Browsing by Subject "dance history"
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Item Ascending Cadence Gestures in Waltzes by Johann Strauss, sr.(2017-01-03) Neumeyer, DavidRising melodic figures have a long history in cadences in European music of all genres. This essay documents examples from an especially influential repertoire of social dance music, the Viennese waltz in the first half of the 19th century. The two most important figures were both violinists, orchestra leaders, and composers: Josef Lanner (d. 1843) and Johann Strauss, sr. (d. 1849). Strauss is the focus here, through twenty five waltz sets published between 1827 and 1848.Item Ascending Cadence Gestures in Waltzes by Joseph Lanner(2017-01-03) Neumeyer, DavidRising melodic figures have a long history in cadences in European music of all genres. This essay documents and analyzes examples from an especially influential repertoire of social dance music, the Viennese waltz in the first half of the 19th century. The two most important figures were both violinists, orchestra leaders, and composers: Josef Lanner (d. 1843) and Johann Strauss, sr. (d. 1849). Lanner is the focus of this essay, with waltz sets ranging from prior to 1827 through 1842.Item Ascending Cadence Gestures, A New Historical Survey, Part 4b2: 1780-1860, Polkas (2)(2021-07-15) Neumeyer, DavidThis essay supplements the Historical Survey Part 4b, which covered ascending cadence gestures in polkas between 1840 and 1861. Most items come from the Library of Congress collection Music for the Nation: American Sheet Music, ca. 1820 to 1860.Item Ascending Cadence Gestures, A New Historical Survey, Part 4b: 1780-1860, Polkas(2020-01-08) Neumeyer, DavidThis is Part 4b of a multi-part essay gathering compositions with ascending lines and cadence gestures in European and European-influenced music. The repertoire here is polkas published in Europe or the United States between 1840 and 1861. Composers include, among others, Barili, D’Albert, Dodworth, Dressler, Grieg, Grobe, Lumbye, Rziha, Smetana, Johann Strauss, jr., Johann Strauss, sr., Valentini, Viereck, and Zawadzki. An appendix lists polkas mentioned in other publications of mine. A separate file contains data on form design in fifteen published polkas.Item Ascending Cadence Gestures, A New Historical Survey, Part 5d2: 1860-1900, Polkas(2021-07-15) Neumeyer, DavidThis essay continues from the Historical Survey Parts 4b & 4b2, which covered polkas between 1840 and 1861, to document ascending cadence gestures in more than fifty polkas after that, to c. 1890. Composers represented, among many others, are Gonzaga, Kéler, Johann Strauss, jr., Sullivan, and Ziehrer. An appendix discusses the Clarinet Polka and Modřanská Polka (“Beer Barrel Polka”).Item Dominant Ninth Harmonies in the 19th Century(2018-11-19) Neumeyer, DavidIn European music, freer treatment of the sixth and seventh scale degrees in the major key encouraged the use of independent V9 chords, which appear already early in the nineteenth century, are common by the mid-1830s, and are important to the process by which the hegemony of eighteenth-century compositional, improvisational, and pedagogical practices were broken down. This essay provides multiple examples of the clearest instances of the V9 as a harmony in direct and indirect resolutions.Item English, Scotch, and Irish Dance and Song: Supplement 2(2017-09-01) Neumeyer, DavidAnother supplement to the essay English, Scotch, and Irish Dance and Song, which is primarily a documentation of rising cadence figures in dances, fiddle tunes, and songs from late eighteenth and early nineteenth century published sources. Gathered here are an additional 70 examples taken from files downloaded in May and June 2017.Item Formal Functions in Menuets by Johann Sebastian Bach(2017-11-14) Neumeyer, DavidThe menuet entered into upper-class social dance, ballet, and opera no later than the 1660s, thanks largely to Jean Baptiste Lully. This essay charts formal functions (after Caplin) in named menuets by Johann Sebastian Bach, with additional commentary on his contemporaries in Germanophone countries.Item Formal Functions in Menuets by Mozart, Part 1: Orchestral Works and Independent Sets(2017-11-15) Neumeyer, DavidA study of formal functions (after Caplin) in named menuets by Mozart, the larger goal being to historicize more fully form-design practices in European music during the second half of the eighteenth