Performance Practice: A Dictionary-guide for Musicians
This study follows the aesthetic of the sublime from Burke and Kant, through Wordsworth and the Shelleys, into Thackeray, Dickens, Eliot and Hardy. Exploring the continuities between the romantic and Victorian "periods" that have so often been rather read as differences, the book demonstrate that the sublime mode enables the transition from a paradigm of overwhelming power exemplified by the body of the king to the pervasive power of surveillance utilized by the rising middle classes. While the domestic woman connected with the rise of the middle class is normally seen as beautiful, the book contends that the moral authority given to this icon of depth and interiority is actually sublime. The binary of the beautiful and the sublime seeks to contain the sublimity of womanhood by insisting on sublimity's masculine character. This is the book's most important claim: rather than exemplifying masculine strength, the sublime marks the transition to a system of power gendered as feminine and yet masks that transition because it fears the power it ostensibly accords to the feminine. This aesthetic is both an inheritance the Victorians receive from their romantic predecessors, and, more importantly, a broad historical phenomenon that questions the artificial boundaries between romantic and Victorian.
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18th century accompaniment appoggiatura aria Bach's Baroque bassoon beat Beethoven Bibl C. P. E. Bach cadenzas cello chansons chant choir choral chords clarinet clavichord composer Concerto continuo instruments cornett Couperin dance decorations dotted double bass dynamic earlier early 18th ensemble example falsettists flute Frederick Neumann French Frescobaldi Handel harp harpsichord Haydn horn Idem Illustration improvised indicated instance instru Italian keyboard keyboard instruments keys late 18th later lower lute main note markings Medieval melodic ments modern Monteverdi's mordent motets Mozart notation oboe opera orchestra organ organist ornaments overdotting pedal Performance Practice piano pieces pitch played player polyphony Praetorius 1619 Quantz realized recordings Renaissance rhythm rhythmic rubato scores shawm singers singing slide slur solo soloists sometimes sonatas songs soprano sound strings struments style sung Symphony tempi tempo tenor theorbo tion tone trill trombone trumpet tuning tury upper vibrato viol violas violin vocal voice woodwinds