Auswahl der wissenschaftlichen Literatur zum Thema „Music theory History 17th century“
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Zeitschriftenartikel zum Thema "Music theory History 17th century":
1
Parncutt, Richard. „The Tonic as Triad: Key Profiles as Pitch Salience Profiles of Tonic Triads“. Music Perception 28, Nr. 4 (01.04.2011): 333–66. http://dx.doi.org/10.1525/mp.2011.28.4.333.
Annotation:
Major and minor triads emerged in western music in the 13th to 15th centuries. From the 15th to the 17th centuries, they increasingly appeared as final sonorities. In the 17th century, music-theoretical concepts of sonority, root, and inversion emerged. I propose that since then, the primary perceptual reference in tonal music has been the tonic triad sonority (not the tonic tone or chroma) in an experiential (not physical or notational) representation. This thesis is consistent with the correlation between the key profiles of Krumhansl and Kessler (1982; here called chroma stability profiles) and the chroma salience profiles of tonic triads (after Parncutt, 1988). Chroma stability profiles also correlate with chroma prevalence profiles (of notes in the score), suggesting an implication-realization relationship between the chroma prevalence profile of a passage and the chroma salience profile of its tonic triad. Convergent evidence from psychoacoustics, music psychology, the history of composition, and the history of music theory suggests that the chroma salience profile of the tonic triad guided the historical emergence of major-minor tonality and continues to influence its perception today.
2
Gehring (book editor), Ulrike, Pieter Weibel (book editor) und Jane Russell Corbett (review author). „Mapping Spaces: Networks of Knowledge in 17th Century Landscape Painting“. Renaissance and Reformation 40, Nr. 4 (28.01.2018): 211–13. http://dx.doi.org/10.33137/rr.v40i4.29288.
3
Guseinova, Zivar M. „The Theoretical Codex of the Mid-17th Century as a Phenomenon of Church-Singing Art“. Vestnik of Saint Petersburg University. Arts 11, Nr. 4 (2021): 589–606. http://dx.doi.org/10.21638/spbu15.2021.402.
Annotation:
The first musical-theoretical manuals of ancient Russia appeared in the 15th century. They were rather small in volume and contained information that was predominantly educational. The changes that were taking place in the singing system over several centuries were reflected in new types of manuals, conveying the peculiarities of the singing art (znamenny chant) of the time. By the middle of the 17th century, the codices began to occupy a significant place in manuscripts, which contained monuments of Russian liturgical singing. They were large-scale consolidated documents, including a selection of relatively independent musical-theoretical manuals, each of which revealed a separate aspect in the theory of znamenny chant, carried out according to special musical signs — kriuki (hooks). The tradition of handwritten copying of documents contributed to the fact that each type of theoretical manual was simultaneously in many copies that never matched the text with absolute accuracy and always contained discrepancies. The codex, analysed in this article, in the mid-17th century manuscript of V. F. Odoevsky’s Collection No. 1, which is kept in the Russian State Library, is a set of numerous copies of different theoretical manuals that were formatted by that time. These are the notable azbuka (ABC) that explain individual neums; kokizniki and fitniki, expounding upon the principles of formula singing; manuals that reveal the sound-naming system, as well as a meaningful layer of author’s comments that interpret and generalizing material for educational purposes.
4
Bocharov, Yury S. „Sinfonia and Ouverture in the Baroque Era: Terminological Aspect“. Vestnik of Saint Petersburg University. Arts 11, Nr. 3 (2021): 354–80. http://dx.doi.org/10.21638/spbu15.2021.301.
Annotation:
This article focuses on the use of sinfonia and ouverture as terms in the Baroque era. Its relevance is due to the fact that an objective picture of the Baroque musical culture is impossible without studying authentic terminology, including terms used as names of musical works or their sections. Since there have been no special musicological publications on this topic, information obtained as a result of the study can expand the traditional ideas about what the terms sinfonia and ouverture meant in the 17th and the first half of the 18th century. Sheet music and manuscripts as well as articles from the largest European dictionaries of that time indicate that the terms had different meanings. They were used not only in orchestral, but also in solo and ensemble music and even vocal compositions could be regarded as symphonies. Moreover, musical compositions or their sections, called sinfonias and overtures were intended not only for theatrical and concert practice, but also for performance at court and in even at church. According to the author, the terms sinfonia and ouverture in the Baroque era, in contrast to modern practice, were used as genre names only in regard to so-called Neapolitan opera symphonies and French overtures. Thus, these terms were generally used much more diversely than it follows from those traditional perceptions on which the modern theory of musical genres is largely based.
