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date: 21 October 2020

General Index

General Index

“f” indicates material in figures. “n” indicates material in notes. “t” indicates material in tables. Bold indicates material in examples.

(p. 665) Abblasen, 198, 210n.10
Abert, Hermann, 62, 260, 279, 367, 372, 373, 376n.20, 377n.26
accompanied recitative, 62, 82, 102, 260, 269, 279, 283
Adorno, Theodor W., 645
affect, 2, 3, 6, 7, 8–9, 10–12, 15, 17, 20, 21–32, 38, 39–42, 46, 48n.9, 48n.17, 49n.20, 51n.46, 100, 264, 309, 357–62, 365, 373–74, 455, 458–59, 578, 579, 580, 588, 629–39. See also emotion; character; passion; sentiment
genre and, 7, 30, 37, 41, 357–58
style and, 6–7, 30, 37, 48n.9
sympathy and, 13, 14, 26, 252
sympathetic vibration and, 13–14
affective signification, 22–30, 31f, 37, 42–43, 52n.52
Affektenlehre, 10, 39, 49n.19, 358. See also doctrine of affections
Agawu, Kofi, 1–2, 21–22, 33, 46, 47n.2, 50n.35, 52n.53, 73, 74, 76, 84, 87n.2, 144, 160–61, 195, 212n.39, 474–90, 591, 644, 660–61
extroversive/introversive semiosis, 79, 88n.9, 381, 383, 504
Universe of Topic (UT), 2, 22, 62, 415, 455, 468n.3, 475–76
Agricola, Johann Friedrich, 245–48, 255n.7, 255–56n.9, 256n.14
Albrechtsberger, Johann Georg, 304–5, 313, 391
Algarotti, Francesco, 339, 350n.6, 351n.18
Alison, Archibald, 292
alla breve (meter), 88n.16, 211n.32, 359, 365, 377n.35, 498, 542, 549n.13. See also meter, 2/2
alla breve (style), 98, 286, 416t, 493, 506
Allanbrook, Wye Jamison, 2, 28–29, 30–31, 33, 39, 46, 48n.16, 50nn.3839, 52n.53, 61, 84, 88n.16, 90, 120, 121, 157, 211n.30, 221, 294, 331, 349n.1, 372, 377n.35, 377n.38, 469n.9, 475–76, 521, 534n.11, 535n.23, 549n.13, 559–64, 577, 591, 603, 627n.8
on dances, 144, 157–60
on expression, 22–23
on instrumental music, 29–30
on meter, 357, 360–61
on imitation (mimesis), 28–29, 100
on musical and rhetorical topics, 39
alla zoppa, 416t, 455, 494, 505
allemande (Baroque dance), 7, 49n.21, 165t
Allemande (spinning dance), 189n.26, 219. See also contredanse allemande
Alphorn, 398–99, 470n.20, 619–20, 627n.19
Altenburg, Johann, 198
Altmann, Wilhelm, 343, 344
amateur (Liebhaber), 47, 71, 72, 206, 602–26, 645
Angiolini, Gasparo, 268
angloise, 7, 11. See also contredanse anglaise
Aristotle, 39, 539–40, 548n.1
ars combinatoria, 39
Aufzug, 20, 29, 202. See also entrée (instrumental music)
authenticity, 2, 577, 596
awe, 287, 297n.12, 630
axial melodies, 397
Bach, Carl Philip Emanuel, 119, 195, 250, 260–62, 268, 269, 272–73, 274, 391, 552, 558, 564, 565, 573n.25
(p. 666) Bach, Johann Sebastian, 210n.20, 309, 311
Badura-Skoda, Paul, 540–41, 548n.8
bagatelle, 648
ballad, 647t, 648
ballet, 20, 44, 47n.3, 105, 148, 161n.7, 169, 206, 268, 647t
barcarole, 105
Barthes, Roland, 52n.51
Batteux, Charles, 12, 27, 34, 38, 265
Battistella, Edwin, 503
Baumgarten, Alexander Gottlieb, 27
Beattie, James, 292
Beauchamps, Pierre, 35, 111, 148, 161n.5, 161n.7
Beethoven, Ludwig van, 102, 106, 119, 250, 262, 264, 391, 397, 399–401, 403–4, 407, 411n.11, 461, 469n.8, 517, 534n.13, 594, 643–44
bel canto, 644, 644t
Benda, Franz, 273
Benda, Georg, 283
Benjamin, William, 376n.24, 377n.25
Berg, Darrell, 268
Berlioz, Hector, 296, 643–44
Bernhard, Christoph, 3, 307, 309
Bernstein, Leonard, 368, 376n.22
Bewegung, 10, 27, 34, 145, 161n.3, 358. See also tempo
bicinia, 196, 610, 612, 620, 624. See also hunting calls
Bilson, Malcolm, 559, 589
Blasis, Carlo, 219, 233n.17
Boccherini, Luigi, 268, 348
Bodmer, Johann Jacob, 12
Boileau, Nicolas, 265
Bokemeyer, Heinrich, 269–70
Bonds, Mark Evan, 53n.64, 96, 281, 573n.31, 626n.4, 626n.6, 627n.15
Bordoni, Faustina, 350n.9
Börne, Ludwig, 349–50n.3
bourrée, 7, 11, 144, 145, 146, 147–57, 160, 161nn.12, 165t, 370–71, 381, 416t, 466, 494–96, 498, 505, 542–44, 549n.13, 550nn.1516
bravura style, 331, 649, 650t, 653
Breitinger, Johann Jacob, 12
Brendel, Franz, 656
brillant, 649, 650t, 656t
brilliant style, 45, 82–83, 107, 133, 330–49, 349–50nn.23, 350nn.78, 375n.16, 416t, 466–67, 477t, 478–82, 483–84, 488, 505–6, 525–26, 587, 612, 632–38
and singing style, 238–39, 331, 365
Brossard, Sébastien de, 47n.3, 196–98, 207, 243, 358
