Music and Culture in Eighteenth-Century Europe: A Source Book
by Enrico Fubini translated by Wolfgang Freis, Lisa Gasbarrone and Michael Louis Leone
University of Chicago Press, 1994 Cloth: 978-0-226-26731-9 | Paper: 978-0-226-26732-6
ABOUT THIS BOOK | TOC
ABOUT THIS BOOK
This book collects key writings about eighteenth century music . It brings together for the first time in one place, a wide selection of essential documents not only about music theory and practice, but about the historical, philosophical, aesthetic, ideological, and literary debates which held sway during a century when musical thought and criticism gained a privileged position in the culture of Europe.
Enrico Fubini offers a sampling of English, French, German, and Italian writings on topics ranging from Enlightenment rationalism and the theories of harmony to German musical culture and the polemics on J. S. Bach. Organized by topic and historical period these selections go beyond writings dealing exclusively with specific musical works to larger issues of theory and the reception of musical ideas in the culture at large. The selections are from books, journals, newspapers, pamphlets, and letters; the contributors include Diderot, Rousseau, Voltaire, Grimm, Alfieri, Rameau, Quantz, Gluck, Tartini, Leopold and W. A. Mozart, and C. P .E. Bach. Many are translated here for the first time.
With general and chapter introductions, restored footnotes, and other valuable annotations, and a biographical appendix, this anthology will interest music scholars, students, and teachers.
TABLE OF CONTENTS
Editor's Preface Introduction Ch. 1: The First Polemics on Opera in Italy from On Tragedy (1715) Gian Vincenzo Gravina from On Perfect Italian Poetry (1706) Ludovico Antonio Muratori from On Ancient and Modern Tragedy (1714) Pier Jacopo Mattello from Theater a la Mode (1720) Benedetto Marcello Ch. 2: The Italians and the French: The Great "Querelle" from A Comparison between the French and Italian Music and Operas (1702) Francois Raguenet from Comparison of French and Italian Music (1704) Jean-Laurent Lecerf de la Vieville from The Spectacle of Nature (1746) Noel-Antoine Pluche from The Temple of Taste (1733) Voltaire from On the Freedom of Music (1759) Jean Le Rond d'Alembert from Essay on the Origins of Language (1781) Jean-Jacques Rousseau from Additions to the Letter on the Deaf and Dumb (1751) Denis Diderot from Rameau's Nephew (1760) Denis Diderot from The Little Prophet of Boehmischbroda (1753) Friedrich Melchior Grimm from the article "Poeme lyrique" in the Encyclopedie (1765) Friedrich Melchior Grimm Ch. 3: European Rationalism and Theories of Harmony from Steps to Parnassus (1725) Johann Joseph Fux from Treatise on Harmony (1722) Jean-Philippe Rameau from Observations on Our Musical Instinct and on Its Principle (1754) Jean-Philippe Rameau from On the Principles of Musical Harmony Contained in the Diatonic Genus (1767) Giuseppe Tartini from General Principles of the Science of Sound (1748) Denis Diderot Ch. 4: The Birth of Historiography and the Reports of Foreign Travelers in Italy from History of Music and of Its Effects (1715) Jacques Bonnet from A Dissertation on the Rise, Union, and Power, the Progressions, Separations, and Corruptions, of Poetry and Music (1763) John Brown from History of Music (1757) Giovanni Battista Martini from A General History of Music (1776) Charles Burney from A General History of the Science and Practice of Music (1776) John Hawkins from Letter to M. de Maleteste (1739-40) Charles de Brosses from Letters from Italy (1767) Samuel Sharp from An Account of the Manners and Customs of Italy (1768) Giuseppe Baretti from General History of Music (1788) Johann Nikolaus Forkel Ch. 5: The Reaction of Italian Humanists and Literati to Music from Essay on Opera (1755) Francesco Algarotti from Opera (1772) Antonio Planelli from Complete Formal and Material Treatise on the Theater (1794) Francesco Milizia Preface to Abele: Tramelogedia (1796) Vittorio Alfieri Letter to Saverio Mattei, at Naples (1770) Pietro Metastasio Ch. 6: German Musical Culture and the Controversy Regarding Bach