5
ATHANASSOPOULOU (Φ. ΑΘΑΝΑΣΟΠΟΥΛΟΥ), F. „The history of development of medicine through time: a repeated case“. Journal of the Hellenic Veterinary Medical Society 60, Nr. 2 (20.11.2017): 125. http://dx.doi.org/10.12681/jhvms.14921.
Annotation:
At all times, man was interested in the therapy of diseases in any possible way. In the Hellenic world, that is generally regarded as the spiritual predecessor of recent Europe, two distinct traditions existed: the first had a true sacred origin and was practiced from a corporation or guild of healers/priests named zsAsklipiades. Asklipios, son of Apollo, was considered by them as their generic leader. The second, practiced by Vakhes, comes from indigenous populations of Eastern Aegean area approx. at 2000 B.C. During its practice patients went into a sacred mania ie., with dancing, music, or body exertion went into an extended consciousness from which, when they recovered, they showed a peaceful state and a new identity again due to moral comprehension. The first liberation from sacred ceremonies occurs in ancient Greece from Hippocrates and thus the first step towards scientific medicine occurs and it is practiced by cosmic healers. To Hippokrates we owe the meaning of "method" for the observation and development of the disease and its symptoms (there is a distinction between them). He believed in "the self healing capability of nature" that had to be taken into account, because medicine comes from the disruption of the balance between man and environment. After Hippocrates there is a gap of approx. 7 eons (till 3rd century D.C.) during which period important developments occur that will determine later the path of medicine: 1. During the 1st century B.C., Dioscouridis from Alexandria and in the 2ndcentury D.C. Asklipiadis and the great healer and surgeon from Pergamos, Galinos, transplanted the "absolute medical orthodoxy" in Rome where it remained as a dogma until the 16th century D.C. This is similar to Arab and recent European medicine. Hippocrates and Galinos beliefs have a lot in common with the growth of medicine in China and India. 2.Arab philosophers and healers reconnect medicine with politics and their base is the healthy society. 3. In Christianity, in the Middle Ages, the human body is discarded as not * worthy and surgery and anatomy are prohibited. In 1130 D.C. the practice of medicine by monks isprohibited and this is passed on to "cosmic clergy" from where the first schools of medicine and recent Universities originate (Paris, Oxford, Bologna, Montpellier). With Renaissance starts the questioning of the Galino's theory. The main archetype of the healer of this period was undoubtedly Paracelsus. He brings back the correlations of symptoms and moral attitude and his whole comprehension was "ecosystematic" and "psychosomatic". The healing ideas and practices of the Middle Ages and Eastern world are various and come from different origins without being an identical philosophical model, but they have the following similar points changed eventually by the "scientific medicine" born after the Cartesian debate: a) there is a bond between body and psyche, b) there is a bond of interaction between the human body and the environment, c) there is a mutual bond of equality and trust between the patient and the healer. The important developments between the 17th - 18th centuries (discovery of the microscope, growth of laboratories and clinics) will give a tremendous push to this scientific medicine and will allow to discard the patient as a whole person for the favour of the diagnosis and the manipulation of "diseases and syndromes". Another disruption from this course of scientific medicine occurs with the emergence of biology as a distinct science, which brought the uprising of the usual vitalistic beliefs that during in the 18th century did not totally stop to exist (G. Stahl-anima, S. Hahneman- homeopathy). However, due to the positivistic direction that the great physiologist of the 19th century, C. Bernard (who established in medicine the quantification according to the prototype of positive Sciences) and finally L. Pasteur established with the discovery of the bacterial role, strengthened again the self confidence of the classical/ scientific medicine. In 20th century, medicine gains also powers and is connected socially also with the growing pharmaceutical, but still is unable to heal satisfactory the mental / psychological illnesses; meantime, the recent specialization opened up a new horizon of medical applications (molecular biology, neurochemistry, clear understanding of the immunological-nervous-endocrinological mechanism) that are, however, part of the same mechanical model. The malpractice of this model involved attachment of medicine and politics in a programme that experimentally was performed in the Nazis camps. Again, three subsequent currents of developments questioned the medical orthodox theory during most of 20th century: S. Freud and psychoanalysis, the phenomenological medicine of E. Husserl and modern alternative medicines (homeopathy, acupuncture).
6
De Koninck, Tine. „Natascha Veldhorst, Sounding prose. Music in the 17th-century Dutch Novel“. Early Modern Low Countries 6, Nr. 1 (29.06.2022): 158–60. http://dx.doi.org/10.51750/emlc12178.