Broyles, Michael, 121
Bruckner, Anton, 656–57
Bukofzer, Manfred, 39
Burke, Edmund, 248–49, 281, 291–92, 296
Burney, Charles, 82, 92, 97, 273, 307–8, 330, 350n.9
caccia, 620. See also chace
cadenza, 107, 416t, 477t, 483, 504, 506
Caldara, Antonio, 462
Calzabigi, Ranieri de, 91
canarie, 7
canon, 313, 572n.20, 646, 647t. See also minuet, canonic
cantabile, 240–41, 244–46, 255nn.23, 255n.7, 256n.11, 256n.12, 649
cantata, 7, 9, 48n.15, 98, 273, 294, 647t
cantus firmus, 47n.3, 98, 609
canzona, 498
canzonet, 249, 250, 251, 252, 253, 254, 257n.17, 647t
Caplin, William E., 45, 88n.10, 139n.11, 139n.13, 409–10n.1, 415–49, 454, 512n.3
capriccio, 102–4, 647t
ceremonial music, 121, 198, 200, 201–2, 284, 286, 309, 405, 456, 460t
Chabanon, Michel Paul Gui de, 27, 28, 31, 51n.43, 52n.51
chace, 620. See also chasse
chaconne, 165t, 417
Chambers, Ephraim, 266–67
character, 3, 5, 7–9, 18–21, 22, 30, 36, 42, 50n.33, 50n.35, 65–69, 83, 145, 122, 202, 205, 310, 339, 362, 458, 505, 578–80, 581t, 582–85, 587–90, 594–95
and sentiment, 18–20, 50n.35, 584
chasse, 464, 603, 610–26. See also chace
Cherubini, Luigi, 264
Chopin, Frédéric, 183, 644
chorale, 11, 301, 311–12, 514
Ach Gott und Herr, wie gross und schwer sind mein begangne Sünden! 17, 18–19, 24
Wenn wir in höchsten Nöthen, 11
Wie schön leuchtet, 11
(p. 667) Cicero, 39, 40, 53n.71, 552, 570, 571n.8
cimbalom, 218, 232n.15
Clementi, Muzio, 131, 569
Collasse, Pascal, 148, 154
commedia dell’arte, 9, 62, 374
comedy, 9, 92, 374
common time, 211n.32. See also meter, 4/4
Compan, Charles, 171
concerto grosso, 7
concerto, 5, 9, 20–21, 42, 45, 48n.17, 73–75, 80, 82–83, 332–33, 346, 350nn.1011, 383, 384, 483, 505, 535n.17, 591–93, 647t, 648–49, 650t
concerto style, 331, 588, 590
Condillac, Étienne Bonnot de, 268
connoisseur (Kenner), 47, 71, 72, 409, 605, 645
contrapunctus gravis, 309
contrapunto alla diritta, 313
contredanse, 44, 87, 100, 165t, 166–73, 182–83, 187–88n.6, 219, 221, 482, 497, 498, 505
allemande, 166, 167–68
anglaise, 166–69, 171–72
française, 166–68, 187–88n.6
hongroise. See Hongroise
Corelli, Arcangelo, 71, 137, 330
corps sonore, 27
Corri, Domenico, 245, 248, 256n.11, 257n.15
cotillon. See contredanse française
counterpoint, 83, 84, 98, 129, 181, 301, 304, 305–6, 308, 311–14, 493, 504, 506, 517, 604, 605, 608–10. See also canon; fugue
double, 202, 321–22, 338
imitative, 497, 504, 604, 605, 608
invertible, 301, 338, 525
coup d’archet, 93, 97, 98, 108, 416t, 482
Couperin, François, 339–40, 350n.9
courante, 7, 49n.21, 165t
Cramer, Carl Friedrich, 274, 644
Crotch, William, 292–93
Cumming, Naomi, 32, 51n.42
Curtius, Ernst Robert, 39, 88n.14
Czerny, Carl, 343, 344, 350n.3, 351n.24, 376n.22, 646–48, 656, 661n.3
dances, 11, 20, 21, 42, 47n.3, 49n.21, 143–61, 164–87, 187–88n.6, 499–503, 582, 647, 648t
French, 12, 147–51
Hungarian, 218–21, 223–27,
spinning, 165t, 174–86, 189n.25, 189n.26, 189n.31
Viennese ballroom, 165–87
Darcy, Warren, 384, 470n.20, 470n.26, 660
Daube, Johann Friedrich, 92, 195, 241, 320–22, 321–22, 330, 338, 339, 341, 351nn.1516
Dennis, John, 291
Descartes, René, 49n.20, 53n.61
Deutscher, 165t, 174–87, 189n.26, 189n.29, 464, 508
Dibdin, Charles, 256n.11
Dickensheets, Janice, 297n.8, 297n.11, 644
Diderot, Denis, 341
différance, 565
Dittersdorf, Carl Ditters von, 601
doctrine of affections, 10, 11–12, 17, 23, 27–28, 34, 38, 39–42, 46, 49n.20, 49n.22, 51n.46, 358, 373. See also affects; Affektenlehre
doctrine of mimesis, 12–13, 25–28, 30, 33–35, 36, 38–39, 46, 51n.48, 100, 265–66, 268
Dömpke, Gustav, 657
Doni, Giovanni Battista, 3
double counterpoint. See counterpoint, double
double fugue. See fugue, double
double measures, 364, 365, 376n.18, 377n.25, 377n.34
Dreher, 189n.26, 189n.31
Dreyfus, Lawrence, 313, 446
DuBos, Jean-Baptiste, 12, 25, 27, 33–34, 265, 269
Dussek, Jan Ladislav, 644
Eco, Umberto, 32, 52n.52, 52n.54, 52n.55, 468n.5, 471n.29, 516
ratio facilis/difficilis, 515, 534n.9
undercoding, 535n.16
Einstein, Alfred, 378n.40
Eliot, George, 252–54
emotion, 10, 12–17, 23, 26–27, 34–35, 51n.46, 162n.13, 164, 187n.3, 264, 358, 552, 579, 630. See also affect; passion; sentiment .
