Minuet Form and Phraseology in Recueils and Manuscript Tunebooks

Russell, Tilden A.

doi:10.2307/764099

Cited by 7 publications

(1 citation statement)

References 8 publications

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“…72 […] That dance-minuets were full of examples of flexibility and liberties with gross form, phrase and smaller details […] When fully realized in performance by dancers and musicians, the dance minuet was in its way as much a play with form as the art minuet. 73 More recently, Eric McKee has written on the dance-music relationship in the minuet and the waltz. His primary research question asked 'What did the dancers require of the music, and how did the composers of the minuet and waltz respond to the practical needs of the dancers?'…”

Section: Research Emphasizing Minuet Musicmentioning

confidence: 99%

2. Situating the Minuet

Bakka

2024

The Nordic Minuet

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The chapter looks at the current state of research on the minuet, focusing on the naming of the dance and how it corresponds to one or more basic movement structures. Secondly, it investigates the dance’s distribution in time and space and whether it can be compared to contentions and ideas about its “origin” or whether political and social references have had an impact on the dance’s status. The chapter make excursions into the European context, including research, even if the book is mainly concentrated on the forms and the roles of the dance in the Nordic countries.

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Section: Research Emphasizing Minuet Musicmentioning

confidence: 99%

2. Situating the Minuet

Bakka

2024

The Nordic Minuet

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Historical Hypermetrical Hearing: Uncertainty, Floors and Trapdoors

Love¹

2015

Music Analysis

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This article attempts a partial reconstruction of historical metrical hearing for late eighteenth‐century Viennese chamber music. Specifically, I build on two traits of the historical listener. First, eighteenth‐century listeners were first‐time listeners, a simple fact with significant consequences for how we understand composers’ intentions and listeners’ experiences. Second, eighteenth‐century listeners were saturated with the music of the day, to a much broader and shallower extent than the modern canon‐bound listener. This second trait enabled eighteenth‐century listeners to absorb the statistical regularities of their musical culture, giving them a set of norms through which to comprehend pieces on the first hearing. In this essay I discuss the consequences of these traits for hypermetre. Drawing on a corpus study of 1780s Viennese chamber music, I offer answers to several questions: How does the first‐time listener respond to hypermetre, compared to the more experienced listener? What consequences does this have for analysis? And what are some of the stylistic regularities underlying hypermetre in chamber music from 1780s Vienna? To answer the latter question, I posit a special level of the metrical hierarchy called the hypermetrical floor, against which hypermetrical phenomena are measured.

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The Butterfly Schema in the Classical Instrumental Style: A Product of the Tendency for Congruence

Rawbone¹,

Jan²

2019

Music Analysis

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This article integrates theories that explain musical schemata as psychological and statistical associations of features with those that define schemata as collections of cognitively generated archetypes. It is proposed that styles contain a spectrum of features but tend towards congruence. This propensity is thought to originate in cognition and becomes manifest in and between the features of styles. A localised structure, termed the butterfly schema, is argued to be in part a product of the tendency for congruence which is incorporated into the Classical instrumental style. An analysis of the styles and schemata of the Baroque, Classical and Romantic periods explicates their distinct forms of congruent structuring. A survey of European instrumental music of circa 1750–1850 compares the quantity and type of butterfly schemata in samples from the first half of this time period with those from the second. It is found that butterfly schemata with highly congruent features are more common in the earlier, Classical‐period samples, suggesting that they are a product of the tendency for congruence in the particular form defined.

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Minuet Form and Phraseology in Recueils and Manuscript Tunebooks

Cited by 7 publications

References 8 publications

2. Situating the Minuet

2. Situating the Minuet

Historical Hypermetrical Hearing: Uncertainty, Floors and Trapdoors

The Butterfly Schema in the Classical Instrumental Style: A Product of the Tendency for Congruence

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