@article{ART001453597},
author={신혜승},
title={‘Landscape’ and ‘Soundscape’ of the Eighteenth-Century England : with Emphasis on the Relations between the Landscape Garden and the Instrumental Music},
journal={Journal of the Korean Society for Musicology},
year={2010},
volume={18},
number={1},
pages={37-65},
doi={10.34303/mscol.2010.18.1.002}
TY - JOUR
AU - 신혜승
TI - ‘Landscape’ and ‘Soundscape’ of the Eighteenth-Century England : with Emphasis on the Relations between the Landscape Garden and the Instrumental Music
JO - Journal of the Korean Society for Musicology
PY - 2010
VL - 18
IS - 1
PB - The Korean Society for Musicology
SP - 37
EP - 65
AB - As the expression of the direct affinity between civilization and nature, and as a place of enjoyment suited to meditation or repose, the garden thus acquires the cosmic significance of an idealised image of the world, a “paradise” in the etymological sense of the term, and yet a testimony to a culture, a style, an age, and often to the originality of a creative artist (ICOMOS, 1982). Landscape garden of the eighteenth-century England was a cultural phenomenon that all at that time social elements were cohered.
Landscape garden of the eighteenth-century England was the visible space that one experienced a main character of a story in various landscape at the same time that visitors were spectators. Music of the eighteenth-century England was an acoustic space to be able to feel various times and places that could not look. According to this, I explained that music is a landscape not to see but to listen. So the new visual way that can describe eighteenth-century British music is provided. Therefore, I considered the music of the early eighteenth-century England as iconographical music and the music of the mid eighteenth-century England as naturalistic music.
KW - landscape garden;soundscape style;iconographic music;naturalistic music
DO - 10.34303/mscol.2010.18.1.002
ER -
신혜승. (2010). ‘Landscape’ and ‘Soundscape’ of the Eighteenth-Century England : with Emphasis on the Relations between the Landscape Garden and the Instrumental Music. Journal of the Korean Society for Musicology, 18(1), 37-65.
신혜승. 2010, "‘Landscape’ and ‘Soundscape’ of the Eighteenth-Century England : with Emphasis on the Relations between the Landscape Garden and the Instrumental Music", Journal of the Korean Society for Musicology, vol.18, no.1 pp.37-65. Available from: doi:10.34303/mscol.2010.18.1.002
신혜승 "‘Landscape’ and ‘Soundscape’ of the Eighteenth-Century England : with Emphasis on the Relations between the Landscape Garden and the Instrumental Music" Journal of the Korean Society for Musicology 18.1 pp.37-65 (2010) : 37.
신혜승. ‘Landscape’ and ‘Soundscape’ of the Eighteenth-Century England : with Emphasis on the Relations between the Landscape Garden and the Instrumental Music. 2010; 18(1), 37-65. Available from: doi:10.34303/mscol.2010.18.1.002
신혜승. "‘Landscape’ and ‘Soundscape’ of the Eighteenth-Century England : with Emphasis on the Relations between the Landscape Garden and the Instrumental Music" Journal of the Korean Society for Musicology 18, no.1 (2010) : 37-65.doi: 10.34303/mscol.2010.18.1.002
신혜승. ‘Landscape’ and ‘Soundscape’ of the Eighteenth-Century England : with Emphasis on the Relations between the Landscape Garden and the Instrumental Music. Journal of the Korean Society for Musicology, 18(1), 37-65. doi: 10.34303/mscol.2010.18.1.002
신혜승. ‘Landscape’ and ‘Soundscape’ of the Eighteenth-Century England : with Emphasis on the Relations between the Landscape Garden and the Instrumental Music. Journal of the Korean Society for Musicology. 2010; 18(1) 37-65. doi: 10.34303/mscol.2010.18.1.002
신혜승. ‘Landscape’ and ‘Soundscape’ of the Eighteenth-Century England : with Emphasis on the Relations between the Landscape Garden and the Instrumental Music. 2010; 18(1), 37-65. Available from: doi:10.34303/mscol.2010.18.1.002
신혜승. "‘Landscape’ and ‘Soundscape’ of the Eighteenth-Century England : with Emphasis on the Relations between the Landscape Garden and the Instrumental Music" Journal of the Korean Society for Musicology 18, no.1 (2010) : 37-65.doi: 10.34303/mscol.2010.18.1.002