empfindsamer Styl, 40, 264, 268, 272, 281, 283, 294, 331, 416t, 456, 494, 517, 524
Empfindsamkeit, 37, 44, 264–65, 268. See also sensibility
(p. 668) Engel, Johann Jakob, 34, 586
entrée (dance), 167, 203, 568
entrée (instrumental music), 20, 29, 202–3, 568. See also Aufzug
Epstein, David, 368, 376n.23
Erasmus, 551, 565
Esterházy, Nicolaus (Prince), 568
ethos, 18, 38, 301, 595. See also character
étude, 647
expectation, 629–32, 639
expression, 1–2, 4, 5, 7, 8, 9, 14–15, 21–23, 40, 45, 52n.52, 61, 71, 247, 255n.7, 256nn.1112, 263–64, 268, 331, 333, 535n.17, 630–31
imitation (mimesis) and, 13, 49n.25, 51n.48, 100, 265–66
expression–structure dichotomy, 21–22, 45
expressive genres
pastoral, 211n.27, 518, 533n.2
“tragic-to-transcendent,” 383, 404, 408
fanfare, 40, 93, 100, 108, 111, 115, 190n.41, 405–7, 406, 416t, 504, 508, 523, 527
fantasia, 44, 102, 107, 111, 259–63, 281, 283, 301, 381, 416t, 498, 504, 512n.8, 647
Feldtenstein, Carl Joseph von, 169, 175, 189n.29, 219–21, 233n.18, 603
Feuillet, Raoul-Auger, 148, 149f, 161n.5, 167
Field, John, 644–45, 648
figurae, 46, 332, 455, 468n.4, 497–512, 550n.15
/anacrusis/, 505
/arpeggio/, 508–11
/augmentation/, 505–6
/diminution/, 505–6
/displacement/, 499–503
/homorhythm/, 504–6
/solo/, 504, 506
figures. See rhetorical figures
Fomin, Yevstigney, 283
Forkel, Johann Nikolaus, 23–24, 25, 38, 46, 53n.61, 324, 552, 554, 571n.5, 572n.12, 645
Framéry, Nicolas, 168
Frederick the Great (King), 350n.9
French overture, 31, 32, 98, 115, 201, 203, 284, 286, 294, 309, 416t, 498, 568
Friedrich, Caspar David, 456
fugal style. See learned style, fugal
fugato, 320, 389, 393
fugue, 96, 98, 202, 203, 301, 305–6, 307, 309, 324, 359, 389, 391, 393, 581, 582, 597n.3, 602, 647t
double, 349n.3
funeral music, 111, 199, 523
Fux, Johann Joseph, 308, 462, 512n.10
Galeazzi, Francesco, 195, 350n.8, 351n.23, 360, 459
Galliard, John Ernest, 245–48, 255n.7, 256n.10
Gallini, Giovanni, 172, 175
gavotte, 7, 11, 84, 88n.16, 144, 145, 146, 160, 161n.2, 165t, 167, 187–88n.6, 370–73, 377n.27, 377n.35, 377n.38, 378n.43, 378n.46, 416t, 493, 494–96, 497, 500, 505, 540–43, 549nn.1013, 550nn.1516
genres, 7, 38, 41–42, 583, 646–48, 647t, 648t. See also expressive genres
small vs. larger compositions, 7, 20–21, 42
Gerber, Ernst Ludwig, 262
German dance, 44, 187, 188n.17, 398. See also Deutscher
Gerstenberg, Heinrich Wilhelm von, 260
Gervasoni, Carlo, 360
Gherardi, Giovanni Battista, 172
gigue, 7, 49n.21, 100, 165t, 169, 205, 455, 461, 499, 525–26. See also hunting gigue
Gjerdingen, Robert, 128, 315, 370, 386–89, 512n.3
Gluck, Christoph Willibald, 91, 102, 283, 285
Goethe, Johann Wolfgang von, 170, 178, 273, 281
Goldoni, Carlo, 271
Gossec, François-Joseph, 101
Gottsched, Johann Christian, 7, 12, 38, 50n.33, 53n.64, 250, 265
Grabócz, Márta, 644
Grétry, André-Ernest-Modeste, 48n.15, 92, 101, 115, 459
Guarini, Battista, 523–24
Gypsy style. See Hungarian-Gypsy style
hallgató, 139n.12, 219, 234n.41
Handel, George Frideric, 283
Hanslick, Eduard, 275, 656, 657
harmonic schemata, 2, 45, 315, 381–409, 415. See also overture schema
Fenaroli, 128
(p. 669) le–sol–fi–sol, 45, 383–402, 384, 385, 397, 404–5, 408
Pastorella, 370, 370, 372, 373, 378n.46
Quiescenza, 497, 508, 512n.3
Prinner, 315–16, 386–91, 388, 436, 446
Romanesca, 436, 446, 450n.9
Stabat Mater Prinner, 386–91, 388
Hasse, Johann Adolf, 283, 307
Hatten, Robert S., 2, 22, 52n.57, 130, 391, 397, 407, 468n.1, 475, 661n.1
“abnegation,” 382, 403, 404, 407, 408
agency, 46, 534n.14
bathos vs. pathos, 607, 627n.13
expressive genres, 211n.27, 383, 404, 408, 518, 533n.2
markedness, 50n.38, 202, 304, 383, 397, 498, 503, 514, 534n.4, 534n.8
tropes, 46, 514–33
Havard, William, 279, 296
Haydn, Joseph, 48n.15, 52n.56, 92, 97, 98, 101–5, 106, 107, 109–10, 232n.10, 250, 261–62, 280–81, 294–95, 346, 456, 470n.26, 565, 568, 601–3, 605–7, 609, 626n.2, 643
Hays, Mary, 251–54
Head, Matthew, 44, 223, 232n.10, 259–76
Heartz, Daniel, 100, 398, 512n.1
Heinichen, Johann David, 39–41, 40–41, 53n.67, 194, 320, 330, 339, 389,
Hepokoski, James, 384, 470n.20, 470n.26
Herder, Johann Gottfried, 51n.43, 52n.51
Hiller, Johann Adam, 9, 47, 48n.17, 65, 97, 98
Hilton, Wendy, 150
Hjelmslev, Louis, 468n.4, 497
Hoffmann, Ernst Theodor Amadeus, 91–92
