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Berkeley, George, --- Berkeley, George --- Berkeley (George). --- G. B. --- B., G. --- Berkley, George, --- Author of The minute philosopher, --- Minute philosopher, Author of the, --- Cloyne, --- Berkeley, --- Member of the established church, --- בערקלי, דזשארדזש, --- Author of Siris, --- Berkeley, George, - 1685-1753

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Industrial sociology --- Industrial relations --- Working class --- Labor unions --- Management --- Employee participation --- 316.343.63 --- -Industrial sociology --- -Management --- -Working class --- -Labor unions --- -#SBIB:316.334.2A400 --- #SBIB:HIVA --- Industrial unions --- Labor, Organized --- Labor organizations --- Organized labor --- Trade-unions --- Unions, Labor --- Unions, Trade --- Working-men's associations --- Labor movement --- Societies --- Central labor councils --- Guilds --- Syndicalism --- Commons (Social order) --- Labor and laboring classes --- Laboring class --- Labouring class --- Working classes --- Social classes --- Labor --- Administration --- Organization --- Sociology --- Industrial organization --- Industries --- Capital and labor --- Employee-employer relations --- Employer-employee relations --- Labor and capital --- Labor-management relations --- Labor relations --- Employees --- Arbeidersstand. Proletariaat. Landarbeiders --(sociale stratificatie) --- -Partijen en strategieën in het arbeidsbesteld: morfologisch --- Employment --- Social aspects --- 316.343.63 Arbeidersstand. Proletariaat. Landarbeiders --(sociale stratificatie) --- #SBIB:316.334.2A400 --- Partijen en strategieën in het arbeidsbesteld: morfologisch --- Industrial sociology - France --- Industrial relations - France --- Working class - France --- Labor unions - France --- Management - Employee participation - France

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Au dix-huitième siècle, le champ musical connaît un bouleversement sans précédent en Grande-Bretagne. Alors que de nouvelles théories musicales émergent, la conception classique, selon laquelle les arts procèdent par imitation de la nature, est remise en cause. L'art vocal, proche de la poésie, est délaissé au profit de l'art instrumental, auparavant jugé comme une imitation moins parfaite. La critique musicale s'attache alors à définir la spécificité d'un art non sémantique, offrant au champ musical et au jugement esthétique une autonomie sans précédent vis-à-vis des autres arts. L'importance de l'émotion du spectateur prend alors le pas sur les règles de l'art, la musique devenant le lieu par excellence de l'ineffable et du mystère.

Music --- Literature, British Isles --- musique --- instrument --- art

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Whereas Dr Burney's writings are often mentioned in studies on eighteenth-century music, not much interest seems to have been given specifically to his relation to the organ, which played an important part in his professional career as a practising musician. No better introduction to the aesthetic ethos of the eighteenth-century English organ can be found than in Burney's remarks disseminated in his various writings. Taken together, they construct a coherent discourse on taste and constitute an aesthetic. Burney's view of the organ is indicative of a broader ethos of moderation that permeates his whole work, and is at one with the dominant moral philosophy of Georgian England. This conception is ripe with patriotic undertones, while it also articulates a constant plea for politeness as a condition for harmonious social interaction. He believed that moderation, simplicity, and fancy were the constituents of good taste as well as good manners.

Music critics --- Organists --- Organ music --- Organ players --- Keyboard players --- Organ blowers (Persons) --- Critics --- Musicians --- Music journalists --- History --- History and criticism. --- Burney, Charles, --- Burney, Ch. --- Burney, C. --- Burney, Carl, --- Burney, Karl, --- Burney, Karel,

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