7
FADER, DON. „The Honnêête homme as Music Critic: Taste, Rhetoric, and Politesse in the 17th-Century French Reception of Italian Music“. Journal of Musicology 20, Nr. 1 (01.01.2003): 3–44. http://dx.doi.org/10.1525/jm.2003.20.1.3.
Annotation:
ABSTRACT The French concept of Taste (goûût) has largely been viewed from an 18th-century tradition of aesthetics in which philosophers attempted to incorporate it into a rationalized systematic theory of musical expression. Its original 17th-century usage, however, was derived from the principles of classical rhetoric and noble etiquette, or politesse. Following the tenets of Cicero communicated by humanist writers, these principles require the ideal gentleman (the honnêête homme) to adapt his knowledge and talents (agrééments) to the requirements of good society just as an orator carefully chooses the appropriate rhetorical figures to convince and move his hearers. According to the principles of rhetoric, any overuse of figures (or agrééments) vitiates their very effectiveness by drawing attention to their artificiality. Thus the 17th-century understanding of taste required the concealment of labor, knowledge, and ““artifice”” behind an effortlessly ““natural”” and pleasing courtly facade. This concept of taste became influential in courtly contexts of amateur music-making in the early part of the century, when it was incarnated by Pierre de Nyert, whose manner of singing was hailed as the model of ““politesse du chant.”” The principles of politesse played a significant role in the controversy over Italian music, whose perceived overuse of ““learned”” musical figures (dissonance, chromaticism, and other techniques) was viewed as a bourgeois flaunting of musical talent and rhetorical artifice.
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Сорокина, Т. Б. „Freethinking of the 17th Century: Edward Herbert’s Philosophy“. Диалог со временем, Nr. 79(79) (20.08.2022): 47–56. http://dx.doi.org/10.21267/aquilo.2022.79.79.002.
Annotation:
В работе характеризуются взгляды Эдварда Герберта – английского философа, политика и общественного деятеля первой половины XVII в. Автор анализирует основные положения философской системы Э. Герберта, отмечая логическую связь между теорией познания и философией религии. Показано, что гносеологический объективизм Герберта явился основанием для его деистических идей, главной из которых стала идея «естественной религии». Автор считает заслугой Герберта попытку обосновать объективные основы и критерии познания, соединить его когнитивные и ценностные начала, подчеркнуть системное взаимодействие всех элементов. In the work are characterized by philosophical views of Edward Herbert – English philosopher, politician and public figure of the first half of the 17th century. The author of the article analyzes the basic provisions of the philosophical system of E. Herbert, noting the logical connection between the theory of cognition and the philosophy of religion. It is shown that Herbert's epistemological objectivism was the basis for his deistic ideas, the main of which was the idea of "natural religion". The author considers Herbert's merit to try to substantiate objective basics and criteria of cognition, to combine his cognitive and value principles, to emphasize the systemic interaction of all elements.
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Burganova, Maria A. „LETTER FROM THE EDITOR“. Scientific and analytical journal Burganov House. The space of culture 18, Nr. 1 (10.03.2022): 6–9. http://dx.doi.org/10.36340/2071-6818-2022-18-1-6-9.
Annotation:
Dear readers, We are pleased to present to you Issue 1. 2022, of the scientific and analytical journal Burganov House. The Space of Culture. Upon the recommendation of the Expert Council of the Higher Attestation Commission, the journal is included in the List of Leading Peer-reviewed Scientific Journals and Publications in which the main scientific results of theses for the academic degrees of doctor and candidate of science must be published. The journal publishes scientific articles by leading specialists in various humanitarian fields, doctoral students, and graduate students. Research areas concern topical problems in multiple areas of culture, art, philology, and linguistics. This versatility of the review reveals the main specificity of the journal, which represents the current state of the cultural space. The issue opens with the article "Al Noor Island - a Place Where Art and Culture Meet Nature" by J. Smolenkova. It is devoted to modern architecture and touches upon the philosophy of architecture ecology as a new concept of contemporary construction. On the example of a unique project implemented on the island of Al Noor in the UAE, the author considers examples of pavilions and sculptural installations, united by the theme of new aesthetics and humanistic mutual influence of nature and architecture as new realities of modern society. In her article "Glasstress: a Transparent Border Between Mimicry and Mimesis", M. Burganova analyses the modern artistic process that began in the middle of the 20th century as part of the craft + art concept using the example of "Glasstress. Window to the Future” exhibition, held in the State Hermitage Museum in St. Petersburg. The Stalinist Empire style, a unique phenomenon in the architecture of the Soviet period, is analysed by V. Slepukhin in the article "Soviet