Hogarth, William, 246
Hongroise, 219–21, 223–25, 233n.20, 234n.30
Horace, 552
horn call, 2, 137, 139n.7, 196–97, 398–99, 405, 416t, 469n.11, 514, 520, 563, 610–13, 619–20. See also hunting fanfare
Hotteterre, Jacques, 211n.31
Hummel, Johann Nepomuk, 376n.22
Hungarian-Gypsy style, 44, 139n.12, 214–29, 232n.5, 232n.8, 232nn.1011, 234n.26, 234n.31, 644t
Hunter, Mary, 43, 61–87, 217, 222–23, 227, 271, 348, 351n.20, 351n.21
hunting fanfare, 525–29. See also horn call
hunting gigue, 456, 464
hunting key, 460t, 461–64
French, 457, 461, 469n.11, 623
German, 457, 461, 464, 469n.11
hunt style, 76, 97–98, 101, 194–97, 239, 416t, 469n.11, 490, 498, 508, 511, 520, 610–26
Hurdis, James, 249, 257n.17
Huron, David, 287, 297n.12, 629, 630
hymn, 107, 110, 111, 504
icon, 26, 28, 30, 32, 33, 33f, 34f, 51n.42, 51n.47, 52nn.5556, 53n.58, 497, 503–5,
imitation (counterpoint), 304, 305–6, 517–18, 522, 604. See also counterpoint, imitative
imitation (mimesis), 12–13, 24, 26–27, 28, 31–32, 33–34, 35–36, 265, 269, 275
and expression, 13, 49n.25, 51n.48,
impromptu, 648
index, 25, 26, 27–28, 30, 31f, 32, 32f, 33f, 37, 51n.42, 51n.47, 52nn.5556, 53n.58, 466
intrada/intrata, 203
invention, musical, 39–43. See also rhetoric, stages of
invertible counterpoint. See counterpoint, invertible
irony, 563–64, 569. See also tropes, irony
Irving, John, 46, 76–78, 539–48, 565
Ivanovitch, Roman, 45, 130, 315, 330–49, 389
Jackendoff, Ray, 368, 369, 376nn.2324, 377n.30
Jacob, Hildebrand, 291
Jacquin, Franziska von, 546
Jakobson, Roman, 88n.9, 381
Jansen, Theresa, 567–69, 573n.33
Jommelli, Niccolò, 260, 279, 283, 285, 460t
Jones, William, 107
Joseph II (Emperor), 219
Kaiser, Reinhard, 198, 199
Kalbeck, Max, 47, 657
Kalkbrenner, Friedrich, 649
Kanne, Friedrich August, 46, 553–58, 560–61, 564, 565, 571n.9, 572n.14, 572n.18, 572n.22, 573n.23
(p. 670) Kant, Immanuel, 293
Kattfuss, Johann Heinrich, 177, 189n.31
Kempis, Thomas à, 400–1
Kennedy, George, 571n.8
key characteristics, 11–12, 17, 22, 137, 282t, 283, 455, 458–59, 610– 11. See also hunting keys
Kircher, Athanasius, 3, 4, 10, 14, 47n.3, 49n.20, 305, 326
Kirkendale, Warren, 139n.9, 313, 320
Kirkpatrick, Ralph, 122
Kirnberger, Johann Philipp, 15–17, 23, 34, 42, 53n.67, 143–45, 260, 377nn.3132
on dances, 42, 143–45, 158, 160, 582
on harmony, 17, 18–19, 24, 50n.31, 359
on meter, 145, 358–59, 360, 373–74, 374n.5, 580–82, 581f
Knaffl, Johann, 186
Koch, Heinrich Christoph, 4, 9, 21, 29, 35, 37, 38, 72, 101–2, 138n.4, 171, 194, 195, 196, 200–1, 202–3, 204, 205, 210n.10, 223, 228, 233n.24, 274–76, 304–5, 309, 330, 374, 383, 386, 389, 392, 398, 410n.3, 465, 470n.22, 471n.28, 580, 584
on instrumental music, 29
on singing, 239–42, 254, 572n.21
on tone painting, 34–35, 72
Kollmann, Augustus Frederic Christopher, 260, 262, 308, 360
Körner, Christian Gottfried, 50n.35
Lacépède, Bernard Germain, Comte de, 92, 106
La Cuisse, Sieur de, 167, 172
lament, 45, 139n.11, 139n.13, 283, 415–49, 462, 523, 525, 644t
Ländler, 44, 165t, 176–80, 179, 189n.26, 189n.31, 190n.36, 398–99, 405, 466, 516, 517, 519, 520–21, 534n.10
Landon, H. C. Robbins, 105, 280, 339
Lanner, Joseph, 183, 190n.41
Lasso, Orlando di, 308
learned style, 45, 96, 107, 111, 115, 129–30, 301–26, 416t, 469n.12, 498, 517–18, 522, 525–26, 604–5, 607, 609–10, 620. See also styles
bound, 305
church. See styles, church
elaborate, 310
fugal, 305–7, 526
grave, 309–10
strict. See styles, strict
LeGuin, Elizabeth, 268, 348
Lerdahl, Fred, 368, 369, 376nn.2324, 377n.30
Lessing, Gotthold Ephraim, 91
Levin, Robert, 46, 578–79, 584, 585, 586–87, 589–91, 593–95
Levy, Janet M., 108, 627n.17
lied, 250, 644. See also ode
Liszt, Franz, 216, 643, 644–45
Little, Meredith, 152, 370
loci topici, 39–41, 53n.68, 551. See also rhetorical topics
locus adjunctorum, 40–42
locus descriptionis, 41–42, 53n.71
Locke, John, 14, 53n.61, 264
Locke, Ralph P., 214–16, 223, 462
Longinus, 559, 572n.19
Louis XIV (King), 147–48, 201, 284
Louis XVI (King), 167
loure, 165t, 499
Lowe, Melanie, 47, 111, 138n.2, 228, 469n.12, 470n.19, 470n.20, 470n.23, 601–26
Lully, Jean-Baptiste, 156, 210n.18
Luther, Martin, 10, 49n.18
MacIntyre, Bruce, 404, 459
madrigal, 3, 498
Magri, Gennaro, 168–70, 172
Mahler, Gustav, 534n.10, 643, 644
Maldere, Pierre van, 97, 106
