Jak cytować
Liczba wyświetleń: 81
Liczba pobrań: 29
Abstrakt
Przekład anglojęzycznego wstępu do "The Oxford Handbook of Topic Theory", ed. D. Mirka, Oxford University Press, 2013.
Bibliografia
Agawu, V. Kofi. 1991. Playing with Signs. A Semiotic Interpretation of Classic Music. Princeton: Princeton University Press. DOI: https://doi.org/10.1515/9781400861835
Agawu, V. Kofi. 2009. Music as Discourse. Semiotic Adventures in Romantic Music. New York: Oxford University Press. DOI: https://doi.org/10.1093/acprof:oso/9780195370249.001.0001
Allanbrook, Wye Jamison. 1983. Rhythmic Gesture in Mozart. Le Nozze di Figaro and Don Giovanni. Chicago: University of Chicago Press. DOI: https://doi.org/10.7208/chicago/9780226437712.001.0001
Allanbrook, Wye Jamison. 1988. “Ear-Tickling Nonsense”. A New Context for Musical Expression in Mozart’s “Haydn” Quartets. St. John Review 38: 1–24.
Allanbrook, Wye Jamison. 1992. Two Threads Through the Labyrinth. Topic and Process in the First Movements of K. 332 and K. 333. W: Convention in Eighteenth- and Nineteenth-Century Music. Essays in Honor of Leonard G. Ratner, ed. Wye J. Allanbrook, Janet M. Levy, William P. Mahrt, 125–171. Stuyvesant: Pendragon.
Allanbrook, Wye Jamison. 1996. Comic Issues in Mozart’s Piano Concertos. W: Mozart’s Piano Concertos. Text, Context, Interpretation, ed. Neal Zaslaw, 75–106. Ann Arbor, MI: University of Michigan Press.
Allanbrook, Wye Jamison. 2002. Theorizing the Comic Surface. W: Music in the Mirror. Reflections on the History of Music Theory and Literature for the Twenty-First Century, ed. Andreas Giger, Thomas J. Mathiesen, 195–216. Lincoln: University of Nebraska Press.
Allanbrook, Wye Jamison. 20xx. The Secular Commedia. Comic Mimesis in Late Eighteenth-Century Instrumental Music. Berkeley: University of California Press.
Baker, Nancy Kovaleff, Thomas Christensen. 1995. Aesthetics and the Art of Musical Composition in the German Enlightenment. Cambridge: Cambridge University Press.
Barker-Benfield, Graham J. 1992. The Culture of Sensibility. Sex and Society in Eighteenth-Century Britain. Chicago: University of Chicago Press.
Barry, Kevin. 1987. Language, Music and the Sign. A Study in Aesthetics, Poetics and Poetic Practice from Collins to Coleridge. Cambridge: Cambridge University Press.
Barthes, Roland. 1986. The Responsibility of Forms. Tłum. R. Howard. Oxford: Blackwell.
Batteux, Charles. 1746. Les Beaux Arts réduits à un même principe. Paris: Durand.
Bonds, Mark Evan. 1991. Wordless Rhetoric. Musical Form and the Metaphor of the Oration. Cambridge, MA: Harvard University Press. DOI: https://doi.org/10.4159/harvard.9780674733411
Brossard, Sébastien de. 1703. Dictionnaire de musique. Paris: Ballard.
Buelow, George J. 1966. The Loci Topici and Affect in Late Baroque Music. Heinichen’s Practical Demonstration. Music Review 27: 161–176.
Buelow, George J. 1980. Rhetoric and Music. W: The New Grove Dictionary of Music and Musicians, ed. Stanley Sadie, vol. 15, 793–803. London: Macmillan.
Buelow, George J. 1983. Johann Mattheson and the Invention of the Affektenlehre. W: New Mattheson Studies, ed. George J. Buelow, Hans Joachim Marx, 393–407. Cambridge: Cambridge University Press.
Bukofzer, Manfred. 1947. Music in the Baroque Era. New York: Norton [Muzyka w epoce baroku, tłum. Elżbieta Dziębowska, Warszawa: Państwowe Wydawnictwo Naukowe, 1970].
Caplin, William. 2005. On the Relation of Musical Topoi to Formal Function. Eighteenth-Century Music 2/1: 113–124. DOI: https://doi.org/10.1017/S1478570605000278
Chua, Daniel K. L. 1999. Absolute Music and the Construction of Meaning. Cambridge: Cambridge University Press. DOI: https://doi.org/10.1017/CBO9780511481697
Cumming, Naomi. 2000. The Sonic Self. Musical Subjectivity and Signification. Bloomington: Indiana University Press.