Architecture of the 1930-1950s". The author determines its place among such architectural styles and trends as Art Nouveau, Rationalism and Constructivism and gives a detailed description. In the article “Palladian Architecture of Denmark in the 17th-18th Centuries”, O. Tsvetkova considers the evolution of architecture in Denmark in the 17th-18th centuries, explores the influence of French classicism and Dutch Palladianism on national manifestations of style. On the example of specific buildings, the chronology of the classical architectural tradition development is traced. The creative continuity of architectural dynasties is studied in the context of the pan-European architectural trends of the time; the history of the Danish architecture development is traced. I. Pavlova continues the theme of dialogues in art in the article “The Role of the ‘English’ Theme in One of the Episodes of L. Tolstoy’s Novel, Anna Karenina". The author expresses the opinion that the development of the "English" theme in the episodes of the races and preparations for them serves to dispell false values, the ephemeral virtues of Tolstoy's contemporary society, pride and arrogance. The author believes that the main role of the "English" theme lies in the development and implementation of the moralistic setting of the novel, the expansion of the content space of the work and depiction of the dramatic image of the era. In the article "V. Borovikovsky’s Sketch ‘God the Father Contemplating Dead Christ’ As a Synthesis of Western European and Orthodox Traditions”, V. Makhonina considers iconographic interpretations of the plot and conducts a stylistic analysis of the work. The article "The Concept - Text - Interpretation Triad in Piano Music of the Second Half of the 20th - 21st Centuries" by O. Krasnogorova is devoted to the problems of the performing arts of modern times in the context of the general system of humanitarian thinking. The concept of interpretation from the standpoint of conceptual metaphors and research in the field of musical semiology are considered by the author. In the article, the broad interpretation of a musical text goes beyond the actual musical text into the area of ??signs, metaphors and metonyms. In the article "Instrumental Performance on Wind and Percussion Instruments in the Context of Traditional Rituals Accompanying Work in China", Huang Shuai analyses traditional Chinese wind and percussion instruments; he considers such issues as instrumental combinations and musicians. The author applies the historical research method, source study and musicological analysis of audio and video materials. The publication is addressed to professionals specialising in the theory and practice of the fine arts and philology and all those interested in the arts and culture.
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Kuzmina, Marina D. „“Alphabet Scribe” in the History of Russian Literature“. Philology 19, Nr. 9 (2020): 87–101. http://dx.doi.org/10.25205/1818-7919-2020-19-9-87-101.
Annotation:
The article is dedicated to the study of the most significant and popular Old Russian scribe – “Alphabetical”, written in the late 16th – early 17th century according to researchers. The assumption is made that it was replenished and adjusted over several decades, quickly responding to the demands of the times and reflecting the main processes that took place in Russian literature of the 16th and especially the 17th century. The scribe reflected the central feature of this period: the interaction of the traditional and the new, with an emphasis on the new. It demonstrates such new aspects of Russian literature of the 17th century as secularization, democratization, fiction, and individualization. It is rather telling that the vast majority of sample messages are private letters written for relatives and friends. Particularly noteworthy are the samples of ‘anti-friendly’ letters, some of which are parodies of friendly letters. They make up an organic part of the 17th century parodies, namely such satirical texts as Kalyazinsky Petition, The Dowry Document, The Tale of Ersh Ershovich, The Service of the Tavern. As it is known, parodies play a crucial role in the turning periods of literary development, which was the 17th century. In this era, first of all, the most stable and therefore most recognizable genres were parodied: business (petitions, dowry, court documents, etc.) and church (hagiographies, prayers, akathists, church services, etc.) writing. Quite noteworthy is the appearance along with these parodies of the parody of the epistolary genre, indicating that it had fully developed, and occupied a proper place in the system of literature genres, and was unmistakably recognized by authors and readers. Moreover, a new, ‘secular’ version had developed and was recognized: friendly letters, which were by no means educational, unlike those popular in Ancient Russian literature of previous centuries.
Dissertationen zum Thema "Music theory History 17th century":
1
Rusak, Helen Kathryn. „Rhetoric and the motet passion“. Title page, table of contents and introduction only, 1986. http://web4.library.adelaide.edu.au/theses/09ARM/09armr949.pdf.
2
Katz, Jonathan. „The musicological portions of the Saṅgītanārāyaṇa : a critical edition and commentary“. Thesis, University of Oxford, 1987. http://ora.ox.ac.uk/objects/uuid:14ee1fc0-dcae-4183-9481-0add2a7d42f3.