Mannheim crescendo, 96, 106, 108
Mannheim rocket, 2, 416t, 508
march, 4, 29, 42, 66, 73–76, 84, 159, 190n.41, 200–3, 210n.18, 361f, 381, 416t, 458, 460t, 462, 466, 482, 497–98, 504, 522–23, 524, 650t, 643–44, 661n.5
exalted, 460t, 462–63
military, 20, 22–23, 200–1, 225, 504, 647, 661n.5
processional, 201, 202. See also Aufzug ; entrée (instrumental music)
Marchesi, Luigi, 82
Margulis, Elizabeth Hellmuth, 47, 297n.5, 629–39
(p. 671) Marie Antoinette (Queen), 167
markedness, 22, 50n.38, 202, 304, 383, 397–98, 498, 500–1, 505, 512n.1, 512n.5, 514, 534n.4, 534n.8
assimilation and, 503–5
neutralization and, 503–4, 505
Marpurg, Friedrich Wilhelm, 196, 198, 207, 362, 373, 378n.43, 389, 580
Marx, Adolf Bernhard, 221, 465, 656
Mattheson, Johann, 10–12, 11, 14, 15, 17, 20, 23, 27, 34, 37, 38, 41–42, 47n.3, 47n.3, 48n.9, 49nn.2021, 50n.31, 51n.46, 53nn.6162, 53n.64, 71, 159, 194, 195, 196–97, 198, 200, 201–3, 206–7, 210n.18, 244–45, 269–70, 305, 335, 349n.3, 358, 469n.8, 661n.4
on affects. See doctrine of affections
on genres, 7, 38
on instrumental melodies, 4, 242–45
on invention, 40–41, 53n.67
on loci topici, 40–41, 53n.68, 53n.71
on meter, 11, 358, 373, 374n.5
on styles, 3–4, 5, 6–7, 38
on sympathetic vibration, 13–14
on vocal melodies, 4, 242–45, 270
mazurka, 219, 494, 505, 648t
McClelland, Clive, 37, 44–45, 62, 279–96, 296n.3, 395, 462
McKee, Eric, 44, 164–87, 377n.26
Meeùs, Nicolas, 496
Meier, Georg Friedrich, 27
Mendelssohn-Bartholdy, Felix, 643
messa di voce, 245–46, 248
meter, 2, 11, 15, 45, 145, 166, 170, 188n.14, 357–67, 373–74, 375–76n.18, 374n.5, 376nn.2324, 497–98, 516, 580–82, 581f
compound, 364–65, 375n.14, 376n.18, 377n.29, 450n.12
duple, 170, 221, 360–62, 498
simple, 206, 211n.32, 362–64, 374n.5, 375n.14
triple, 200, 360–62, 460t, 498, 563
2/1, 370
2/2, 84, 88n.16, 166, 362–63, 365, 581f. See also alla breve
2/4, 84, 166, 170, 359, 361f, 362, 363, 365, 377n.29, 375n.18, 461, 498, 581, 581f,
2/8, 362, 581f
3/2, 23, 362, 499, 581f
3/4, 23, 204, 361f, 362, 498, 516, 520, 582, 581f, 603, 605
3/8, 204, 361f, 362, 498, 499, 581f
4/4, 2, 22, 88n.16, 361f, 365, 370, 375n.18, 377n.29, 377n.35, 498, 549n.13, 581, 581f
4/8, 581
6/4, 166, 499, 581f
9/4, 581f
9/8, 498, 581, 581f
9/16, 361f, 581, 581f
Meyer, Leonard, 381, 397–98, 629, 630
Michaelis, Christian Friedrich, 292–94
military march. See march, military
military style, 1, 4, 96–97, 109, 194–95, 197–203, 416t, 456, 458, 460t, 462, 463, 470n.15, 523, 643–44, 647
mimesis. See doctrine of mimesis
minuet, 7, 11, 49n.21, 66, 83, 87, 110, 111, 136, 150, 159, 165t, 166, 168–69, 172–73, 180–83, 188n.12, 188n.8, 229, 416t, 498, 499, 520–21, 582, 603–10, 605, 627n.8, 627nn.1012, 648t
canonic, 313
minuet–trio contrast, 110–11, 229, 573n.28
Mirka, Danuta, 1–47, 297n.5, 351n.21, 357–74
Momigny, Jérôme-Joseph de, 48n.15, 110, 476
Monelle, Raymond, 2, 22, 30–33, 34f, 35–37, 44, 52n.52–53, 52nn.5556, 118, 135, 194–95, 197, 204, 205, 207, 208–9, 212n.40, 238–39, 254, 281, 331, 391, 410n.1, 455, 469n.11, 475, 491n.3, 522, 534n.9, 625–26
iconic topics, 33, 35–36
indexical topics, 32–33, 35, 52n.55
prototopics, 33, 534n.5
Montagu, Mary Wortley, 222
Monteverdi, Claudio, 3
Morris, Charles, 32
(p. 672) Moscheles, Ignaz, 649
Mosel, Ignaz Ritter von, 646
motet, 308, 647t
Moyer, Birgitte, 259–260, 462
Mozart, Leopold, 164, 341, 362, 462, 565, 571n.1, 577–78, 580, 588, 595, 601, 626n.1
Mozart, Wolfgang Amadeus, 2, 46, 83, 86–87, 88n.17, 90, 97, 106, 107, 119, 121, 165, 180–87, 188n.7, 188n.17, 250, 283, 294, 314, 350n.11, 349, 376n.20, 389, 394–95, 465, 481, 483, 535n.17, 540, 548n.6, 549n.9, 554, 565, 573n.25, 585–95, 601–3, 607–10, 626, 626n.4, 626n.5
murky bass, 2, 455
musette, 20, 134, 165t, 169, 195, 204–5, 211n.31, 377n.38, 416t, 456, 463, 512n.3
“music-box” style, 520, 535n.18, 587, 590
Neefe, Christian Gottlob, 65, 397
neoclassicism, 12, 53n.61, 268, 373
Neumeister, Erdmann, 53n.71
Newton, Isaac, 14, 264
Niedt, Friedrich Erhard, 49n.21, 203
nocturne, 644–45, 647t, 647–48, 655, 661n.2
ode (German song), 96, 268, 597n.3. See also lied
Oort, Bart van, 46, 578–79, 584, 585, 587–89, 591–95
opera, 7, 43, 44, 47n.3, 62, 65–68, 83, 101, 201, 222–23, 227, 458, 460t, 469n.6, 498. See also opera buffa; opera seria
