Thesis (Ph. D.)--Yale University, 1939. / "Critical bibliography": p. [146]-217. Bibliography: p. [227]-231.

Esta pesquisa se concentra na discussão acerca da utilização da terminologia Sturm und Drang no que se refere o repertório de Joseph Haydn escrito nas cercanias da década de 1770. Este período das composições de Haydn tem sido considerado como parte do movimento precursor do romantismo, que na literatura é denominado Sturm und Drang. Entretanto, existem algumas inconsistências na incorporação desta nomenclatura na música de Haydn. Desta forma, através do exame de preceptivas do século XVIII, destacando o tratado escrito por Johann Mattheson, Der Vollkommene Capellmeister [O Mestre de Capela Perfeito ] de 1739, se pretende recuperar o universo de referências musicais do compositor austríaco e reavaliar as suas composições inseridas na categoria Sturm und Drang. Através da consideração sobre os argumentos daqueles que defendem a existência do Sturm und Drang musical, visamos neste trabalho, por meio do confronto das ideias, avaliar a adequação da utilização do termo ao contexto musical de Joseph Haydn. / This research concentrates in the quarrel regarding the use of Sturm und Drang terminology commonly used to define Joseph Haydn\'s repertoire composed around 1770. This period of Haydn\'s composition has been considered as part of the literatute movement known as Sturm und Drang. However, there are some inconsistencies in the incorporation of this nomenclature in music. In such a way, through the examination of treatises from the 18th century , detaching the treaty written by Johann Mattheson, in 1739, Der Vollkommene Capellmeister [The Perfect Chapel Master] , it is intended to understand the thoughts of this period in music and be able to infer about Haydn\'s composition. Thus, by means of the confrontation of the ideas between the scholars who defend the existence of the musical Sturm und Drang and the 18th century treatises, verify the legitimacy of Sturm und Drang terminology in Haydn\'s musical context.

Esta pesquisa se concentra na discussão acerca da utilização da terminologia Sturm und Drang no que se refere o repertório de Joseph Haydn escrito nas cercanias da década de 1770. Este período das composições de Haydn tem sido considerado como parte do movimento precursor do romantismo, que na literatura é denominado Sturm und Drang. Entretanto, existem algumas inconsistências na incorporação desta nomenclatura na música de Haydn. Desta forma, através do exame de preceptivas do século XVIII, destacando o tratado escrito por Johann Mattheson, Der Vollkommene Capellmeister [O Mestre de Capela Perfeito ] de 1739, se pretende recuperar o universo de referências musicais do compositor austríaco e reavaliar as suas composições inseridas na categoria Sturm und Drang. Através da consideração sobre os argumentos daqueles que defendem a existência do Sturm und Drang musical, visamos neste trabalho, por meio do confronto das ideias, avaliar a adequação da utilização do termo ao contexto musical de Joseph Haydn. / This research concentrates in the quarrel regarding the use of Sturm und Drang terminology commonly used to define Joseph Haydn\'s repertoire composed around 1770. This period of Haydn\'s composition has been considered as part of the literatute movement known as Sturm und Drang. However, there are some inconsistencies in the incorporation of this nomenclature in music. In such a way, through the examination of treatises from the 18th century , detaching the treaty written by Johann Mattheson, in 1739, Der Vollkommene Capellmeister [The Perfect Chapel Master] , it is intended to understand the thoughts of this period in music and be able to infer about Haydn\'s composition. Thus, by means of the confrontation of the ideas between the scholars who defend the existence of the musical Sturm und Drang and the 18th century treatises, verify the legitimacy of Sturm und Drang terminology in Haydn\'s musical context.

G.F. Kauffmann exerted great, albeit disparaged influence on his contemporaries and the subsequent generation of organists and composers. Many of his works were copied and regularly performed by these musicians, including prominent composers such as J.S. Bach and J.G. Walther. Kauffmann is mostly associated with one of the most important collection of chorale preludes in the Baroque, viz. the Harmonische Seelenlust (Leipzig 1733), of which he is the composer. Among the numerous peculiar characteristics of this work are the registration indications supplied by Kauffmann himself. It is the most detailed source of registration in the entire Baroque era, consequently giving us a unique insight into the trends of combining stops during this period. Using Kauffmann’s particular style of registration, it becomes possible and even desirable to implement these suggestions found in the Harmonische Seelenlust in the works of his contemporaries. Kauffmann devised a specific system of registration for specific genres of works that are adaptable to his own works that were not supplied with registration, and to the works of his contemporaries. / Thesis (PMus (Performing Art))--University of Pretoria, 2006. / Music / unrestricted

Rezensionen zu Johann Mattheson, Texte aus dem Nachlass. Hg. von Wolfgang Hirschmann und Bernhard Jahn unter Mitarbeit von Hansjörg Drauschke, Karsten Mackensen, Jürgen Neubacher, Thomas Rahn, Dirk Rose und Dominik Stoltz. Olms, Hildesheim – Zürich – New York 2014. 706 S., € 98,–. Wolfgang Hirschmann/Bernhard Jahn (Hgg.), Johann Mattheson als Vermittler und Initiator. Wissenstransfer und die Etablierung neuer Diskurse in der ersten Hälfte des 18. Jahrhunderts. Olms, Hildesheim – Zürich – New York 2010. 514 S., € 68,–.

No description available.

No description available.

No description available.

No description available.

The tendency of today’s historiography to portray early 18th-century Italian opera as a dichotomy between opera seria and opera buffa takes too little account of the existence of genera mixta. However, contemporary composers and authors sometimes referred to a tripartiton. In his treatise Der vollkommene Capellmeister (1739), Johann Mattheson distinguishes between tragedy, comedy and satire. His description of the melodies from a satirical opera is limited to the statement that they are “ridiculous, poseuristic and prickly”. This definition can be applied to the analysis of dramatic vocal works with the help of Gérard Genette’s category of “burlesque travesty” which describes the stylistic degradation of a tragic-heroic subject as a satirical function. This stylistic mixture is achieved by the use of specific musical devices, which are shown in this article on the basis of case studies on music by Francesco Bartolomeo Conti, Johann Sebastian Bach and Georg Friedrich Händel.