Bruce Haynes
- Published in print:
- 2007
- Published Online:
- January 2010
- ISBN:
- 9780195337259
- eISBN:
- 9780199864225
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195337259.003.0001
- Subject:
- Music, History, Western
In the Baroque period, the standard English name for the oboe was the “Hautboy” (pronounced “O-Boy”, or in the international phonetic alphabet, [oboi]). The name for the shawm in French is Hautbois; ...
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In the Baroque period, the standard English name for the oboe was the “Hautboy” (pronounced “O-Boy”, or in the international phonetic alphabet, [oboi]). The name for the shawm in French is Hautbois; the name for the early oboe in French is Hautbois; and finally, the name for the keyed, “modern” oboe in French is Hautbois. While the physical form altered, the function (and thus the name) remained. The Hautbois was (and still is) the double-reed instrument that played the treble line in art music. The physical characteristics that distinguish a shawm from an hautboy are of the same order as those that distinguish the hautboy from the keyed oboe; these instruments are all part of a historical continuum (as reflected in the French language). The identifiable trait that oboes had in common before the Romantic period was the regular use of half-holing and cross-fingering.Less
In the Baroque period, the standard English name for the oboe was the “Hautboy” (pronounced “O-Boy”, or in the international phonetic alphabet, [oboi]). The name for the shawm in French is Hautbois; the name for the early oboe in French is Hautbois; and finally, the name for the keyed, “modern” oboe in French is Hautbois. While the physical form altered, the function (and thus the name) remained. The Hautbois was (and still is) the double-reed instrument that played the treble line in art music. The physical characteristics that distinguish a shawm from an hautboy are of the same order as those that distinguish the hautboy from the keyed oboe; these instruments are all part of a historical continuum (as reflected in the French language). The identifiable trait that oboes had in common before the Romantic period was the regular use of half-holing and cross-fingering.
Bruce Haynes
- Published in print:
- 2007
- Published Online:
- January 2010
- ISBN:
- 9780195337259
- eISBN:
- 9780199864225
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195337259.003.0006
- Subject:
- Music, History, Western
By 1700, the hautboy had been adopted everywhere in Europe. If surviving repertoire is an indication, 1700-1730 was the hautboy's Golden Age; the greatest quantity of solo and chamber music comes ...
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By 1700, the hautboy had been adopted everywhere in Europe. If surviving repertoire is an indication, 1700-1730 was the hautboy's Golden Age; the greatest quantity of solo and chamber music comes from this period, as well as some of the most profound and varied compositions in the instrument's history. Important works appeared in many different countries, and as in no other period, every genre of hautboy writing was well represented: solo sonatas, small chamber works, concertos, obbligatos with voice, and music for hautboy band. While the majority of hautboists in the Baroque period were bandsmen, the talented and/or fortunate players found more interesting work at courts as Hofmusici, or in cities as Stadtpfeifer. It was these players who were the original recipients of most of the solo music for hautboy. Hautboists who managed to secure these posts were usually among the highest-paid orchestral musicians of the 17th and 18th centuries. From France, the hautboy reached Italy, Germany, England, the Dutch Republic, the Spanish/Austrian Netherlands, and the Habsburg Lands.Less
By 1700, the hautboy had been adopted everywhere in Europe. If surviving repertoire is an indication, 1700-1730 was the hautboy's Golden Age; the greatest quantity of solo and chamber music comes from this period, as well as some of the most profound and varied compositions in the instrument's history. Important works appeared in many different countries, and as in no other period, every genre of hautboy writing was well represented: solo sonatas, small chamber works, concertos, obbligatos with voice, and music for hautboy band. While the majority of hautboists in the Baroque period were bandsmen, the talented and/or fortunate players found more interesting work at courts as Hofmusici, or in cities as Stadtpfeifer. It was these players who were the original recipients of most of the solo music for hautboy. Hautboists who managed to secure these posts were usually among the highest-paid orchestral musicians of the 17th and 18th centuries. From France, the hautboy reached Italy, Germany, England, the Dutch Republic, the Spanish/Austrian Netherlands, and the Habsburg Lands.
