Keywords
halls
Haydn
irony
Forma sonata
salones
Haydn
ironía
How to Cite
Abstract
The Enlightenment thought of XVIII century about the reason, criticism, autonomy, progress and education, may be difficult to distinguish in the music of the time, however, we will find it in a new form of composition, in which the structure reflects all the
enlightenment intellectuals, criticism ironic, and hall meetings. The following article makes clear how the composer Joseph Haydn, use these elements in an innovative form and ahead of his time, experimenting with music and audience reaction.
References
Abraham, G. (1979). The Concise Oxford History of Music. Oxford: Oxford University Press, USA.
Bauman, Thomas. (2004). Haydn and the Cult of Genius, The Musical Quarterly, Vol. 87, No. 2: 333-357. Disponible en: http://www.jstor.org/stable/3600908
Bonds, Mark Evan. (1991). Haydn, Laurence Sterne, and the Origins of Musical Irony, Journal of the American Musicological Society, Vol. 44, No. 1: 57-91. Disponible en: http://www.jstor.org/stable/831728
Bozal, Valeriano. (1996). Historia de las ideas estéticas y de las teorías artísticas contemporáneas. Madrid: Visor.
Chantler, Abigail. (2003). The “Sturm und Drang” Style Revisited, International Review of the Aesthetics and Sociology of Music, Vol. 34, No. 1: 17-31. Disponible en: http://www.jstor.org/stable/30032113
Edwards, George. (2003). The Nonsense of an Ending: Closure in Haydn’s String Quartets, The Musical Quarterly, Vol. 75, No. 3: 227-254. Disponible en: http://www.jstor.org/stable/742050
Lord, M., Snelson, J. (2008). Historia de la Música desde la antigüedad hasta nuestros días. Slovenia: h.f. ullmann, Tamdem Verlag CmbH.
Melton, James Van Horn. (2004). School, Stage, Salon: Musical Cultures in Haydn’s Vienna, The Journal of Modern History, Vol. 76, No. 2: 251-279. Disponible en: http://www.jstor.org/stable/10.1086/422930
Roldán, W. A. (1999). Diccionario de Música y Músicos. Buenos Aires: El Ateneo