March 15, 2018

New PDF release: The Orchestral Revolution: Haydn and the Technologies of

By Dr Emily I. Dolan

ISBN-10: 1107028256

ISBN-13: 9781107028258

The Orchestral Revolution explores the altering listening tradition of the eighteenth and early 19th centuries. Delving into Enlightenment philosophy, the character of tools, compositional practices and reception heritage, this ebook describes the beginning of a brand new kind of consciousness to sonority and uncovers the intimate courting among the advance of recent musical aesthetics and the emergence of orchestration. via focusing upon Joseph Haydn's leading edge recommendations of orchestration and tracing their reception and effect, Emily Dolan exhibits that the consolidation of the fashionable orchestra appreciably altered how humans listened to and thought of the expressive ability of tools. The orchestra reworked from an insignificant amassing of tools into an awesome neighborhood choked with assorted, nuanced and expressive characters. In addressing this key second within the background of tune, Dolan demonstrates the significance of the materiality of sound within the formation of the fashionable musical paintings.

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Dr Emily I. Dolan's The Orchestral Revolution: Haydn and the Technologies of PDF

The Orchestral Revolution explores the altering listening tradition of the eighteenth and early 19th centuries. Delving into Enlightenment philosophy, the character of tools, compositional practices and reception historical past, this publication describes the beginning of a brand new type of recognition to sonority and uncovers the intimate dating among the improvement of recent musical aesthetics and the emergence of orchestration.

Extra info for The Orchestral Revolution: Haydn and the Technologies of Timbre

Example text

7 Fascinated by the ideas of Kircher and Newton, Castel set to work on a practical application. 8 He felt no obligation to retain Newton’s own equation of the colors and tones, basing his correspondence less on mathematics and analogous frequencies and more on his own taste: blue he assigned to C, the tonic; red to G, the dominant (which he saw as a logical association); and yellow to E, the mediant, spreading the spectrum over the rest of the musical scale. This of course 6 7 8 On Newton’s prism, Castel wrote, “I distrust the prism and its fantastic spectrum.

Though Castel never successfully built this instrument, the idea of such a multi-media apparatus captured the European imagination. The ocular harpsichord, because it prompted thinkers to compare sound and color and contemplate their relative merits, offers a unique point of entry into an early eighteenth-century conception of musical tone. But the ocular harpsichord also helped to alter the discourse around music; Castel’s invention popularized the equation of pitch with color and brought attention to the senses and how they functioned.

For many theorists, notions of musical beauty were bound up with the larger issues of musical representation. ” Castel, “Clavecin pour les yeux,” p. 2571. -A. , vol. VII (Paris: Estienne & Fils, 1732–51), p. 111. 30 Lessons at the ocular harpsichord Theorie der scho¨nen Kunste, J. A. P. ”16 Traditionally, these criticisms have been invoked to show how music and the doctrine of imitation were ill suited, used as part of a larger narrative that sees imitation and its attendant “problems” as something that was left behind and overcome.

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The Orchestral Revolution: Haydn and the Technologies of Timbre by Dr Emily I. Dolan


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