Mozart in the Ballroom: Minuet‐Trio Contrast and the Aristocracy in Self‐Portrait
Identifieur interne : 001A72 ( Main/Exploration ); précédent : 001A71; suivant : 001A73Mozart in the Ballroom: Minuet‐Trio Contrast and the Aristocracy in Self‐Portrait
Auteurs : Eric MckeeSource :
- Music Analysis [ 0262-5245 ] ; 2005-10.
Abstract
A defining feature of Viennese ballroom minuets in the second half of the eighteenth century is the marked contrast between the first and second minuet (commonly called the trio). The type of contrast was standardised within a rather narrow and predictable range. Minuets were loud, employed the full orchestra and had walking bass lines in predominantly crotchet motion. Trios were soft, employed a reduced orchestra and used a slower harmonic rhythm. Focusing on Mozart's minuets written for the ballroom, an argument is advanced as to why such sharp contrast might have been desirable. Drawing on historical and analytical evidence, it is suggested that the music of the first minuet establishes the historical authority, political power and social status of the participants of the dance, while the trio is centred artistically on the grace and beauty displayed by the individual couple on the ballroom dance floor.
Url:
DOI: 10.1111/j.1468-2249.2006.00226.x
Affiliations:
Links toward previous steps (curation, corpus...)
- to stream Istex, to step Corpus: 000069
- to stream Istex, to step Curation: 000046
- to stream Istex, to step Checkpoint: 001404
- to stream Main, to step Merge: 001B01
- to stream Main, to step Curation: 001A72
Le document en format XML
<record><TEI wicri:istexFullTextTei="biblStruct"><teiHeader><fileDesc><titleStmt><title xml:lang="en">Mozart in the Ballroom: Minuet‐Trio Contrast and the Aristocracy in Self‐Portrait</title><author><name sortKey="Mckee, Eric" sort="Mckee, Eric" uniqKey="Mckee E" first="Eric" last="Mckee">Eric Mckee</name></author></titleStmt><publicationStmt><idno type="wicri:source">ISTEX</idno><idno type="RBID">ISTEX:FD0D2D260C7EBAD02981FD2D7CA73F34C25EEA95</idno><date when="2005" year="2005">2005</date><idno type="doi">10.1111/j.1468-2249.2006.00226.x</idno><idno type="url">https://api.istex.fr/document/FD0D2D260C7EBAD02981FD2D7CA73F34C25EEA95/fulltext/pdf</idno><idno type="wicri:Area/Istex/Corpus">000069</idno><idno type="wicri:Area/Istex/Curation">000046</idno><idno type="wicri:Area/Istex/Checkpoint">001404</idno><idno type="wicri:doubleKey">0262-5245:2005:Mckee E:mozart:in:the</idno><idno type="wicri:Area/Main/Merge">001B01</idno><idno type="wicri:Area/Main/Curation">001A72</idno><idno type="wicri:Area/Main/Exploration">001A72</idno></publicationStmt><sourceDesc><biblStruct><analytic><title level="a" type="main" xml:lang="en">Mozart in the Ballroom: Minuet‐Trio Contrast and the Aristocracy in Self‐Portrait</title><author><name sortKey="Mckee, Eric" sort="Mckee, Eric" uniqKey="Mckee E" first="Eric" last="Mckee">Eric Mckee</name><affiliation><wicri:noCountry code="subField">Music Analysis and Theory and Practice. He is currently completing a book on Chopin and the dance.</wicri:noCountry></affiliation></author></analytic><monogr></monogr><series><title level="j">Music Analysis</title><idno type="ISSN">0262-5245</idno><idno type="eISSN">1468-2249</idno><imprint><publisher>Blackwell Publishing Ltd</publisher><pubPlace>Oxford, UK</pubPlace><date type="published" when="2005-10">2005-10</date><biblScope unit="volume">24</biblScope><biblScope unit="issue">3</biblScope><biblScope unit="page" from="383">383</biblScope><biblScope unit="page" to="434">434</biblScope></imprint><idno type="ISSN">0262-5245</idno></series><idno type="istex">FD0D2D260C7EBAD02981FD2D7CA73F34C25EEA95</idno><idno type="DOI">10.1111/j.1468-2249.2006.00226.x</idno><idno type="ArticleID">MUSA226</idno></biblStruct></sourceDesc><seriesStmt><idno type="ISSN">0262-5245</idno></seriesStmt></fileDesc><profileDesc><textClass></textClass><langUsage><language ident="en">en</language></langUsage></profileDesc></teiHeader><front><div type="abstract" xml:lang="en">A defining feature of Viennese ballroom minuets in the second half of the eighteenth century is the marked contrast between the first and second minuet (commonly called the trio). The type of contrast was standardised within a rather narrow and predictable range. Minuets were loud, employed the full orchestra and had walking bass lines in predominantly crotchet motion. Trios were soft, employed a reduced orchestra and used a slower harmonic rhythm. Focusing on Mozart's minuets written for the ballroom, an argument is advanced as to why such sharp contrast might have been desirable. Drawing on historical and analytical evidence, it is suggested that the music of the first minuet establishes the historical authority, political power and social status of the participants of the dance, while the trio is centred artistically on the grace and beauty displayed by the individual couple on the ballroom dance floor.</div></front></TEI><affiliations><list></list><tree><noCountry><name sortKey="Mckee, Eric" sort="Mckee, Eric" uniqKey="Mckee E" first="Eric" last="Mckee">Eric Mckee</name></noCountry></tree></affiliations></record>Pour manipuler ce document sous Unix (Dilib)
EXPLOR_STEP=$WICRI_ROOT/Wicri/Musique/explor/MozartV1/Data/Main/Exploration
HfdSelect -h $EXPLOR_STEP/biblio.hfd -nk 001A72 | SxmlIndent | more
Ou
HfdSelect -h $EXPLOR_AREA/Data/Main/Exploration/biblio.hfd -nk 001A72 | SxmlIndent | more
Pour mettre un lien sur cette page dans le réseau Wicri
{{Explor lien
|wiki= Wicri/Musique
|area= MozartV1
|flux= Main
|étape= Exploration
|type= RBID
|clé= ISTEX:FD0D2D260C7EBAD02981FD2D7CA73F34C25EEA95
|texte= Mozart in the Ballroom: Minuet‐Trio Contrast and the Aristocracy in Self‐Portrait
}}
| This area was generated with Dilib version V0.6.20. |  |