The four works by Johann David Heinichen (1683–1729) that have been designated sinfonias are, in fact, a hybrid of several genres, the Italian sinfonia, concert sinfonia, suite, and concerto. The hybrid nature of the pieces is a result of Italian influences combined with the need to incorporate music into and ongoing campaign to raise the stature of the Dresden court on the European stage, as undertaken by his patron Augustus the Strong. Heinichen's music was part of a broader set of projects that included building works, royal marriages, new industries, military campaigns, and the adoption of Catholicism in Saxony, the birthplace of Protestantism. This study examines the sinfonias within the context of these developments and suggests that the unique features of these works spring naturally from the political process, a process that is esentially theatrical.
|School:||California State University, Long Beach|
|School Location:||United States -- California|
|Source:||MAI 50/04M, Masters Abstracts International|
Copyright in each Dissertation and Thesis is retained by the author. All Rights Reserved
The supplemental file or files you are about to download were provided to ProQuest by the author as part of a
dissertation or thesis. The supplemental files are provided "AS IS" without warranty. ProQuest is not responsible for the
content, format or impact on the supplemental file(s) on our system. in some cases, the file type may be unknown or
may be a .exe file. We recommend caution as you open such files.
Copyright of the original materials contained in the supplemental file is retained by the author and your access to the
supplemental files is subject to the ProQuest Terms and Conditions of use.
Depending on the size of the file(s) you are downloading, the system may take some time to download them. Please be