Recently, as I was doing research for a project on eighteenth-century dances, I came across the following entry in Charles Compan's Dictionnaire de danse (1787):
Salamalec. Salut à la Turque, qui signifie, Dieu vous garde. On s'est servi longtems à Paris de cette expression, pour saluer une personne en buvant à sa santé. Salamalec, ou, comme prononcent les Turcs, Selamalec, n'est pas seulement une salutation des Turcs, mais encore des Arabes, & même de tous les peuples Mahométans.Salamalec. Turkish greeting meaning ‘May God keep you’. This expression has long been used in Paris as a toast when drinking to someone's health. ‘Salamalec’, or as the Turks pronounce it, ‘Selamalec’, is not only a greeting of the Turks, but of Arabs and even of all Muslim peoples.
introduction, however abbreviated, to outline the authors' principal findings. Their themes and analytical categories would have helped readers navigate the vast ocean of information offered. Habsburg scholars would equally want to know how the authors view their assembled information vis-à-vis current discussions on the Habsburg Enlightenment, the impact of censorship on the book trade, and the degree of transfer between northern and southern print markets in Central Europe. This desideratum notwithstanding, we are indebted to the authors for their painstaking achievement, which opens numerous avenues for future research. The eventual completion of the companion volumes on the empire's other regions will significantly clarify the scale and scope of the Habsburg book trade and its relationship to European letters.
Westernized Hungarian-Gypsy music (or the so-called style hongrois) has invariably been described as exotic.
Although such a characterization is appropriate for later nineteenth-century compositions, I argue that it is inadequate for many of the earliest Viennese adaptations of Hungarian-Gypsy music. I focus in particular onrepresentative examples from the sphere of Hausmusik, in which early adaptations were most numerous, yet which has received the least scholarly attention. Although these adaptations evoke a foreign place and foreign people through their descriptive titles, they are not, in most instances, exotic in style.
Turks and Hungarians were regarded as un(der)civilized and exotic Others by western Europeans in the late eighteenth century, and their musics were largely represented through very similar stylistic means. This chapter explores how Turkish and Hungarian-Gypsy topics nonetheless carried different cultural associations, namely to military Janissary music and toverbunkosdance music, respectively. These associations determined the genres (solo, chamber, orchestral; private vs. public) in which each style was evoked as well as the syntactical positioning ofalla turca,all’ongarese, andalla zingareserepresentations within multimovement works. Beyond their compositional implications, the meanings of these styles may also have influenced performance practice.
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