opera buffa, 9, 43, 61–87, 88n.10, 88nn.1415, 90–91, 97–98, 171, 271, 268, 269, 271–72, 350n.8, 416t, 458, 461, 462, 469n.6, 504, 522
opéra comique, 171, 272. See also opera buffa
opera seria, 37, 62, 67–69, 79, 82–83, 91, 97–98, 195, 260, 269, 279
oratorio, 7, 98, 273, 280, 294–95, 324, 647t
Orgelpunkt, 389–394, 397
Ossian, 267, 273
overture, 5, 20, 42, 90–91, 106, 115, 122, 137, 201–3, 210–11n.20, 228, 262, 284–86, 350n.8, 416t, 647t. See also French overture
overture schema, 137. See also harmonic schemata
Paisiello, Giovanni, 65
Palestrina, Giovanni Pierluigi da, 308–11
Palisca, Claude, 61
Parsons, James, 250
passacaglia, 417
passepied, 7, 159
passion, 10, 12–15, 25–28, 36, 38–39, 49n.20, 100, 264, 265, 291, 361f, 584. See also affect; emotion; sentiment
pastoral, 100–1, 110, 129, 135, 135–36, 194–95, 204–8, 211n.27, 239, 405, 416t, 453, 457–61, 463–66, 468n.1, 468–69n.5, 469n.9, 470n.20, 497, 498, 511, 516–17, 518, 519–20, 523–24, 533n.2, 619–20, 626, 643
high vs. low pastoral, 136, 206, 207, 208
pastorale (dance), 534n.11
pastorale (instrumental music), 204, 207–8, 408, 453, 457–61, 463–68, 508, 534n.11, 619
pastorale (shepherd play), 204, 206–7
pathetics, 266–67, 269
pathos, 10, 18, 38, 404, 595, 607
“pathotype,” 133, 139n.9
patter, 79, 80, 82–83
Paul Anton (Prince), 97
Pauli, Charles, 167, 171
Pécour, Louis Guillaume, 148, 149f, 151–57
Peirce, Charles Sanders, 25–26, 32, 52n.56
abduction, 519, 535n.16
Pestelli, Giorgio, 122
pianto, 33, 36, 98, 107, 109, 111, 114–15. See also sigh motive
Picardy third, 505, 533
Piccini, Niccolò, 65
pictorialism, 33–37, 52n.57, 275, 475. See also tone painting
Pindar, 96
Planelli, Antonio, 74–75
Platoff, John, 458, 462, 469n.6
Playford, John, 166, 188n.10, 188n.11
Pleyel, Ignaz Joseph, 601–3, 626, 626n.5, 626n.6, 627n.15
point d’orgue. See Orgelpunkt
polka, 648t
polonaises, 11, 165t, 219, 499, 648t
(p. 673) Pope, Alexander, 222
Portowitz, Adena, 107
Powers, Harold, 52n.53, 475
prattica, prima vs. seconda, 3
prelude, 647t
Purcell, Henry, 283
quadrille, 167, 648t
Quantz, Johann Joachim, 203, 204, 207, 247, 350n.10, 578, 579, 582, 584, 588, 590–91, 595
Quintilian, 552, 554, 559, 563, 570, 578
Rameau, Jean-Philippe, 17, 27, 50n.31, 51n.44, 205, 297n.9, 297–98n.18, 359, 361, 373, 374n.5
Rameau, Pierre, 147, 150–51, 161n.4
ranz des vaches, 508
ratio difficilis, 52n.52, 54n.74, 471n.29, 516, 517, 519, 534n.9
ratio facilis, 52n.52, 54n.74, 468, 471n.29, 516, 534n.9
rationalism, 53n.61
Ratner, Leonard, 1–2, 21–22, 31, 33, 36, 37, 39, 40, 42, 45, 46, 52n.53, 61–62, 80–82, 88n.14, 119, 120, 121, 139n.5, 159, 162n.11, 164, 194, 208, 238, 241, 259, 261, 262, 263–64, 281, 330–31, 375n.16, 475–76, 484, 491n.2, 535n.17, 551, 552, 565, 567, 577, 591, 642–43
types vs. styles, 1–2, 33, 159, 475, 583, 642
Raupach, Christoph, 10, 49n.20
recitative, 5, 82, 107, 111, 115, 307, 416t, 504, 647t. See also accompanied recitative
Regnard, Jean François, 104, 463
Reichardt, Johann Friedrich, 268, 273–74
Requiem, 294, 647t
Réti, Rudolf, 367, 368
rhetoric, 37–39, 53n.61, 266, 539, 554, 565–66, 568–70, 573n.25, 573n.31, 578, 595, 645, 646
distinction between res and verba, 43, 551, 565
functions of, 38
genres of, 38
persuasion methods in, 38, 595
stages of, 38, 42–43, 53–54n.72, 551, 558, 565. See also invention
styles of, 38
rhetorical figures, 2, 46, 551–58, 563, 565, 571n.2, 571nn.67, 571n.8
asyndeton, 559, 572n.19
auxesis, 558
communicatio, 569
correctio, 563
dubitatio, 552, 554, 555t, 556
epistrophe, 556
exclamatio, 558, 559
gradatio, 556–58, 572n.17
hypallage, 555
hyperbole, 569
incrementum, 558
paronomasia, 553, 555t, 556, 558, 563
polysyndeton, 572n.19
quaestio, 559
subiectio, 569
suspensio, 552, 570
transitio, 558
rhetorical topics, 39, 42–43, 539–40. See also loci topici
ricercar, 312, 498
Richards, Annette, 273
Richardson, Samuel, 265, 271
Riepel, Joseph, 187, 313–14, 362, 580
rigaudon, 7, 20, 167
Riley, Matthew, 645
Ringer, Alexander, 625
Rochlitz, Friedrich, 385–86, 398, 408
romance, 647t, 648
rondo, 100, 261, 456, 469n.7
Rosen, Charles, 73–74, 76, 98, 102, 346, 503, 559
Rothstein, William, 346, 377n.26, 471n.28, 535n.24
Rousseau, Jean, 358
Rousseau, Jean-Jacques, 12–13, 26, 27, 34, 38, 50n.31, 51nn.4445, 194, 265–66, 267, 268, 171, 306, 309, 310, 325, 361–62, 373
