English (United Kingdom)

https://curated-unify.zendy.io/wp-json/zendy-region/v1/featured_content/oa?rat=en

https://curated-unify.zendy.io/wp-json/zendy-region/v1/highlighted_journal/

Global: Zendy Plus annual

Presents the access of premium content as premium feature

Premium Content

Presents the keyphrase highlighting as premium feature

Keyphrase Highlighting

Presents the summarisation as premium feature

Summarisation

Insights

Presents the pdf analysis as premium feature

PDF Analysis

Presents the zaia usage as premium feature

ZAIA

Global: Zendy Tools annual

Global: Zendy Free Plan

Global: Zendy Tools monthly

Global: Zendy Plus monthly

This research concentrates in the quarrel regarding the use of Sturm und Drang terminology commonly used to define Joseph Haydn’s repertoire composed around 1770. This period of Haydn’s composition has been considered as part of the literatute movement known as Sturm und Drang. However, there are some inconsistencies in the incorporation of this nomenclature in music. In such a way, through the examination of treatises from the 18th century , detaching the treaty written by Johann Mattheson, in 1739, Der Vollkommene Capellmeister [The Perfect Chapel Master] , it is intended to understand the thoughts of this period in music and be able to infer about Haydn’s composition. Thus, by means of the confrontation of the ideas between the scholars who defend the existence of the musical Sturm und Drang and the 18th century treatises, verify the legitimacy of Sturm und Drang terminology in Haydn’s musical context. Lista de ilustrações Figura 1 – Fragmentos . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31 Figura 2 – Resultado da transformação dos fragmentos . . . . . . . . . . . . . 31 Figura 3 – Sinfonia em ré menor No, 1o movimento (1-5) . . . . . . . . . . . . . 60 Figura 4 – Sinfonia em ré menor No 34, 1o movimento (19-24) . . . . . . . . . . 60 Figura 5 – Traetta, La serve rivali, ato II Aria . . . . . . . . . . . . . . . . . . . . 85 Figura 6 – Haydn, La fedelità premiata, ato I, Aria “Già mi sembra” . . . . . . . 85 Figura 7 – Traetta . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86 Figura 8 – Haydn, Le pescatrici, ato II. . . . . . . . . . . . . . . . . . . . . . . . 86 Figura 9 – Concerto para cravo de J. S. Bach em Ré menor (1-6) . . . . . . . . 89 Figura 10 – Concerto para cravo de J. S. Bach em Sol menor (8-14) . . . . . . . 90 Figura 11 – Concerto para cravo de J. S. Bach em Ré menor (13-16) . . . . . . 90 Figura 12 – Concerto para cravo de J. S. Bach em Fá menor (1-6) . . . . . . . . 91 Figura 13 – Dinâmicas contrastantes (compassos 55-61) . . . . . . . . . . . . . 93 Figura 14 – Sinfonia No 18 em sol maior (compassos 6-10) . . . . . . . . . . . . 96

O sturm und drang de Joseph Haydn: uma revisão da nomenclatura segundo as preceptivas setecentistas