Curtius, Ernst Robert. 1953. European Literature and the Latin Middle Ages. Tłum. Willard R. Trask. London: Routledge & Paul [Literatura europejska i łacińskie średniowiecze, tłum. Andrzej Borowski, Kraków: Universitas, 1997]
Descartes, René. 1649. Les passions de l’âme. Paris: H. Legras.
Doni, Giovanni Battista. 1635. Compendio del trattato de’generi e de’modi della musica. Rome: Fei.
Dreyfus, Laurence. 1996. Bach and the Patterns of Invention. Cambridge, MA: Harvard University Press.
DuBos, Jean-Baptiste. 1719. Réflexions critiques sur la poësie et sur la peinture. 2 vols. Paris: Jean Mariette.
Eco, Umberto. 1976. A Theory of Semiotics. Bloomington: Indiana University Press [Teoria semiotyki, tłum. Maciej Czerwiński, Kraków: Wydawnictwo Uniwersytetu Jagiellońskiego, 2009]
Engel, Johann Jakob. 1780. Über die musikalische Malerey. Berlin: Voss.
Engel, Johann Jakob. 1998. On Painting in Music. W: Source Readings in Music History, rev. ed., vol. 5, ed. Wye Jamison Allanbrook, 220–231. New York: Norton.
Forkel, Johann Nikolaus. 1788. Allgemeine Geschichte der Musik. Vol. 1. Leipzig: Schwickert.
Geck, Martin. 1995. Humor und Melancholie als kategoriale Bestimmungen der „absoluten“ Musik. W: Studien zur Musikgeschichte. Eine Festschrift für Ludwig Finscher, Hrsg. Annegrit Laubenthal, 309–16. Kassel: Bärenreiter.
Gottsched, Johann Christoph. 1730. Versuch einer Critischen Dichtkunst vor die Deutschen. Leipzig: Bernhard Christoph Breitkopf.
Gottsched, Johann Christoph. 1736. Ausführliche Redekunst. Leipzig: Bernhard Christoph Breitkopf.
Gottsched, Johann Christoph. 1751. Versuch einer Critischen Dichtkunst, new expanded ed. Leipzig: Bernhard Christoph Breitkopf.
Grétry, André-Ernest-Modeste. 1978. Memoiren oder Essays über die Musik, Hrsg. Peter Gülke. Tłum. Dorothea Gülke. Wilhelmshaven: Heinrichshofen.
Hatten, Robert. 1994. Musical Meaning in Beethoven. Markedness, Correlation, and Interpretation. Bloomington: Indiana University Press.
Hatten, Robert. 2004. Interpreting Musical Gestures, Topics, and Tropes. Mozart, Beethoven, Schubert. Bloomington: Indiana University Press.
Heartz, Daniel. Haydn, Mozart, and the Viennese School, 1740–1780. New York: Norton.
Heinichen, Johann David. 1711. Neu erfundene und gründliche Anweisung zu vollkommener Erlernung des General-Basses. Hamburg: Benjamin Schiller. Reprint, Kassel: Bärenreiter, 2000.
Heinichen, Johann David. 1728. Der General-Bass in der Composition. Dresden: Author. Reprint, Hildesheim: Georg Olms, 1994.
Hosler, Bellamy. 1981. Changing Aesthetic Views of Instrumental Music in 18th-Century Germany. Ann Arbor, MI: UMI Research Press.
Hoyt, Peter. 1994. Review of Wordless Rhetoric. Musical Form and the Metaphor of the Oration by Mark Evan Bonds. Journal of Music Theory 38/1: 123–43. DOI: https://doi.org/10.2307/843830
Hoyt, Peter. 2001. Rhetoric and Music. §II. After 1750. W: The New Grove Dictionary of Music and Musicians, 2nd ed., ed. Stanley Sadie, John Tyrrell, vol. 21, 270–273. London: Macmillan.
Irving, John. 1998. Mozart. The ‘Haydn’ Quartets. Cambridge: Cambridge University Press. DOI: https://doi.org/10.1017/CBO9780511612114
Katz, Erich. 1926. Die musikalischen Stilbegriffe des 17. Jahrhunderts. Ph.D. diss., Albert-Ludwigs-Universität zu Freiburg i. Br.