- Published in print:
- 2000
- Published Online:
- June 2013
- ISBN:
- 9780853235866
- eISBN:
- 9781846314001
- Item type:
- chapter
- Publisher:
- Liverpool University Press
- DOI:
- 10.5949/liverpool/9780853235866.003.0001
- Subject:
- Literature, European Literature
This introductory chapter discusses the theme of this book, which is about the work of four humanists in Spain during the Late Baroque Period from 1680 to 1740. The book explores the works and views ...
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This introductory chapter discusses the theme of this book, which is about the work of four humanists in Spain during the Late Baroque Period from 1680 to 1740. The book explores the works and views of Sor Juana Inés de la Cruz, Gabriel Álvarez de Toledo, Pedro de Peralta Barnuevo, and Francisco Botello de Moraes. It suggests that they charted a middle course between scholastics and moderns in Spain and Spanish America, and considers the ambivalence of these Hispanic humanists toward analytic or Cartesian geometry and toward the rhetoric and poetics.Less
This introductory chapter discusses the theme of this book, which is about the work of four humanists in Spain during the Late Baroque Period from 1680 to 1740. The book explores the works and views of Sor Juana Inés de la Cruz, Gabriel Álvarez de Toledo, Pedro de Peralta Barnuevo, and Francisco Botello de Moraes. It suggests that they charted a middle course between scholastics and moderns in Spain and Spanish America, and considers the ambivalence of these Hispanic humanists toward analytic or Cartesian geometry and toward the rhetoric and poetics.
Joel Mokyr
- Published in print:
- 1992
- Published Online:
- October 2011
- ISBN:
- 9780195074772
- eISBN:
- 9780199854981
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195074772.003.0004
- Subject:
- Economics and Finance, Development, Growth, and Environmental
This chapter discusses the Renaissance, the period from 1500–1750 that is better known for its scientific achievements than its technological breakthroughs. It notes that many scientists made their ...
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This chapter discusses the Renaissance, the period from 1500–1750 that is better known for its scientific achievements than its technological breakthroughs. It notes that many scientists made their own instruments and contributed to the solution of practical problems associated with their manufacture. The chapter observes that Galileo built his own telescopes and supplemented his salary as a professor at the University of Padua by making and repairing instruments. It further notes that Robert Hooke, the brilliant and eccentric physicist and biologist in England, pioneered the use of balance springs for watches and invented the Hooke's joint, an elegant device used for power transmission. The chapter observes that the Renaissance and the baroque period also witnessed the beginning of the application of mathematics to engineering in a variety of areas, and that this was also found to be useful to all economic activity.Less
This chapter discusses the Renaissance, the period from 1500–1750 that is better known for its scientific achievements than its technological breakthroughs. It notes that many scientists made their own instruments and contributed to the solution of practical problems associated with their manufacture. The chapter observes that Galileo built his own telescopes and supplemented his salary as a professor at the University of Padua by making and repairing instruments. It further notes that Robert Hooke, the brilliant and eccentric physicist and biologist in England, pioneered the use of balance springs for watches and invented the Hooke's joint, an elegant device used for power transmission. The chapter observes that the Renaissance and the baroque period also witnessed the beginning of the application of mathematics to engineering in a variety of areas, and that this was also found to be useful to all economic activity.
Ofer Gal and Raz Chen-Morris
- Published in print:
- 2013
- Published Online:
- September 2013
- ISBN:
- 9780226923987
- eISBN:
- 9780226923994
- Item type:
- book
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226923994.001.0001
- Subject:
- History, History of Science, Technology, and Medicine
This book presents a radically new perspective on the study of early modern science. Instead of the triumph of reason and rationality and the celebration of the discoveries and breakthroughs of the ...