Annotation:
The Saṅgītanārāyaṇa, attributed to the Gajapati king Nārāyad nadeva of Parlākhimidi but almost certainly composed by his guru Kaviratna Purud sottamamisra, is the most extensive surviving Sanskrit treatise on music to have been composed in the eastern region of India now known as Orissa. The treatise contains four chapters, gītanirnaya (on vocal music), vādyanirṇaya (on instruments), nāṭyanirṇaya (on dance and the mimetic art), and śuddhaprabandhodāharaṇa (sample compositions of the śuddha and sālaga varieties). The thesis contains a critical edition of the first, second and fourth of these chapters with an English translation, commentary and introduction. Though the whole text was issued in a printed edition by the Orissa Sangeet Natak Akademi in 1966, the new edition offers substantial revisions and corrections to the published version. Eleven manuscripts have been examined; these are in Nagari, Bengali and Oriya scripts and are held in collections in Orissa, in other South Asian libraries, and in two British libraries. All of the manuscript evidence has been presented in a critical apparatus and in a section of supplementary textual notes. The commentary examines the technical contents of the work in detail and places the treatise within its Eastern Indian context. Special attention is drawn to certain subjects, for instance the account of compositional forms and metres, which represent a regional tradition, but all topics are placed also against the background of Sanskrit musicological traditions from other parts of India; some topics in the traditional sastra are thereby re-examined. In the introduction, the historical setting of the work is assessed, and the manuscript evidence is summarised. The proposed stemma codicum shows two groups of manuscripts, one from Orissa and one based in North India; manuscripts discovered in the future are expected to fit into one of these two.
3
Parker, Mark M. (Mark Mason). „Transposition and the Transposed Modes in Late-Baroque France“. Thesis, University of North Texas, 1988. https://digital.library.unt.edu/ark:/67531/metadc331880/.
Annotation:
The purpose of the study is the investigation of the topics of transposition and the transposed major and minor modes as discussed principally by selected French authors of the final twenty years of the seventeenth century and the first three decades of the eighteenth. The sources are relatively varied and include manuals for singers and instrumentalists, dictionaries, independent essays, and tracts which were published in scholarly journals; special emphasis is placed on the observation and attempted explanation of both irregular signatures and the signatures of the minor modes. The paper concerns the following areas: definitions and related concepts, methods for singers and Instrumentalists, and signatures for the tones which were identified by the authors. The topics are interdependent, for the signatures both effected transposition and indicated written-out transpositions. The late Baroque was characterized by much diversity with regard to definitions of the natural and transposed modes. At the close of the seventeenth century, two concurrent and yet diverse notions were in evidence: the most widespread associated "natural" with inclusion within the gamme; that is, the criterion for naturalness was total diatonic pitch content, as specified by the signature. When the scale was reduced from two columns to a single one, its total pitch content was diminished, and consequently the number of the natural modes found within the gamme was reduced. An apparently less popular view narrowed the focus of "natural tone" to a single diatonic pitch, the final of the tone or mode. A number of factors contributed to the disappearance of the long-held distinction between natural and transposed tones: the linking of the notion of "transposed" with the temperament, the establishment of two types of signatures for the minor tones (for tones with sharps and flats, respectively), the transition from a two-column scale to a single-column one, and the recognition of a unified system of major and minor keys.
4
Strahle, Graham. „Fantasy and music in sixteenth- and seventeenth-century England /“. Title page, contents and abstract only, 1987. http://web4.library.adelaide.edu.au/theses/09PH/09phs896.pdf.
5
Meredith, Victoria Rose. „The use of chorus in baroque opera during the late seventeenth century, with an analysis of representative examples for concert performance“. Diss., The University of Arizona, 1993. http://hdl.handle.net/10150/186254.
Annotation:
The intent of this study is twofold: first, to explore the dramatic and musical functions of chorus in baroque operas in Italy, France, and England; second, to identify choral excerpts from baroque operas suitable for present-day concert performance. Musical and dramatic functions of chorus in baroque opera are identified. Following a brief historical overview of the use of chorus in the development of Italian, French, and English baroque opera, representative choruses are selected for analysis and comparison. Examples are presented to demonstrate characteristic musical use of chorus in baroque opera; characteristic dramatic use of chorus in baroque opera; or, the suitability of a chorus for use as concert repertoire. Musical examples are drawn from a twenty-five year period in the late seventeenth century, 1667-1692, as represented in Italy by Alessandro Scarlatti, Antonio Sartorio, and Antonio Cesti; in France by Jean-Baptiste Lully; and in England by Henry Purcell. The results of this study indicate that there are numerous choruses appropriate for concert performance to be found in the English baroque opera repertoire, the semi-operas of Henry Purcell in particular; there are some suitable examples to be found in French baroque operas, although frequently choruses by Lully are harmonically simpler than those by Purcell; and, there are choruses available for extraction from early Italian operas such as those by Monteverdi, but very few to be found in late seventeenth century Italian operas. The document concludes with an appendix of selected baroque opera choruses considered appropriate for concert performance. The appendix includes only those choruses considered to be harmonically, melodically, and textually autonomous, and of sufficient length to be free-standing. Selections chosen for the appendix are drawn from a wider range of composers and a broader time span than those discussed in the body of the paper. Information contained in the appendix includes composer, opera title, date, act and scene, chorus title, voicing, source, and editorial remarks.
