Eighteenth-century musical production volume stemmed from formal simplicity tied to feudal courts.

Evidence

For the sheer volume of the production of the great eighteenth-century composers resulted in part from the presence to hand for them of relatively simple schemes and formulae of execution. Nor had orchestration yet become so complicated and individualistic an affair: the court orchestras of feudal principalities do not yet have the variety of instruments, let alone the sheer technical virtuosity, of the later middle-class stage orchestra. For all these reasons the themes of the eighteenth-century composers cannot be said to have achieved a genuine fullness of subjective being: a melody of Mozart is not yet self-sufficient and remains functionally conceived, bearing traces of the form of which it is an indivisible component. — Fredric Jameson, Marxism and Form, 94

Categorization

• XREF: This is the base/superstructure mediation: feudal court employment shapes both the volume and the formal character of the music — the exact dialectical move the reader wants. — connects to: Nineteenth-century musical form and instruments mirrored industrial aggression — Schafer, Murray R, The Soundscape- Our Sonic Environment…, 392; Music’s post-French-Revolution evolution is capitalism working within the musical material itself — Fredric Jameson, Marxism and Form, 754

Broader Connections

• Nineteenth-century musical form and instruments mirrored industrial aggression #qualifies (0.80) — Schafer, Murray R, The Soundscape- Our Sonic Environment…, 392
• Music’s post-French-Revolution evolution is capitalism working within the musical material itself #complicates (0.75) — Fredric Jameson, Marxism and Form, 754