Kircher, Athanasius. 1650. Musurgia universalis. Rome: Francesco Corbelletti. Reprint, Hildesheim: Georg Olms, 1970.
Kirnberger, Johann Philipp. 1771–1779. Die Kunst des reinen Satzes. 2 vols. Vol. 1, Berlin: Rottmann 1771. Vol. 2, sections 1–3, Berlin and Königsberg: Decker und Hartung 1776, 1777, and 1779.
Koch, Heinrich Christoph. 1782–1793. Versuch einer Anleitung zur Composition. 3 vols. Vol. 1, Rudolstadt 1782. Vols. 2 and 3, Leipzig: Adam Friedrich Böhme, 1787 and 1793. Reprint, Hildesheim: Georg Olms 1969.
Koch, Heinrich Christoph. 1802. Musikalisches Lexikon. Frankfurt-am-Main: August Hermann der Jüngere. Reprint, Kassel: Bärenreiter 2001.
Kross, Siegfried. 1983. Mattheson und Gottsched. W: New Mattheson Studies, ed. George J. Buelow, Hans Joachim Marx, 327–344. Cambridge: Cambridge University Press.
Le Huray, Peter, James Day. 1981. Music and Aesthetics in the Eighteenth and Early-Nineteenth Centuries. Cambridge: Cambridge University Press.
Lidov, David. 1999. Elements of Semiotics. New York: St. Martin’s Press.
Locke, John. 1690. An Essay Concerning Humane Understanding. 4 vols. London: Thomas Basset. DOI: https://doi.org/10.1093/oseo/instance.00018020
Mattheson, Johann. 1713. Das Neu-Eröffnete Orchestre. Hamburg: Benjamin Schillers Witwe.
Mattheson, Johann. 1717. Das beschützte Orchestre. Hamburg: Schiller. Reprint, Kassel: Bärenreiter, 1981.
Mattheson, Johann. 1731. Grosse General-Baß-Schule. Hamburg: Kißner.
Mattheson, Johann. 1737. Kern melodischer Wissenschaft. Hamburg: Christian Herold. Reprint, Hildesheim: Georg Olms, 1976.
Mattheson, Johann. 1739. Der vollkommene Capellmeister. Hamburg: Christian Herold. Reprint, Kassel: Bärenreiter, 1954.
McClelland, Clive. 2012. Ombra. Supernatural Music in the Eighteenth Century. Lanham, UK: Lexington Books.
McKay, Nicholas. 2007. On Topics Today. Zeitschrift der Gesellschaft für Musiktheorie 4/1. Available: http://www.gmth.de/zeitschrift/artikel/251.aspx. (access: 12.04.2012). DOI: https://doi.org/10.31751/251
McKee, Eric. 2005. Mozart in the Ballroom. Minuet-Trio Contrast and the Aristocracy in Self-Portrait. Music Analysis 24/3: 383–436. DOI: https://doi.org/10.1111/j.1468-2249.2006.00226.x
McKee, Eric. 2012. Decorum of the Minuet, Delirium of the Waltz. A Study of Dance–Music Relations in 3/4 Time. Bloomington: Indiana University Press. DOI: https://doi.org/10.2307/j.ctt2005r6k
Mirka, Danuta. 2008. Introduction. W: Communication in Eighteenth-Century Music, ed. Danuta Mirka, Kofi Agawu, 1–10. Cambridge: Cambridge University Press. DOI: https://doi.org/10.1017/CBO9780511481376.001
Mirka, Danuta. 2014. Review of Mozart and Enlightenment Semiotics by Stephen Rumph. Journal of Music Theory 58/1: 67–77. DOI: https://doi.org/10.1215/00222909-2413589
Momigny, Jérôme-Joseph de. 1806. Cours complet d’harmonie et de composition. 2 vols. Paris: Author.
Monelle, Raymond. 2000. The Sense of Music. Semiotic Essays. Princeton, NJ: Princeton University Press.
Monelle, Raymond. 2006. The Musical Topic. Hunt, Military and Pastoral. Bloomington: Indiana University Press.
Neubauer, John. 1986. The Emancipation of Music from Language. Departure from Mimesis in Eighteenth-Century Aesthetics. New Haven: Yale University Press.
