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The writings of Sulzer and Koch represent a significant confluence of philosophical and musical thought from the German Enlightenment. Koch creatively adapted many of Sulzer's abstract philosophical ideas to concrete questions of musical pedagogy, showing how they could be usefully applied to the teaching and analysis of musical composition. This collaborative study and translation of the texts will be of interest to all historians of music, music theory, and historians of eighteenth-century German aesthetic thought.
Musquon must overcome her impatience while learning to distinguish
sweetgrass from other salt marsh grasses, but slowly the spirit and
peace of her surroundings speak to her, and she gathers sweetgrass
as her ancestors have done for centuries, leaving the first blade
she sees to grow for future generations. This sweet, authentic
story from a Maliseet mother and her Passamaquoddy husband includes
backmatter about traditional basket making and a Wabanaki glossary.
This collection by Teresa Palomo Acosta-poet, historian, author,
and activist-spans three decades of her writing, from 1988 through
2018. The collection is divided into four parts: poems, essays, a
children's story, and plays. Each work addresses cultural,
historical, political, and gender realities that she experienced
from her childhood to the present.The plays, set in the Central
Texas Blackland Prairies where Acosta was raised, provide a unique
Latina vision of memory, identity, and experience and are a vital
contribution to Chicana feminist thought. The essays focus on
Acosta's literary heroes Jovita GonzAlez de Mireles, Sara Estela
RamIrez, and Elena Zamora O'Shea, important writers who contributed
significantly to Tejana literature and to Texas letters. The
children's story, "Colchas, Colchitas," is based on Acosta's most
notable poem, "My Mother Pieced Quilts," which pays homage to her
mother and the many women of her generation who employed needles
and thread, creating both practical and symbolic artifacts. This
collection is a creative and, indeed, essential expansion of
boundaries for what we think of as history, offering a unique and
compelling look into the lived experiences and interior
contemplations of a Texas artist well worth knowing. Readers will
increase their understanding of Tejana experience in the late
twentieth and early twenty-first centuries. Tejanaland promises to
become an important addition to the cultural record, informing
historical perspectives on the experiences of Tejana women and
contributing significantly to the existing body of work from Tejana
writers.
Can an abstract theory of Empfindsamkeit aesthetics have any value
to a musician wishing to study composition in the classical style?
The eighteenth-century German theorist and pedagogue Heinrich Koch
showed how this question could be answered with a resounding yes.
Starting with the systematic aesthetic theory of the Swiss
encyclopedist Johann Sulzer, Koch was creatively able to adapt
Sulzer's conservative ideas on ethical mimesis and rhetoric to
concrete problems of music analysis and composition. In this
collaborative study, Thomas Christensen and Nancy Baker have
translated and analysed selected writings of Sulzer and Koch
respectively, bringing to life a little-known confluence of
philosophical and musical thought from the German Enlightenment.
Koch's appropriation of Sulzer's ideas to the service of music
represents an important development in the evolution of Western
musical thought.
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