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This book presents a radically new perspective on the study of early modern science. Instead of the triumph of reason and rationality and the celebration of the discoveries and breakthroughs of the period, they examine science in the context of the baroque, analyzing the tensions, paradoxes, and compromises that shaped the New Science of the seventeenth century and enabled its spectacular success. The authors show how scientists during the seventeenth century turned away from the trust in the acquisition of knowledge through the senses towards a growing reliance on the mediation of artificial instruments, such as lenses and mirrors for observation and mechanical and pneumatic devices for experimentation. Likewise, the mathematical techniques and procedures that allowed the success of mathematical natural philosophy became increasingly obscure and artificial, and in place of divine harmonies they revealed an assemblage of isolated, contingent laws and constants. In its attempts to enforce order in the face of threatening chaos, blur the boundaries of the natural and the artificial, and mobilize passions in the service of objective knowledge, the New Science is a baroque phenomenon.Less
This book presents a radically new perspective on the study of early modern science. Instead of the triumph of reason and rationality and the celebration of the discoveries and breakthroughs of the period, they examine science in the context of the baroque, analyzing the tensions, paradoxes, and compromises that shaped the New Science of the seventeenth century and enabled its spectacular success. The authors show how scientists during the seventeenth century turned away from the trust in the acquisition of knowledge through the senses towards a growing reliance on the mediation of artificial instruments, such as lenses and mirrors for observation and mechanical and pneumatic devices for experimentation. Likewise, the mathematical techniques and procedures that allowed the success of mathematical natural philosophy became increasingly obscure and artificial, and in place of divine harmonies they revealed an assemblage of isolated, contingent laws and constants. In its attempts to enforce order in the face of threatening chaos, blur the boundaries of the natural and the artificial, and mobilize passions in the service of objective knowledge, the New Science is a baroque phenomenon.
Bruce Haynes
- Published in print:
- 2007
- Published Online:
- January 2010
- ISBN:
- 9780195337259
- eISBN:
- 9780199864225
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195337259.001.0001
- Subject:
- Music, History, Western
A history of the hautboy, the oboe of the Baroque period, this book reflects recent interest in the instrument. The first of the woodwind instruments to join with strings in creating the new ...
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A history of the hautboy, the oboe of the Baroque period, this book reflects recent interest in the instrument. The first of the woodwind instruments to join with strings in creating the new orchestra, it had by the end of the 20th century again become a regular presence on the concert music scene. Between 1640 and 1760, this type of oboe underwent dramatic changes in both function and physical form, and the majority of its solo and chamber repertoire appeared. The book examines in detail the hautboy's structure, its players, makers, and composers, issues of performing style and period techniques, how and where the instrument was played, and who listened to it.Less
A history of the hautboy, the oboe of the Baroque period, this book reflects recent interest in the instrument. The first of the woodwind instruments to join with strings in creating the new orchestra, it had by the end of the 20th century again become a regular presence on the concert music scene. Between 1640 and 1760, this type of oboe underwent dramatic changes in both function and physical form, and the majority of its solo and chamber repertoire appeared. The book examines in detail the hautboy's structure, its players, makers, and composers, issues of performing style and period techniques, how and where the instrument was played, and who listened to it.
Ofer Gal and Raz Chen-Morris
- Published in print:
- 2013
- Published Online:
- September 2013
- ISBN:
- 9780226923987
- eISBN:
- 9780226923994
- Item type:
- chapter
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226923994.003.0001
- Subject:
- History, History of Science, Technology, and Medicine
This introductory chapter discusses the theme of this volume, which is about the tensions and inversions at the New Science during the baroque period. This volume is divided into three sections. The ...
More
This introductory chapter discusses the theme of this volume, which is about the tensions and inversions at the New Science during the baroque period. This volume is divided into three sections. The first examines the rise of instrument-mediated empiricism and the new understanding of our senses and experiences that it implied and embedded. The second deals with the promise, challenges, and paradoxical compromises required to turn mathematics into the primary tool of natural philosophy. The third examines the moral and ethical consequences of these reconfigurations of reason, and the senses and qualities of the new savant.Less
This introductory chapter discusses the theme of this volume, which is about the tensions and inversions at the New Science during the baroque period. This volume is divided into three sections. The first examines the rise of instrument-mediated empiricism and the new understanding of our senses and experiences that it implied and embedded. The second deals with the promise, challenges, and paradoxical compromises required to turn mathematics into the primary tool of natural philosophy. The third examines the moral and ethical consequences of these reconfigurations of reason, and the senses and qualities of the new savant.