Niedt, Friedrich Erhard. 1721. Musikalische Handleitung. Vol. 2, Hrsg. Johann Mattheson. Hamburg: Benjamin Schillers Witwe und Joh. Christoph Kißner.
Otto, Imgard. 1937. Deutsche Musikanschauung im siebzehnten Jahrhundert. Berlin: Hayn.
Paddison, Max. 2010. Mimesis and the Aesthetics of Musical Expression. Music Analysis 29/1–3: 126–148. DOI: https://doi.org/10.1111/j.1468-2249.2011.00333.x
Palisca, Claude V. 1983. The Genesis of Mattheson’s Style Classification. W: New Mattheson Studies, ed. George J. Buelow, Hans Joachim Marx, 409–23. Cambridge: Cambridge University Press.
Powers, Harold. 1995. Reading Mozart’s Music. Text and Topic, Syntax and Sense. Current Musicology 57: 5–44.
Pritchard, Matthew. 2012. “The Moral Background of the Work of Art”. “Character” in German Musical Aesthetics, 1780–1850. Eighteenth-Century Music 9/1: 63–80. DOI: https://doi.org/10.1017/S1478570611000339
Ratner, Leonard G. 1980. Classic Music. Expression, Form, and Style. New York: Schirmer.
Ratner, Leonard G.1991. Topical Content in Mozart’s Keyboard Sonatas. Early Music 19/4: 615–19. DOI: https://doi.org/10.1093/earlyj/XIX.4.615
[Raupach, Christoph.] 1717. Veritophili deutliche Beweis-Gründe, Hrsg. Johann Mattheson. Hamburg: Benjamin Schillers Erben.
Rousseau, Jean-Jacques. 1768. Dictionnaire de musique. Paris: Veuve Duchesne.
Rousseau, Jean-Jacques. 1986. The First and Second Discourses Together with the Replies to Critics and Essay on the Origin of Languages, red. i tłum. Victor Gourevitch. New York: Harper and Row [Szkic o pochodzeniu języków, tłum. Bogdan Banasiak, Kraków: Aureus, 2001]
Rumph, Stephen. 2012. Mozart and Enlightenment Semiotics. Berkeley: University of California Press. DOI: https://doi.org/10.1525/9780520950115
Scacchi, Marco. 1649. Breve discorso sopra la musica moderna. Warsaw: Elert.
Scheibe, Johann Adolph. 1745. Critischer Musikus, new expanded ed. Leipzig: Breitkopf.
Schmidt, Marlene. 1981. Zur Theorie des musikalischen Charakters. München and Salzburg: Emil Katzbichler.
Schubart, Christian Friedrich Daniel. 1806. Ideen zu einer Ästhetik der Tonkunst, Hrsg. Ludwig Schubart. Vienna:
J.V. Degen. Reprint, Darmstadt: Wissenschaftliche Buchgesellschaft, 1969.
Sisman, Elaine. 1993a. Haydn and the Classical Variation. Cambridge, MA: Harvard University Press.
Sisman, Elaine. 1993b. Mozart. The ‘Jupiter’ Symphony No. 41 in C major, K. 551. Cambridge: Cambridge University Press. DOI: https://doi.org/10.1017/CBO9780511613418
Sulzer, Johann Georg. 1792–94. Allgemeine Theorie der schönen Künste, new expanded 2nd ed. 4 vols. Leipzig: Weidmann. Reprint, Hildesheim: Georg Olms, 1994.
Tatlow, Ruth. 1991. Bach and the Riddle of the Number Alphabet. Cambridge: Cambridge University Press.
Thomas, Downing A. 1995. Music and the Origins of Language. Theories from the French Enlightenment. Cambridge: Cambridge University Press. DOI: https://doi.org/10.1017/CBO9780511582608
Turino, Thomas. 1999. Signs of Imagination, Identity, and Experience. A Peircian Semiotic Theory for Music. Ethnomusicology 43/2: 221–255. DOI: https://doi.org/10.2307/852734
Wellbery, David E. 1984. Lessing’s Laocoon. Semiotics and Aesthetics in the Age of Reason. Cambridge: Cambridge University Press. DOI: https://doi.org/10.2307/1771983
Licencja
Prawa autorskie (c) 2023 Danuta Mirka, Marcin Trzęsiok
Utwór dostępny jest na licencji Creative Commons Uznanie autorstwa – Użycie niekomercyjne – Bez utworów zależnych 4.0 Międzynarodowe.