. It seems to represent a puzzle that can only be explained as an oversight on the part of Puttini, Anfossi and/or Haydn. Jones and Landon suggest that he is ‘palely drawn’; Caryl Clark that he is ‘aloof ’ and ‘unpredictable’.43 Even Hunter writes that ‘he is one of the least interesting characters in the opera: his changes of heart regarding Rosina are apparently unmotivated, and he is without self-consciousness or any

(the rational soul) had to disengage its nature from ordinary experience and divide itself from the flesh as a disembodied entity in order to find its new epistemological footing as an external observer. The body became purely material, something to be reconstructed by the rational soul as mere mechanism and mere extension, emptied of all spiritual essences. In this way the Cartesian mind banished the animistic principles that had inhabited the Renaissance body with a functionalism that left its

treatment of pitch and register endows his system with tremendous flexibility. The process-reversal opposition generates eight possible permutations, which Narmour calls ‘basic structures’(see Table 6.1). Table 6.1 Narmour’s eight basic structures P = Full process. IP = Intervallic process. Same interval, different register (that is, change of direction). VP = Registral process. Moves in same registral direction, but different interval. R = Full reversal. IR = Intervallic reversal. Change of

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