6
Rushing-Raynes, Laura. „A history of the Venetian sacred solo motet (c. 1610--1720)“. Diss., The University of Arizona, 1991. http://hdl.handle.net/10150/185473.
Annotation:
In 17th century Italy, the trend toward small sacred concertato forms precipitated the publication of a number of volumes devoted exclusively to sacred solo vocal music. Several of these, including the Ghirlanda sacra (Gardano, 1625) and Motetti a voce sola (Gardano, 1645) contain sacred solo motets by some of the best Italian composers of the period. Venetian composers were at the forefront of the move toward the smaller concertato forms and, to fulfill various needs of church musicians, wrote in an increasingly virtuoso style intended to highlight the solo voice. This study traces the development of the solo motet in the sacred works of Venetian composers from the time of Monteverdi to Vivaldi. It revolves around sacred solo motets composed at Saint Marks and the Venetian ospedali (orphanages). It includes works of Alessandro Grandi, Claudio Monteverdi, Francesco Cavalli, and Antonio Vivaldi. It also deals with solo motets of lesser composers whose works are available in modern critical and performing editions or in recently published facsimiles. In addition to providing a more detailed survey of the genre than has been previously available, this study provides an overview of highly performable (but largely neglected) repertoire.
7
Botelho, Lynn Ann. „English housewives in theory and practice, 1500-1640“. PDXScholar, 1991. https://pdxscholar.library.pdx.edu/open_access_etds/4293.
Annotation:
Women in early modem England were expected to marry, and then to become housewives. Despite the fact that nearly fifty percent of the population was in this position, little is known of the expectations and realities of these English housewives. This thesis examines both the expectations and actual lives of middling sort and gentry women in England between 1500 and 1640.
8
Jackson, Simon John. „The literary and musical activities of the Herbert family“. Thesis, University of Cambridge, 2012. https://www.repository.cam.ac.uk/handle/1810/283892.
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Le, Cocq Jonathan. „French lute-song, 1529-1643“. Thesis, University of Oxford, 1997. https://ora.ox.ac.uk/objects/uuid:1a712369-836c-45e4-9f84-91045f297b3f.
Annotation:
A study of French-texted solo songs and duets with lute or guitar accompaniment notated in tablature, dating from the sixteenth and seventeenth centuries. Connected repertoires include the Parisian chanson, psalm, voix de ville, dialogue, and air de cour. Sources are examined in terms of their background, composers represented in them, relationship to concordant and other musical sources, repertoire, and musical conception. Foreign and manuscript sources are included. Literary references indicating the status of sixteenth-century lute-song, its importance to humanists (including its role in the Académie de Poésie et de Musique), and its position in theatrical works, are considered. Issues of notation, musical and poetic form, prosody, rhythm, ornamentation, lute pitch and tuning, relationship to polyphonic versions, to the ballet de cour, to dance forms, and to solo instrumental styles such as stile brisé are examined. Early references to continuo practice and to the theorbo are noted. Several arguments are developed, including 1. that the sixteenth-century Le Roy publications were conceived primarily as solo lute music, 2. that from the late sixteenth-century onwards lute-songs were initially conceived as melody-bass outlines, and may to an extent be regarded as continuo realisations, and 3. that rhythmic features of the air de cour commonly related to the influence of musique mesurée may also be explained with reference to earlier attempts to adapt the voix de ville to humanist goals, and also to the influence of the Italian villanella. Includes tables and bibliographies. Musical examples, facsimiles, and transcriptions are included in a separate volume.
10
Vendrix, Philippe Pierre 1964. „Quelques aspects de l'historiographie musicale en France a l'epoque baroque (French text)“. Thesis, The University of Arizona, 1988. http://hdl.handle.net/10150/276706.
Annotation:
L'historiographie musicale trouve dans la France de l'epoque baroque un champ ideal de developpement. Ce phenomene est lie a la conjonction de differents facteurs: le modele fourni par l'histoire generale, l'heritage humaniste, les mouvements polemiques, les tentatives de refonte de l'histoire de l'Eglise. Les musicographes, de Salomon de Caus (1615) a Jacques Bonnet-Bourdelot (1715), etablissent les fondements d'une critique historique et l'appliquent dans des ouvrages qui annoncent l'expansion de la musicologie a l'age des Lumieres.