- Published in print:
- 2000
- Published Online:
- June 2013
- ISBN:
- 9780853235866
- eISBN:
- 9781846314001
- Item type:
- chapter
- Publisher:
- Liverpool University Press
- DOI:
- 10.5949/liverpool/9780853235866.003.0006
- Subject:
- Literature, European Literature
This chapter, which sums up the key findings of this study on humanism and new philosophy in Spain during the Late Baroque Period from 1680 to 1740, discusses resistance to Gothicism in the ...
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This chapter, which sums up the key findings of this study on humanism and new philosophy in Spain during the Late Baroque Period from 1680 to 1740, discusses resistance to Gothicism in the nineteenth century, the acceptance of Gothicism as philosophy, and the folklorization of Spanish history. It traces the evolution of the instrumental metaphor of Gothicism and suggests that Gothicism was clearly alive in contemporary discussions, assumptions, and views of Spain and Spanish America during this period.Less
This chapter, which sums up the key findings of this study on humanism and new philosophy in Spain during the Late Baroque Period from 1680 to 1740, discusses resistance to Gothicism in the nineteenth century, the acceptance of Gothicism as philosophy, and the folklorization of Spanish history. It traces the evolution of the instrumental metaphor of Gothicism and suggests that Gothicism was clearly alive in contemporary discussions, assumptions, and views of Spain and Spanish America during this period.
Barbara Owen
- Published in print:
- 2007
- Published Online:
- January 2010
- ISBN:
- 9780195311075
- eISBN:
- 9780199865314
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195311075.003.0002
- Subject:
- Music, History, Western
This chapter shows that Brahms's interest in playing the organ seems to have burned out rather quickly after only two or three years in the 1850s, never to revive. With the exception of his ...
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This chapter shows that Brahms's interest in playing the organ seems to have burned out rather quickly after only two or three years in the 1850s, never to revive. With the exception of his performance of piano transcriptions of Bach organ works, his interest in organ music, too, appears to have lain largely dormant for nearly four decades. This period did, however, see the publication, in 1864 and 1882, of two earlier organ works that he had gone to some trouble to revise, as well as his occasional provision of organ parts to the orchestral scores of at least two of his own larger choral works, along with works by Bach, Handel, Mozart, and others. By no means dormant, however, was Brahms's interest in the music of the Baroque period, counterpoint, and the Lutheran chorale. The contrapuntal skills he had honed so conscientiously in the few short months of his exchanges with Joachim in 1856 continued to mature, along with his expertise in orchestration, songwriting, and other facets of his art. Even in his later years, he continued to exhort budding composers to sharpen their skills by diligently studying counterpoint.Less
This chapter shows that Brahms's interest in playing the organ seems to have burned out rather quickly after only two or three years in the 1850s, never to revive. With the exception of his performance of piano transcriptions of Bach organ works, his interest in organ music, too, appears to have lain largely dormant for nearly four decades. This period did, however, see the publication, in 1864 and 1882, of two earlier organ works that he had gone to some trouble to revise, as well as his occasional provision of organ parts to the orchestral scores of at least two of his own larger choral works, along with works by Bach, Handel, Mozart, and others. By no means dormant, however, was Brahms's interest in the music of the Baroque period, counterpoint, and the Lutheran chorale. The contrapuntal skills he had honed so conscientiously in the few short months of his exchanges with Joachim in 1856 continued to mature, along with his expertise in orchestration, songwriting, and other facets of his art. Even in his later years, he continued to exhort budding composers to sharpen their skills by diligently studying counterpoint.