century, especially emphasizing the importance of the “galant theme” or anticipation + continuation/contrast model. The essay includes a table of data along with comprehensive musical examples drawn from the orchestral compositions and from the independent sets of menuets, many of which are either orchestral or keyboard reductions of ensemble pieces.Item Formal Functions in Menuets by Mozart, Part 2: Sonatas and Chamber Music(2017-11-28) Neumeyer, DavidContinuation of a study of formal functions (after Caplin) in named menuets by Mozart. A table of data and comprehensive musical examples cover the trios, string quartets, string quintets, quartets and quintets with other instrumentation, piano sonatas, and violin sonatas.Item Formal Functions in Menuets by Mozart, Part 3: A Comparison with Johann Christian Bach(2018-01-05) Neumeyer, DavidThis essay charts formal functions (after Caplin) in named menuets by Johann Christian Bach (1735-1782) and compares them with menuets by Mozart. Bach is notable for exploiting the “galant theme,” presumably because of its ability to emphasize melody and to maximize contrast, in accordance with aesthetic ideals of the galant style.Item Formal Functions in Menuets by Mozart, Part 4: His Older Contemporaries, to 1770(2018-01-08) Neumeyer, DavidThis essay charts formal functions (after Caplin) in named menuets written during the second half of the eighteenth century. The repertoire includes menuets by Johann Stamitz, Johann Gottfried Müthel, Franz Joseph Haydn, Luigi Boccherini, Maddalena Laura Sirmen, and several other composers, as well as menuets in collections or compilations intended for performance, dancing, or pedagogy.Item Formal Functions in Menuets by Mozart, Part 5: More to Theoretical Issues(2018-01-19) Neumeyer, DavidThis essay considers some theoretical questions raised at the end of Part 4 in this series. William Caplin’s theory of formal functions in Haydn, Mozart, and Beethoven stipulates that themes are of two primary types (period, sentence) and several secondary types (“hybrids”). These need to be resorted in order to account for eighteenth-century practice more broadly, following from the results of the work in this series, Parts 1-4.Item Formal Functions in Menuets by Mozart, Part 6: Contemporaries, 1771-1780(2018-07-07) Neumeyer, DavidThis essay continues the documentation of formal functions (after Caplin) in named menuets from the eighteenth century, as begun in parts 1-4 of this series. In this essay, the focus is on menuets written by other composers during the middle decade of Mozart’s life, 1771-1780. The repertoire includes music by Carl and Anton Stamitz, Franz Joseph Haydn, Luigi Boccherini, and several others, as well as menuets in collections or compilations intended for performance, dancing, or pedagogy.Item Formal Functions in Menuets by Mozart, Part 7: Contemporaries and Successors, 1780-1828(2018-07-09) Neumeyer, DavidThis final essay in the Mozart series charts formal functions (after Caplin) in named menuets written by other composers during the last ten years of Mozart’s life, 1780-1791, and by three composers active in Vienna thereafter, through the death of Schubert (1828). The repertoire includes menuets by Carl and Anton Stamitz, Franz Joseph Haydn, Luigi Boccherini, Giovanni Viotti, and Adalbert Gyrowetz, and several others. The three later composers are Beethoven, Hummel, and Schubert. Concluding comments return to questions of musical form theory.Item Funding Bodies: Five Decades of Dance Making at the National Endowment for the Arts (Book Review)(Dance Research Journal, 2022) Fitton, RebeccaItem Johann Strauss, jr., Die Fledermaus: Ascending Cadence Gestures on Stage(2018-05-23) Neumeyer, DavidDie Fledermaus (1874), today the best-known operetta by Johann Strauss, jr., is also a treasure trove of ascending cadence gestures. This article documents and interprets those multiple instances and their effects.Item John Playford Dancing Master: Rising Lines, Revised and Updated(2016-11-23) Neumeyer, DavidThis updates and substantially revises two publications of mine on the Texas Scholar Works platform: John Playford Dancing Master: Rising Lines (2010; 2015) and the corresponding section in Rising Lines in Tonal Frameworks of Traditional Tonal Music (2015). The main goal was to provide higher quality graphics, but I have also written a new introduction as well as new analysis and commentary for almost all of the dances.