Bücher zum Thema "Music theory History 17th century":
1
Rivera, Benito V. German music theory in the early 17th century: The treatises of Johannes Lippius. Rochester, N.Y: University of Rochester Press, 1995.
2
Palisca, Claude V. Music and ideas in the sixteenth and seventeenth centuries. Chicago: University of Chicago Press, 2006.
3
Lester, Joel. Between modes and keys: German theory, 1592-1802. Stuyvesant, NY: Pendragon Press, 1989.
4
Wardhaugh, Benjamin. Music, experiment and mathematics in England, 1653-1705. Aldershot, Hants, England: Ashgate, 2008.
5
Bayreuther, Rainer. Musikalische Norm um 1700. Berlin ; New York: De Gruyter, 2010.
6
Praetorius, Michael. Syntagma musicum III. Oxford: Oxford University Press, 2004.
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Praetorius, Michael. Syntagma musicum III. Oxford: Oxford University Press, 2004.
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Long, Pamela H. Sor Juana/música: How the Décima musa composed, practiced, and imagined music. New York: Lang, 2009.
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Campion, Thomas. A new way of making fowre parts in counterpoint. Aldershot: Ashgate, 2003.
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Sjökvist, Peter. The music theory of Harald Vallerius: Three dissertations from 17th-century Sweden. Uppsala: Uppsala Universitet, 2012.
Buchteile zum Thema "Music theory History 17th century":
1
Tietz, Manfred. „El teatro del Siglo de Oro y su paulatina presencia en la cultura y la literatura teatrales en los países de habla alemana durante los siglos XVII y XVIII“. In Studi e saggi, 77–114. Florence: Firenze University Press, 2020. http://dx.doi.org/10.36253/978-88-5518-150-1.7.
Annotation:
The presence of the theatre of the Spanish Siglo de Oro in the theatre and literary culture of Germany (or the German-speaking countries) in the 17th and 18th centuries is a multifaceted one, and was influenced by many factors. We have to take in account that in the second half of the 17th century and in a large part of the 18th century Spain had been a terra incognita for the Germanic world. This long lack of basic knowledge led to a decontextualization of the Golden Age theatre and sometimes to an unconditional enthusiasm that was not based on historical realities. The protagonists of the ‘construction’ of a ‘Spanish national theatre’ included Lessing, Herder, Goethe, the Schlegel brothers and the philosopher Schelling, the most prominent German intellectuals of the time. Within this ‘construction’ Lope de Vega, Rojas Zorrilla and, above all, Calderón de la Barca are the three icons that will guide both the theory and the practice of drama during the ‘two most Spanish decades’ of German literary history (1790-1810), even reaching - in the secularized world of the classics and the first generation of German Romantics - the ‘deification’ of Calderón as perfect poet and author of modern tragedies (without paying much attention to his comedias in a stricter sense and without taking account of his autos sacramentales).
2
Feldman, Walter. „The Sema’ i in the Third Selam and the Son Yürük Sema’i: Nucleus of the Antecedent Sam ā ’?“ In From Rumi to the Whirling Dervishes, 218–32. Edinburgh University Press, 2022. http://dx.doi.org/10.3366/edinburgh/9781474491853.003.0010.
Annotation:
The sema’i usul in 6/8 characterizes the latter half of the Third Selam of the ayin. The name implies its history within earlier forms of Sufi dance. Sema’i as both term and musical form has also been adopted into the Ottoman secular repertoire, both as vocal and as instrumental music. This usul also characterizes many of the hymns (nefes) of the Bektashi dervishes, but not the ilahis of the Sunni Dervish Orders. In the ayin its appearance is always signaled by the singing of a hymn in the Turkish language, praising Rumi’s son Sultan Veled (d. 1312). This chapter compares 17th century and later versions of this Turkish hymn, and then old sema’i items in both the Ali Ufuki and Cantemir Collections with Bektashi and also Khorezmian ritualistic vocal and instrumental music. The manifest structural similarities among all of these items, strongly suggest an origin within antecedent Central Asian sufistic practices, harking back to yet earlier Turkic shamanism. Thus this single Turkish language hymn of the 14th century appears as a key unlocking the earlier history of larger shamanistic and sufistic practices that became acclimatized among the Mevlevis in Anatolia, prior to their consolidation in Ottoman Istanbul.
