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By Emily I. Dolan
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 publication describes the beginning of a brand new type of consciousness to sonority and uncovers the intimate courting among the advance of recent musical aesthetics and the emergence of orchestration. by way of focusing upon Joseph Haydn's cutting edge innovations of orchestration and tracing their reception and impression, Emily Dolan indicates that the consolidation of the fashionable orchestra substantially altered how humans listened to and considered the expressive capability of tools. The orchestra reworked from an insignificant amassing of tools into an excellent group choked with assorted, nuanced and expressive characters. In addressing this key second within the historical past of song, Dolan demonstrates the significance of the materiality of sound within the formation of the trendy musical art.
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From the Preface :
This e-book illustrates a suite of song manuscripts which was once made lately to profit the basis for modern functionality Arts. the gathering was firm by way of situations instead of any means of choice. therefore it indicates the numerous instructions within which song notation is now going. The manuscripts should not prepared in line with varieties of tune, yet alphabetically in accordance with the composer's identify. No explanatory details is given.
The textual content for the publication is the results of a strategy using I-Ching likelihood operations. those made up our minds what number phrases concerning his paintings have been to be written through or approximately which of 2 hundred and sixty-nine composers. the place those passages (never greater than sixty-four phrases, occasionally just one) were particularly written for this booklet, they're preceded by way of a paragraph signal and by way of the author's identify. different comments have been selected or written via the editors - John Cage and Alison Knowles. not just the variety of phrases and the writer, however the typography too - letter dimension, depth, and typeface - have been all made up our minds unintentionally operations. This method used to be for you to decrease the variation among textual content and illustrations. The composition of the pages is the paintings of Alison Knowles.
A precedent for the textual content is the Questionnaire. (The composers have been requested to put in writing approximately notation or some· factor suitable to it. ) A precedent for the absence of knowledge which characterizes this e-book is the modern aquarium (no longer a depressing hallway with every one species in its personal illuminated tank separated from the others and named in Latin): a wide glass condo with the entire fish in it swimming as in an ocean. the gathering of manuscripts constitutes an archive, the contents of that are indexed on the finish of this publication. The editors are thankful to the numerous composers and track publishers who've made this presentation of mid-twentieth century track notation attainable.
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Additional info for The Orchestral Revolution: Haydn and the Technologies of Timbre
Example text
Over the last twenty or so years, it has been shaken “from without” by the rise of sociological and anthropological methodologies, and by ever-increasing interest in popular music and film studies, which shift the focus away from The Canon. It has also been disturbed “from within,” by the historicizing of the very notion of great works and the great composers who produced them. 28 Crucially, such studies broke the symbiotic bond between the aesthetic – that is, the many ways in which art affects us and shapes our lives – and musical works; they raised questions about what it means to study musical works today.
Gardiner as The Lives of Haydn and Mozart: With Observations on Metastasio, and on the Present State of Music in France and Italy (London: John Murray, 1817), pp. 255–56n. This work was largely plagiarized from G. Carpani’s Le Haydine, ovvero Lettere sulla vita e le opere del celebre maestro Giuseppe Haydn (Milan: C. Buccinelli, 1812; repr. Bologna: Forni Editore, 1969). Erasmus Darwin had already sanctioned the blind man’s equation of the trumpet with the color scarlet in 1789. He believed, like Newton, that the same laws governed sound and color: “In this circumstance therefore consists the sisterhood of Music and Painting; and hence they claim a right to borrow metaphors from each other; musicians to speak of the brilliancy of sounds, and the light and shape of a concerto; and Painters of the harmony of colours, and the tone of a picture.
And it is in re-orchestration that we can identify the birth of modern orchestration. Instrumentation builds, orchestration rebuilds. These gestures of making and remaking the orchestra also signal the consolidation of the orchestra as a concept and musical body. The fourth chapter, “The republic of sound,” explores the relationship between the orchestra and individual instruments, and how the orchestra became a model of ideal society, a community that preserved the autonomy of the individual while simultaneously creating a harmonious whole.