on imitation (mimesis), 12–13, 26–27, 265–66
on origin of music and language, 26, 27, 38
on singing, 13, 26, 27, 242
rubato, 246–48, 255n.8, 274
Rumph, Stephen, 39, 46, 50n.40, 51n.41, 52n.53, 52n.56, 53n.58, 53n.61, 315, 331–32, 490, 493–512, 540
(p. 674) Salieri, Antonio, 458
Sammartini, Giovanni Battista, 107
sarabande, 7, 11, 20, 23, 31–32, 3637, 49n.21, 50n.39, 110, 150, 159, 165t, 260, 381, 416t, 494, 499, 500, 545–47, 582
Scacchi, Marco, 3, 326
Scarlatti, Allessandro, 330
Scarlatti, Domenico, 122–30, 139n.7
Scheibe, Johann Adolph, 3–6, 7–8, 12, 38, 53n.67, 53–54n.72, 197, 199, 201–2, 207–8, 210–11n.20, 250, 265
Schenker, Heinrich, 368, 376n.21, 574n.38, 574n.40
Schenkerian theory, 316–17, 456, 469n.7, 470n.26, 471n.28, 642
scherzo, 644t, 655, 656t
Schmalfeldt, Janet, 659
Schoenberg, Arnold, 421, 645
Schubart, Christian Friedrich Daniel, 4, 196–98, 200, 209n.3, 221–23, 227, 273, 462, 469n.8, 469–70n.14, 512n.12
Schubert, Franz, 298n.21, 534n.10
Schulz, Johann Abraham Peter, 9, 93–96, 97, 122, 266, 269, 310, 325, 360, 362, 582–83
Schumann, Robert, 372, 378n.39, 643, 648–55, 662n.6
Schwäbischer, 189n.26, 221
Scott, Walter, 253–54
semantics, 381–83, 409–10n.1, 504
semiotics, 22, 24–32, 33, 34f, 35–37, 51nn.4142, 51n.47, 52n.51, 52nn.5556, 53n.58, 53n.61, 138n.3
rhetoric and, 37–38, 43, 53n.61
sensibility, 37, 44, 107, 263–76, 301, 313, 331, 416t, 483–85. See also Empfindsamkeit
sensualism, 14, 27, 53n.61
sentimentalism, 13, 14, 273
sentiment, 17–20, 23–24, 26, 34–35, 50n.32, 72, 100, 264, 266, 274–76, 301, 309, 584, 591. See also affect; emotion; passion
and character, 18–20, 50n.35, 584
psychological vs. moral, 19–20
Seufzer, 40, 284, 416t, 588. See also sigh motives
Shapiro, Michael, 505
Shaw, George Bernard, 596
siciliana/siciliano, 40, 100, 107, 134–36, 165t, 169, 194–95, 204–7, 207, 381, 461, 499, 524, 527, 632–38, 648t
sigh motive, 2, 36, 37, 107, 132, 282t, 284, 372–73, 378n.42, 416t, 429, 519, 524, 588. See also pianto; Seufzer
signs, 22, 25–28, 33, 35–36, 138n.3, 493–96, 469n.5, 503–5
arbitrary, 25–26, 43, 265, 520
essential, 27–28
iconic. See icon
indexical. See index
natural, 25–26, 43, 269
Silbiger, Alexander, 62
singing allegro, 505, 585–86, 587
singing style, 44, 195, 238–55, 321–22, 372, 416t, 482, 488, 516–17, 519–20, 524, 525, 559, 560t, 572n.21, 577, 586, 588, 590, 632–36, 637f, 637t, 638, 650t. See also cantabile
and brilliant style, 238–39, 331, 365
Sisman, Elaine, 43, 53n.72, 90–115, 281, 322, 378n.42, 469n.12, 469n.13, 470n.18, 482, 571n.7
soggetto, 93
Solomon, Maynard, 398–400
sonata, 7, 8, 9, 20–21, 42, 122, 138n.4, 261, 262, 266, 269, 408, 552, 571n.5, 584, 591, 597n.3, 647, 648, 653
“sonata style,” 121
song, 7, 26, 597n.3, 647t, 648. See also lied, ode, vocal music
sonic analog, 44, 154, 157–59, 161, 162n.13, 164, 190n.38
Sonnenfels, Joseph von, 91
Spazier, Karl, 101–2
Spitzer, John, 338, 351n.15
Spitzer, Michael, 490n.1
Stamitz, Johann, 106
Steblin, Rita, 283, 459
Stefani, Giuseppe, 196, 198
Stockman, Johann Christoph, 9
Storace, Nancy, 82, 333
Storace, Stephen, 84, 86
Strauss, Johann, Jr., 183
Strauss, Johann, Sr., 183, 190n.41
Strinasacchi, Regina, 540
(p. 675) Sturm, Christoph Christian, 400–1
Sturm und Drang, 44–45, 37, 98, 264, 280–81, 285, 296, 296–97n.3, 381, 416t, 484, 485, 491n.3, 650t. See also tempesta
styles, 1–2, 3–7, 30, 33, 37, 47n.3, 48n.9, 53–54n.72, 118, 122–23, 159, 475, 535n.16, 642. See also learned style
chamber, 3–4, 6, 38, 48n.9, 71–72, 121, 308, 326
church, 3–4, 5, 6–7, 38, 48n.9, 71, 283, 305, 306–7, 325–26, 391, 397
ecclesiastical, 361f, 498, 605, 626. See also styles, church
elevated, 84, 98, 462. See also styles, high
galant, 3, 45, 62, 124, 129, 287, 301, 304, 315, 318, 361f, 519–20, 525–26, 604–5, 607, 610. See also styles, free
high, 3–4, 5, 6, 38, 96, 98, 306, 315, 604–5, 607, 626
low, 3–7, 38, 65, 98, 207, 607
middle, 3–7, 38, 98, 208, 229, 234n.41
national, 4, 20
pantomimischer Styl, 4, 221
populärer Styl, 4
stile antico, 3, 45, 286, 307–9, 493–95, 505
stile moderno, 3
stylus canonicus, 3, 47n.3
stylus choraicus, 47n.3
stylus hyporchematicus, 3, 4, 47n.3
stylus ligatus, 47n.3
stylus madrigalescus, 3
stylus melismaticus, 3
stylus mixtus, 505, 512n.10