Bracha Yaniv
- Published in print:
- 2019
- Published Online:
- February 2021
- ISBN:
- 9781906764180
- eISBN:
- 9781800343320
- Item type:
- chapter
- Publisher:
- Liverpool University Press
- DOI:
- 10.3828/liverpool/9781906764180.003.0003
- Subject:
- Religion, Judaism
This chapter focuses on the Torah wrapper and the Torah binder. The wrapper, the piece of fabric rolled up with the parchment scroll, is an item used in the wrapping of the Torah scroll in Italy and ...
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This chapter focuses on the Torah wrapper and the Torah binder. The wrapper, the piece of fabric rolled up with the parchment scroll, is an item used in the wrapping of the Torah scroll in Italy and the Sephardi diaspora of exiles from Spain and Portugal. In Italy, the wrapper is known as the mapah, indicating that it evolved from the first ceremonial object connected to the Torah scroll in antiquity, inheriting its name. Meanwhile, the binder is a long, thin piece of cloth bound around the Torah scroll. In Italy and in Sephardi diaspora congregations, it is bound over the wrapper, while in other communities it is placed directly next to the parchment scroll. What makes the Italian binders unique is that they are rooted in the embroidery and lace-work traditions of the Italian Renaissance and baroque period.Less
This chapter focuses on the Torah wrapper and the Torah binder. The wrapper, the piece of fabric rolled up with the parchment scroll, is an item used in the wrapping of the Torah scroll in Italy and the Sephardi diaspora of exiles from Spain and Portugal. In Italy, the wrapper is known as the mapah, indicating that it evolved from the first ceremonial object connected to the Torah scroll in antiquity, inheriting its name. Meanwhile, the binder is a long, thin piece of cloth bound around the Torah scroll. In Italy and in Sephardi diaspora congregations, it is bound over the wrapper, while in other communities it is placed directly next to the parchment scroll. What makes the Italian binders unique is that they are rooted in the embroidery and lace-work traditions of the Italian Renaissance and baroque period.
Donald Burrows
- Published in print:
- 2012
- Published Online:
- May 2015
- ISBN:
- 9780199737369
- eISBN:
- 9780190268152
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:osobl/9780199737369.001.0001
- Subject:
- Music, History, Western
Handel's compositions form one of the peaks of creative achievement in the Baroque period, and cover a remarkable range. His compositional processes were often complex, but could result in accessible ...
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Handel's compositions form one of the peaks of creative achievement in the Baroque period, and cover a remarkable range. His compositional processes were often complex, but could result in accessible and memorable 'hit tunes'.His life and career were as remarkable as his music. Born in Germany to a family that reputedly tried to discourage his initial interest in music, he broke away to seek his fortune in Italian opera. A series of career moves brought him via Hanover to London, where he settled and dominated the city's musical life for half a century. He quickly made his mark in English church music as well as Italian opera, and eventually created two new musical genres — English theatre oratorio and the organ concerto. Handel is important also because, as a musician, he also became a significant public figure. This biography provides an account of the man and his music. This new edition incorporates new material. The last half century has seen a great renewal of research on the circumstances of Handel's life, and a major expansion in performances and recordings of his music. The book brings together the results of this scholarly activity, and is informed by wide experience of modern performances of Handel's music, including the revival of his operas and experimentation with ‘authentic’ performance practices.Less
Handel's compositions form one of the peaks of creative achievement in the Baroque period, and cover a remarkable range. His compositional processes were often complex, but could result in accessible and memorable 'hit tunes'.His life and career were as remarkable as his music. Born in Germany to a family that reputedly tried to discourage his initial interest in music, he broke away to seek his fortune in Italian opera. A series of career moves brought him via Hanover to London, where he settled and dominated the city's musical life for half a century. He quickly made his mark in English church music as well as Italian opera, and eventually created two new musical genres — English theatre oratorio and the organ concerto. Handel is important also because, as a musician, he also became a significant public figure. This biography provides an account of the man and his music. This new edition incorporates new material. The last half century has seen a great renewal of research on the circumstances of Handel's life, and a major expansion in performances and recordings of his music. The book brings together the results of this scholarly activity, and is informed by wide experience of modern performances of Handel's music, including the revival of his operas and experimentation with ‘authentic’ performance practices.
