Index
Index 257 Aarsleff, Hans, 2 Abhandlung über den Ursprung der Sprache (Herder), 58 Abrams, M.H., 209 Académie française, 34, 78 Adorno, Theodor, 108–9, 111 Aesthetica (Baumgarten), 24 Agawu, Kofi, 3, 80, 89, 95, 160 Aldrich, Henry, 176 Aler, Paul, 172 Algarotti, Francesco, 35, 161 Allanbrook, Wye Jamison, 2, 18, 69, 71, 153, 181; and topics, 79–80, 83, 85, 89, 95, 98 Allgemeine Theorie der schönen Künste, 185 Almaviva, Countess (in Le nozze di Figaro), 11–13, 18, 85, 89, 191–92 Almaviva, Count (in Le nozze di Figaro), 13, 76, 85, 192 anabasis, 164 anagnorisis, 71 anapestic rhythm, 13–14, 16, 20, 26, 29, 38– 39, 101–2; musical example, 14 Anatomy of Criticism (Frye), 110 Andersen, Henning, 103 Anna, Donna (in Don Giovanni), 47, 192 anthropology, Enlightenment, 9, 32–33 L’antiquario burlato, ossia La statua matematica, 45 Antonio (in Le nozze di Figaro), 13, 101 antonomasia, 118 aporias, 109, 184 appoggiaturas, 13–14, 18, 20, 29, 38, 129–30, 132; “prosodic appoggiatura,” 14 arbitrary signs, 8–9, 14, 25–26, 30–33, 38, 176, 210; and touch, 53–54, 56–57, 62–63 archaic endings, 171–208; musical examples, 174–75, 178–79, 180, 194–98, 200–201, 202–3, 204, 205, 206; Concerto in Eb Major, K. 449, 177–83; Die Entführung aus dem Serail, 186–207; Mass in C Minor, K. 427, 173–75, 177, 206 aria patetica, 26 Aristotle, 24, 57, 71, 176; and topics, 81, 83, 91, 93 ars combinatoria, 21, 37, 82, 125, 149, 182 ars topica, 82–83, 92 L’art de parler (Lamy), 34, 82, 90 artificial signs, 56, 72, 76–77 Asaf’ev, Boris, 18 Ascanio in Alba, 6, 21, 102table Atherton, Margaret, 51 Attwood, Thomas, 36, 173 Auroux, Sylvain, 2, 7 Bach, C.P.E., 160 Bach, J.S., 3, 21, 82, 109, 111, 174; Mass in B Minor, 100; St. Matthew Passion, 100 Bakhtin, Mikhail, 7 ballet d’action, 33–34 banquet scene (in Don Giovanni), 47, 71; musical examples, 48–49, 51 Barrington, Daines, 18 Bartel, Dietrich, 90 Barth, George, 2, 31 Bartha, Dénes, 31 Bastien und Bastienne, 6 Batteux, Charles, 2, 6, 35, 141, 161 Battistella, Edwin, 98 Bauman, Thomas, 186, 198 Baumgarten, Alexander Gottlieb, 2, 7, 24, 141 Les beaux-arts réduits à un seul principe (Batteux), 35 Beauzée, Nicholas, 149, 153, 172 Beethoven, 2, 31, 42, 79; “Eroica” Symphony, 44; Fifth Symphony, 103; Heiliger Dankgesang , 130 Beghin, Tom, 2, 31 belief, 142–46, 154–56, 162–70 Bellman, Jonathan, 80 Belmonte (in Die Entführung aus dem Serail), 13, 187–92, 194–201, 205–6; musical examples, 189, 194–98, 200–201, 202–3, 205, 207 Belmont und Konstanze (Bretzner), 186–87 Benveniste, Emile, 119 Bérénice (Racine), 82 Berger, Karol, 181 Berkeley, George, 49–53, 57, 59, 150–52, 188– 89 Berlin, Isaiah, 90 Bernstein, Leonard, 39 Bertati, Giovanni, 45, 47, 72; musical example, 50–51 Betulia liberata, 102table Blonde (in Die Entführung aus dem Serail), 190–98, 205; musical examples, 194–98, 205, 207 Bodmer, Johann Jakob, 23 Boileau-Despréaux, Nicolas, 23 Bonds, Mark Evan, 2, 5, 31, 43, 70, 158, 181 bourgeois identity, 109, 112, 114, 134, 137, 160 bourrée, 85, 89, 93–94, 97–99, 102–3 Braunbehrens, Volkmar, 4 Breitinger, Johann Jakob, 23 Bretzner, Christoph Friedrich, 186–87 Brown, Marshall, 150 Bujig, Bojan, 96 Burke, Edmund, 2, 141 Cage, John, 37 Calcagno, Mauro, 62 Camus, Albert, 44 Cantelli, Gianfranco, 93 Caplin, William, 89, 95 Cartesian Linguistics (Chomsky), 2 Caruso, Luigi, 45 Catholicism, 141–42, 145, 168, 176 Ce n’est pas une conte (Diderot), 158–59 Cesarotti, Melchiore, 21, 35 Chabanon, Michel Paul Gui de, 79 Chastellux, François, 36 Cherubino (in Le nozze di Figaro), 11–18, 20, 23, 29, 38, 43, 114; musical examples, 15– 16, 17 Chomsky, Noam, 2, 35 Cicero, 81, 83, 91 class, 8, 85, 89, 101–2, 106, 114, 176 Classical style, 3, 21, 42, 79–80, 83, 179 Classic Music (Ratner), 2, 80 Clauss, Sidonie, 176 cogito, 56, 60, 118 cogito ergo sum, 46–47 cognition, 4–5, 8, 22, 25, 151, 172 Colloredo, Archbishop, 140–41 comedic fiction, 110–11 Commendatore (in Don Giovanni), 44, 47, 72– 77; musical examples, 73, 74 Condillac, Étienne Bonnot de, 6, 21–25, 31– 36, 38, 118, 161, 211; and archaic endings, 172, 183–85, 208; Reid’s views on, 150, 152; and topics, 78, 90–91; and touch, 46...
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