stylus motecticus, 3
stylus phantasticus, 3
stylus recitativus, 3
stylus symphoniacus, 3
theatrical, 3–6, 38, 48n.9, 71–72, 306–8, 320, 326
sublime, 291–94, 297n.16, 584, 634, 638
Sullivan, John W. N., 400, 402–4
Sulzer, Franz Joseph, 221–22
Sulzer, Johann Georg, 4, 9, 12, 13, 14–15, 17, 20–21, 22–23, 26, 27, 28, 29, 30, 34–35, 37, 38, 42, 50nn.3132, 50n.35, 50n.39, 51n.46, 53n.67, 71–72, 106, 169, 171, 200, 202, 204–5, 207, 208, 242, 250, 265, 266, 269, 325, 341
on character, 8, 18–22, 30, 42, 50n.33, 50n.35
on imitation (mimesis), 12, 27, 266
on melody, 15, 16, 50n.31, 270–71
on sentiment, 14–15, 17–20, 29–30, 34, 38, 50n.32, 50n.35
on small and larger compositions, 21, 28–29, 42
on sympathy, 13
on sympathetic vibration, 13–14, 27, 266
on tone painting, 34–35
surprise, 47, 287, 291, 630–32, 638–39
Sutcliffe, W. Dean, 43–44, 118–38, 348, 351n.21
Swieten, Gottfried van, 102
symphony, 5, 7, 9, 20–21, 42, 43–44, 48n.17, 65, 90–115, 122, 262, 275, 280, 310, 336–41, 505, 647t, 649
“symphony style,” 121
syntax, 381–83, 396, 409–10n.1, 476, 479, 494, 504, 631
Szabolcsi, Bence, 216–17
Tafelmusik, 98, 218, 227
tarantella, 123, 139n.7, 219, 648t
Taruskin, Richard, 61
Telemann, Georg Philipp, 313
tempesta, 45, 66, 83, 87n.6, 98, 100, 101, 108, 111, 281–295, 297n.9, 456–57, 460t, 464, 465, 498, 518, 523, 524, 533n.1, 620, 632–38, 644t. See also Sturm und Drang
and ombra, 45, 282–95
tempo giusto, 359–63, 360, 365, 374, 375n.6, 375n.7, 580–82
Tiepolo, Giovanni Battista, 351n.18
toccata, 498
tombeau, 91, 260
Tomlinson, Kellom, 158, 166
tone painting, 34–35, 72, 100. See also pictorialism
topical signification, 22–30, 31f, 33, 37, 52n.52, 410n.1
(p. 676) topics, 1–3, 21–23, 28–30, 39, 42–43, 52n.53, 218, 469n.12, 474–76, 479, 493–512, 514–15, 516, 519, 521–22, 524, 533, 533–34n.3, 534n.7, 535n.23. See also rhetorical topics
definition of, 1, 2, 23, 474, 514, 551, 630
formal functions and, 88n.10, 415, 416t, 484
harmonic schemata and, 2, 378n.46, 381, 382, 383, 415
hierarchical weight of, 519
parametric density of, 519
prototypicality of, 519, 534n.9
salience of, 22–23, 474, 479, 534n.8
tonal processes and, 453–68
topic theory, 1–3, 9, 21–22, 24, 30, 43, 47, 86, 106, 118–121, 124, 129, 131, 357, 409–10n.1, 454, 490, 578, 639, 642–43, 661
törökös, 216–17, 217, 232n.8
Tosi, Pier Francesco, 245–48, 255n.7, 256n.10, 256n.11, 256n.12, 256n.13, 257n.17
Tovey, Donald Francis, 567
Townson, Robert, 217–18, 219
tragedy, 9, 92
Triest, Johann Karl Friedrich, 92, 105
Trommelbass, 2, 84, 137, 624
tropes, 123, 373, 512n.5, 514–33, 534n.6, 603–5, 607, 609–10, 612, 623
irony, 515–18, 521, 534n.13, 607
metaphor, 515, 516, 521, 534n.5
synecdoche, 514, 517, 520
Türk, Daniel Gottlob, 169, 195, 200, 202, 203, 204, 255n.2, 330, 339, 389, 390, 558, 579–80, 581t, 586, 588, 596–97n.2
Turkish style, 31, 32, 44, 63–64, 91, 109, 115, 214–18, 221–23, 225–29, 232n.5, 295, 416t, 460t, 462, 497
Uz, Johann Peter, 250
Vanhal, Johann Baptist, 176
variations, 107, 110, 119, 121, 225, 647
verbunk, 218–19, 225–27, 229, 232n.14, 233n.15, 234n.26
Veritophilus, 10. See also Raupach, Christoph
Vickers, Brian, 559, 572n.17
Vico, Giambattista, 53n.66, 539–40
Vieth, Gerhard Ulrich Anton, 169–70, 172, 174, 175, 177, 190n.39
virtuosity, 595–96, 649
virtuoso, 335, 341, 348–49, 351n.20, 595, 653–56
virtuoso style, 331
Vivaldi, Antonio, 71, 330
Vogler, Georg Joseph, 228, 459
Wagenseil, Georg Christoph, 462
Wagner, Richard, 656
Walther, Johann Gottfried, 198, 204, 307, 358
waltz, 175–79, 189–90n.34, 190n.38, 644t, 648t
Walzer, 44, 174–80, 183, 187, 189n.26, 189n.30, 189n.31
Webb, Daniel, 292
Weber, Carl Maria von, 644
Weber, Daniel, 65
Weber, William, 645–46, 648
Webster, James, 261–62, 265
Weinmann, Alexander, 225–27
Wellbery, David, 498–99
Will, Richard, 459
Winckelmann, Johann Joachim, 250
Witt, Friedrich, 91–92
Witzmann, Reingard, 175
Wolff, Christian, 265
Wollenberg, Susan, 261
Wranitsky, Anton, 462
Wranitsky, Paul, 462
Wurst, Hans (comic character), 9, 47, 48n.17, 65, 98, 374
Wyn Jones, David, 101, 459, 468n.1
Wyzewa, Théodore de, 280
yodel, 516–19, 534n.10
Zangen, Karl, 178, 181
Zarlino, Gioseffo, 305, 308
Zaslaw, Neal, 98, 110, 281, 338, 351n.15
Zbikowski, Lawrence M., 44, 143–61, 218
zefiro, 100, 101, 111