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This document explores some music of the Baroque era. Specifically, it is concerned with eighteenth century musical articulation, ornamentation, and the type of flute in use at that time, which we now call the baroque flute. The term articulation refers to the entire subject of how a note is begun, the type of articulation syllable used, and how notes are grouped together. In the Baroque period melodies were embellished with certain standard ornaments. The proper performance of these ornaments was the subject of much discussion and writing. At the end of this document the reader will find a selected bibliography which includes some of these writings. There are many types of ornaments. This study will be concerned with some of them: the trill, mordent, appoggiatura, grupetto, messa di voce, and flattement. Vibrato at that time was considered to be an ornament, and will be included as such.

This thesis explores pictorialism in eighteenth-century poetry and landscape. The tradition of ut pictura poesis is presented in terms of its origins in antiquity, its background in the thought of the eighteenth century, its manifestations in the poetry of the period, and its relations to the picturesque in landscape. A sketch of the origins and development of literary pictorialism in Greece and Rome, the medieval, Renaissance, and post-Renaissance periods, outlines its leading features and furnishes a historical perspective against which eighteenth-century practices can be viewed. Special attention is given to the bond between the sister arts of painting and poetry and to the new standards of artistic excellence deriving from Italian Renaissance and baroque painting. In eighteenth-century poetry, passages from Pope and Thomson illustrate neo-classical pictorial practice with respect to the ancient doctrine of enargeia (vivid, lifelike imitation), the means of idealizing nature, and the iconic tradition of imitating or describing objects of art. These practices are shown to serve aesthetic, social, or moral purposes. Finally, the thesis discusses Thomson's pictorial poetry as the product of traditional ut pictura poesis and not as the cause of picturesque landscape vision. The relationship between literary pictorialism and the landscape picturesque is clarified by relating Thomson's characteristic landscape form to Claude Lorraine, Salvator Rosa, and Nicolas Poussin. And the landscape picturesque itself, discussed largely in terms of its origins in the English natural garden and its formalization in the aesthetic theories of William Gilpin and Uvedale Price, is shown, like poetic pictorialism, to be a product of the neo-classical doctrine of models, another form of neo-classical "imitation." As such it rounds out the paper's study of pictorialism in the eighteenth century. / Arts, Faculty of / English, Department of / Graduate

This dissertation deals with the provincial hunger riots and the metropolitan industrial riots of the first decade of George III's reign. By focussing both on the immediate causes of these disturbances and on the underlying social tensions which determined their form and direction, it seeks to explain why this was the worst period of disorder in the century, although in other decades the deprivations of the poor were greater. Early studies of the riots of the 1760's which have not dealt exclusively with political disturbances have treated the riots as part of the history of trade unions or of the story of the rural labourer's degradation. As a result, the interrelationship of these two expressions of social discontent has been ignored by most historians of popular movements. More recent studies have presented the hunger and industrial disorders primarily in terms of the discontents of the rioters. By focussing closely upon the "faces in the crowd" scholars have corrected the misconception that eighteenth-century mobs were chiefly composed of the most depraved elements in society. But in the process of this legitimate attempt to rehabilitate the historical crowd, such students have been rather reluctant to concede its manipulation by those standing over and apart from the mob. This is particularly true when rioters clearly acted according to socially appropriate goals, as was usually the case with rural hunger mobs and industrial strikers. This results in the undervaluing of the role of other interests, and stresses immediate at the expense of secondary causation. This work sets the rioters of the 1760's in their social context and presents the riots as the product of an interaction of the poor, the landowners, the industrialists, the local authorities, and the national government. All of these interests contributed to disorder in some fashion: by suggesting the poor regulate markets for themselves, the gentry encouraged them to take actions for which many later were tried by special assize; by failing to suppress the initial disorders, the magistrates appeared to sanction the acts of the mobs; by blaming middlemen for high prices of food, clothiers and other industrialists in the distressed cloth counties of Southern England diverted their underpaid workers towards bunting mills and local markets; by proclaiming the old anti-middlemen statutes against forestalling, engrossing, and regrating instead of ending grain exports, the Ministry confirmed that the food shortage was artificial and encouraged further attacks upon middlemen and farmers; by blaming coal-undertakers and then failing to enforce existing legislation against these middlemen of the coal trade, the government encouraged coalheavers to act in their own defence. While the timing of the disorders of the 1760's was determined by such factors as sudden fluctuations in the prices of provisions, attempts to reduce wages or employment opportunities for the poor, or grain movements in times of anticipated famine, the form and direction were the result of the expectations of various interests. The significance of expectations is apparent in the important role played by veterans of the Seven Years' War and the equivocal reaction to the initial hunger riots of the ruling orders. The responses of the poor and the privileged alike can only be explained with reference to important social changes, which resulted after the mid-century from agricultural and industrial developments. The effects of these social changes was aggravated by war and by the progressive abandonment of the principles and practices of the old "moral economy." / Arts, Faculty of / History, Department of / Graduate

The aim of this study is to examine the correspondences of style, technique and aesthetic in poetry and music as it pertains to the musical thought and works of composers centered in Berlin 1740-1760. With the trend toward rational enquiry, the re-affirmation of the Aristotelian theory of imitation, and a return to the ideal of a union of the arts, 18th-century theorists and composers were once again preoccupied with the consanguinity of the "sister" arts of poetry and music. In particular, analogies were made between their materials of expression and the methods by which they achieved their ultimate goal of the imitation of human passions. The "problem" of textless music--i.e., its lack of semantic content--became a primary issue for aesthetic discussion and led to a re-evaluation of music's intrinsic qualities as a medium of expression. Berlin composers working in mid-century were especially susceptible to such aesthetic developments. Led by writer/critics Lessing, Nicolai, and Mendelssohn, a unique literary renaissance characterizing the city was generating wide-spread critical debate on matters concerning the significance and meaning of art. Two major points of discussion among the literati were 1) that since classical times the arts of poetry and music had strayed too far apart, and 2) that music especially needed the support and cognitive power of a poetic text to remain a viable artistic medium. The consequences of these ideas on Berlin composers is immediately apparent in the development of the lied. In this new musical genre which achieved great popularity in Berlin, expression through text and music were considered synonymous as composers worked to close the gap between the two in their technique and methodry. However, the impact of these aesthetic beliefs is not as easily discernible in the instrumental music of mid-eighteenth century Berlin. While it was undisputed that musical tones in themselves contained some indeterminate expressive force, the rationalists' demand for concrete meaning in art led composers to develop and assess their music in terms of poetic criteria. An analysis of their works will illustrate that poetic structure, technique, and materials of expression assumed a primary role in the creation of their art. This study hopes to clarify the relationship between poetry and music through an examination of mid-eighteenth century Berlin's lied aesthetic, and selected instrumental works by J.J. Quantz and C.P.E. Bach composed in Berlin during this period. / Arts, Faculty of / Music, School of / Graduate

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