This study examines the development and creation of the clarinet in the seventeenth and eighteenth century, and the start of their use as a solo instrument in the eighteenth century. This explores Mozart's utilization and development for the clarinet to other various composers and their contributions.

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Thesis(M.Mus.) -- Stellenbosch University, 1987. / VOORWOORD Die twintigste eeu beleef 'n besondere belangstelling in die outentieke uitvoering van ou musiek en dit is 'n studieveld wat reeds uitgebreid nagevors is. Desondanks bestaan daar steeds baie vraagstukke aangaande sekere uitvoeringspraktyke en styltipes en hoe ouer die musiek, hoe meer problematies word 'n outentieke uitvoering, veral as gevolg van die groot verskille tussen die moderne en ou instrumente, die speeltegnieke en die dikwels ontoereikende notasie. Die teoriee wat die twintigste eeuse musici aangaande die uitvoeringspraktyke geformuleer het, is hoofsaaklik gebaseer op ou geskrifte, verhandelinge en onderrigboeke uit die onderskeie styltydperke. Daar bestaan baie teenstrydighede tussen hierdie teoriee, veral met betrekking tot die musiek van die Barokperiode. Die uitvoering van musiek van die Klassieke en veral die Romantiese periodes is minder problematies en die redes hiervoor is hoofsaaklik die volgende: Die notasiesisteem het reeds tydens die Hoog-Klassieke tydperk tot sy huidige vorm ontwikkel. Verder het musiekkritiek en -geskiedskrywing segert die agtiende eeu toenemend meer aandag geniet en bestaan daar dus meer inligting aangaande uitvoeringspraktyke. Ten spyte daarvan dat hierdie na vorsing reeds dekades gelede begin het, is daar steeds groot onkunde daaromtrent en word daar dikwels min aandag gegee aan die outentieke uitvoering van ou musiek. Hierdie studie is 'n paging om die navorsing wat reeds gedoen is krities te ondersoek en 'n moontlike samevatting daarvan te gee. / Digitized at 300 dpi B/W PDF format (OCR), using ,KODAK i 1220 PLUS scanner. Digitised, Rebecca Patterson on 28 August 2013. Digitization of Music Thesis Project

published_or_final_version / English / Master / Master of Philosophy

This thesis takes as its starting-point the theoretical and critical writings on music from the second half of the 18th century - mostly by German authors such as H.C. Koch and J.F. Daube. The intention is to illustrate the preoccupations and concepts of these authors in the period associated with the development of Classical symphonic style. I have noted the emphasis on textures and on certain aesthetic criteria, such as "Feuerigkeit" and "das Unerwartete", and I have attempted to trace the growth of meanings given to these terms over a period of about 50 years. To illustrate the formal implications of the "symphonic allegro" described in these writings, I have discussed specific examples in the second chapter from the symphonies of J.C. Bach, F.X. Richter, G. Pugnani, P. Beck, etc. (These are given in score in the Appendix of Musical Examples) Emphasis is placed on the contrasting roles of tutti and lightly-scored texture in articulating the internal structure of the first section of the allegro movement; and on the types of formal expansion (such as prolonged dominant preparation) and harmonic surprise already used by symphonic composers in the 1750s-60s. The third chapter is concerned exclusively with the symphonies of Haydn, illustrating his capacity to devise new relationships and roles for the traditional contrasts of texture and dynamic level in the symphonic allegro. The important sketch for the finale of Symphony No.99 is discussed, as a case in which the relationship between tutti transition and second subject is only gradually decided in the composer's plans. The harmonic aspects raised in connection with Haydn's symphonies are considered in more detail in the 4th chapter, which moves from the element of cadential expansion - in the form of interrupted cadences and interrupted or prolonged cadential progressions - to that of tonal contrasts at the level of independent and clearly defined periods which play a part in the thematic growth of the movement. The importance of flattened submediant and flattened mediant relationships are underlined in this context. Haydn's quartets have been largely used as the basis for this discussion. In the 5th chapter, the subject is the growing complexity and variety of tonal treatment in Haydn's development sections, from his observance of traditional key-schemes, through his experimentation with fausse reprise effects, to the enlargement of his procedures to include both flat and sharp key relationships. The chapter concludes with a discussion of the "enharmonic" modulatory schemes characteristic of Haydn's late style. In the final chapter, the intention has been to illustrate some of the different functions of tonal contrast that grew up alongside and after those described in terms of Haydn's music. A contrast is drawn between Haydn's use of flattened submediant areas within a single key area, and the use by Mozart and Beethoven of similar effects for the purposes of modulating from first to second group key. Finally, some of the great first movements of Schubert are discussed to illustrate the growth of the principle of harmonic and expressive contrasts to encompass very large areas of tonal stability.

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Today, Belgium is an oft-cited example of a “fabricated state” with no real binding national identity. The events of 1787-1790 illustrate a surprisingly strong rebuttal to this belief. Between 1787 and 1790, the inhabitants of the Southern Netherlands protested the majority of reforms implemented by their sovereign Joseph II of Austria. In ten independent provinces each with their own administration and assembly of Estates, a resistance movement grew and its leaders eventually raised a patriot army over the summer of 1789. This force chased the imperial troops and administration from all the provinces except Luxembourg, allowing the conservative Estates and their supporters to convene a Congress at Brussels, which hosted a central government to the new United States of Belgium. By November 1790, however, infighting between democrats and conservatives and international pressures allowed Leopold II, crowned Emperor after his brother’s death in February, to easily reconquer the provinces. This thesis investigates the moment in which “Belgianness,” rather than provincial distinctions, became a prevailing identification for the Southern Netherlands. It tracks the transition of this national consciousness from a useful collaboration of the provinces for mutual legal support to a stronger, more emotional appeal to a Belgian identity that deserved a voice of its own. It adds a Belgian voice to the dialogue about nations before the nineteenth century, while equally complicating the entire notion of a nation. Overall, the thesis questions accepted paradigms of the nation and the state and casts Belgium and the Belgians as a strong example that defies the normal categories of nationhood. It examines how the revolutionaries—the Estates, guilds, their lawyers, the Congress, and bourgeois democratic revolutionaries—demonstrated a growing sense of “Belgianness,” in some ways overriding their traditional provincial attachments. I rely on pamphlet literature and private correspondence for the majority of my evidence, focusing on the elite’s cultivation and use of national sentiment throughout the revolution.

When William Carew (1689–1744) and Reginald Pole-Carew (1753–1835) unexpectedly inherited the Antony estates in the southwest of England, each invested in material culture to create, maintain and justify his distinction as a landowning member of élite society. Discourses around the uses of visual and material culture throughout the eighteenth century are usually framed in contrast: either the ostentatious collections of the hereditary nobility which denoted rank, wealth and power, or the status-seeking “middling sorts” who used luxury goods to paper over social and cultural gaps. In the space between these two social groups were the Carews (and a great number of landed gentry like them) who built relatively unpretentious country houses and who commissioned, collected and displayed luxury goods as statements of an identity not based on declarations of affluence, prestige, or social mobility. Using original, unpublished, archival research and testing the findings against historical and contemporary studies, the interdisciplinary approaches in this thesis will analyse the Carews’ uses of luxury goods – in country-house building, landscaping and portraiture– to cultivate an identity commensurate with their aims. Unpacking a strategy of distinction for each of William Carew and Reginald Pole-Carew offers a new perspective on eighteenth-century conspicuous consumption. The findings assert that what the Carews commissioned, collected and displayed fills a gap in current scholarship and must be integrated into any comprehensive understanding of the uses of luxury goods throughout the century.