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Haydn, Solfeggio, and the Art of Melody: A New Approach to the Classical Style

海顿、视唱练耳和旋律艺术：古典风格的新方法

基本信息

批准号：
AH/K007041/1
负责人：
Nicholas Baragwanath
金额：
$ 17.9万
依托单位：
University of Nottingham
依托单位国家：
英国
项目类别：
Fellowship
财政年份：
2013
资助国家：
英国
起止时间：
2013 至无数据
项目状态：
已结题

来源：
https://gtr.ukri.org/projects?ref=AH%2FK007041%2F1
关键词：
Haydn Solfeggio Art Melody New

项目摘要

Solfeggi, or studies in melody, were central to the training of European musicians c.1670-1850. The method originated in Italian conservatoires for disadvantaged children, especially at Naples and Bologna. The presence of large ms. collections in European archives (almost 300 in Italy alone) testifies to the importance of this kind of exercise for composition and performance in the 18th and 19th centuries, including for the 'Classical Style' of Haydn and Mozart, which continues to underpin modern notions of art-music as an academic discipline and creative industry.Despite its historical significance and its potential to enliven current debates, the tradition has featured fleetingly, if at all, in modern scholarship. The reasons for this are complex, but can be explained in part by a prevailing Germanocentric bias and a continuing reliance on 19th-century theories.In mapping out a significant new direction for musicology, this project challenges ingrained attitudes founded on a dominant national(ist) meta-narrative, framed in 19th-century Germany. It demonstrates the importance of music as a mechanism of transnational cultural exchange, which in many ways transcends linguistic barriers. It explores a vanished network of cultural relations - a shared understanding of melody - that once brought together the poorest and richest on (almost) equal terms. Although the conservatoires that pioneered solfeggi produced musicians for the super-rich, to provide entertainment at courts and chapels, they were at the same time charitable institutions that offered vocational training for the poor and dispossessed. Many great musicians of the western tradition (including Haydn) rose to exalted status from humble backgrounds, primarily through the spread of these training methods.This Fellowship will produce the first monograph on the solfeggio tradition, supported by a free online database, public engagement and networking activities. It will reconstruct a forgotten art of melody, drawing on primary source material not available elsewhere, to provide scholars with a framework for further studies and performers, teachers, and learners with new insights (by e.g. informing the development of curricula and music education software, facilitating collaboration through an international network, offering workshops at schools and conservatoires, preparing an international conference and exhibition, attracting PhD students, and mentoring a research assistant).To focus its scope, the study investigates Haydn's operas and string quartets in light of the teachings of Neapolitan maestro Nicola Porpora, from whom he claimed to have learned 'the true fundamentals of composition'. This involves the construction of a new theory, which inverts the conventional modern understanding of western 'common practice' music by identifying the main compositional determinant not in the bass, as bearer of harmony, but in the melody, as bearer of form (or discourse). Solfeggi taught melodic writing and 'conduct', or what would now be called musical form.The solfeggio tradition embodies the meritocratic spirit of the Enlightenment. It testifies to a shared European heritage of melody as a cultural practice (or a kind of language) that crossed national boundaries. Meaningful parallels can be drawn with contemporary popular music culture, which can similarly unite people across linguistic and social barriers. Haydn learned his craft busking on the streets and backing singers. His music was founded on the elaboration of simple well-known formulas, like modern pop music. Its aim was to entertain.With appropriate leadership, this seminal study of the solfeggio tradition will contribute to an increased understanding of inter-cultural relations in terms of the influence of a transnational diaspora (primarily of Italian musicians, transmitting their practices across Europe through oral teachings) and the power of music as a common language of popular culture.

Solfeggi或旋律研究是1670 -1850年欧洲音乐家培训的核心。这种方法起源于意大利的弱势儿童音乐学院，特别是在那不勒斯和博洛尼亚。欧洲档案馆中大量ms收藏的存在（仅在意大利就有近300件）证明了这种练习对18世纪和19世纪作曲和表演的重要性，包括对海顿和莫扎特的“古典风格”，它继续支撑着现代艺术的概念-音乐作为一门学科和创意产业。尽管它具有历史意义，也有可能活跃当前的辩论，但这一传统的特点是短暂的，如果有的话，现代学术。其原因是复杂的，但可以部分解释为流行的德国中心主义偏见和对19世纪理论的持续依赖。在为音乐学绘制一个重要的新方向时，这个项目挑战了建立在19世纪德国主导的民族（ist）元叙事基础上的根深蒂固的态度。它表明了音乐作为跨国文化交流机制的重要性，这种交流在许多方面超越了语言障碍。它探索了一个消失的文化关系网络--一种对旋律的共同理解--曾经将最贫穷和最富有的人（几乎）平等地聚集在一起。尽管音乐学院是视唱练耳的先驱，为超级富豪培养音乐家，在法庭和教堂提供娱乐，但它们同时也是为穷人和一无所有的人提供职业培训的慈善机构。许多西方传统的伟大音乐家（包括海顿）从卑微的背景上升到崇高的地位，主要是通过这些训练方法的传播。该奖学金将产生第一本关于视唱练耳传统的专著，由一个免费的在线数据库，公众参与和网络活动支持。它将重建一种被遗忘的旋律艺术，利用其他地方没有的原始材料，为学者提供进一步研究的框架，并为表演者，教师和学习者提供新的见解（例如，为课程和音乐教育软件的开发提供信息，通过国际网络促进合作，在学校和音乐学院举办讲习班，筹备国际会议和展览，吸引博士生，并指导一名研究助理）。为了集中研究范围，这项研究根据那不勒斯大师尼古拉·佩尼亚的教导调查了海顿的歌剧和弦乐四重奏，海顿声称从他那里学到了“作曲的真正基础”。这涉及到一个新的理论的建设，它通过确定主要的作曲决定因素，而不是在低音，作为和声的载体，但在旋律，作为形式（或话语）的载体，扭转了传统的现代理解西方的“共同实践”音乐。视唱练耳教授旋律写作和“指挥”，也就是现在所说的曲式。视唱练耳传统体现了启蒙运动的精英精神。它证明了欧洲共同的旋律遗产作为一种跨越国界的文化实践（或一种语言）。当代流行音乐文化也可以与之进行有意义的类比，后者同样可以跨越语言和社会障碍将人们团结起来。海顿在街头卖艺和伴唱中学会了他的手艺。他的音乐是建立在对简单的众所周知的公式的阐述之上的，就像现代流行音乐一样。在适当的领导下，这一对视唱练耳传统的开创性研究将有助于从跨国散居（主要是意大利音乐家，通过口头教学将他们的实践传播到整个欧洲）的影响和音乐作为流行文化共同语言的力量方面加深对文化间关系的理解。