3
Christensen, Thomas. „Music Theory and Pedagogy“. In The Cambridge History of Sixteenth-Century Music, 414–38. Cambridge University Press, 2019. http://dx.doi.org/10.1017/9780511675874.013.
4
London, Justin. „Rhythm in twentieth-century theory“. In The Cambridge History of Western Music Theory, 695–725. Cambridge University Press, 2002. http://dx.doi.org/10.1017/chol9780521623711.024.
5
Żerańska-Kominek, Sławomiira. „Writing the History of Unwritten Music: On the Treatise of Darwesh ‘Ali Changi (17th Century)“. In The Music Road, 148–67. British Academy, 2019. http://dx.doi.org/10.5871/bacad/9780197266564.003.0008.
Annotation:
The chapter deals with the representation of memory about the musical past as represented in the Risalei musiqi by Darweh ‘Ali Changi, music master from Transoxiana (b. c.1547, d. after 1611). This treatise, written in the convention of adab genre, is an exceptional document of an essentially oral tradition, with its ‘unacademic’ way of organising musical knowledge, free from philosophical-scientific discipline and mathematical speculation, immersed in myth, legend and fable, most closely linked to poetry. It represents an attempt to fix in writing knowledge that existed in the form of a non-formalised, free-ranging discourse, testified directly by the memory of living musicians and beyond its boundaries transformed into a mythical complex.
6
Lester, Joel. „Rameau and eighteenth-century harmonic theory“. In The Cambridge History of Western Music Theory, 753–77. Cambridge University Press, 2002. http://dx.doi.org/10.1017/chol9780521623711.026.
7
Barnett, Gregory. „Tonal organization in seventeenth-century music theory“. In The Cambridge History of Western Music Theory, 407–55. Cambridge University Press, 2002. http://dx.doi.org/10.1017/chol9780521623711.015.
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Hodžić, Muamer. „O fenomenu kahve i mjestima gdje se pila u Bosni u 16. i 17. stoljeću“. In Kulturno-historijski tokovi u Bosni 15-19. stoljeća, 165–83. Univerzitet u Sarajevu - Orijentalni institut, 2022. http://dx.doi.org/10.48116/zb.khb22.165.
Annotation:
ON THE PHENOMENON OF COFFEE AND PLACES WHERE IT WAS PREPARED IN BOSNIA IN THE 16TH AND 17TH CENTURIES The paper follows the chronology and the methods of spreading coffee in the Ottoman Empire, which relatively quickly reached from Yemen to the Hijaz, i.e., Egypt, then to Istanbul, and finally to other cities in the Eyalet of Bosnia. Considering the fact that this was a very important phenomenon, which relatively quickly became a very active and influential social factor, the paper also points out the role of different groups of people in the spread of this drink. Among them, the most important role was played by merchants, students, pilgrims, dervishes, and Ottoman dignitaries, who brought coffee to the places where they performed their duties. All this influenced the adoption of this practice by various classes of society at the time. The paper also discusses the cyclical attitude of the Ottoman ulema and Porte towards coffee, which ranged from disapproval and strict prohi-bition to acceptance and approval, which accompanied the massive expansion of the coffeehouses. In the 17th century, this attitude changed again, after the great fire broke out in Istanbul in 1633, which served as an excuse to re-ban coffee and demolish a large number of coffeehouses, but this situation did not last long.Special attention was paid to the first news about coffee and coffeehouses in several cities in Bosnia. Based on the analysis of the text from Pečewī’s History, where the first coffeehouse in Bosnia was mentioned, it was determined that he actually described a coffeehouse for meeting distinguished people of Ayalet that was within the Pasha’s court in Banja Luka, and not in Sarajevo as was previous-ly thought. In addition to the coffeehouses in Banja Luka, there were also similar places where coffee was prepared in cities like Sarajevo, Foča, and Mostar. The paper draws attention to the fact that the gathering places of people, where they hung out over coffee, were different – the courts of Ottoman dignitaries, houses of city dignitaries, bazaar and mahala cafes, the coffeehouses near fortresses, 181O fenomenu kahve i mjestima gdje se pila u Bosni u 16. i 17. stoljećuhammams, and places in the open air where the army drank coffee while resting during a military campaign.Also, a prominent fact came from the source of that time that coffee and coffee-houses were the reason for intellectual meetings, but also a place where stories from history and oral tradition were told, as well as a place for singing heroic songs with fiddle or traditional music instrument called saz similar to the lute. Keywords: Coffee, coffeehouse, social life, Bosnia, court, guesthouse, bazaar
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Bernstein, David W. „Nineteenth-century harmonic theory: the Austro-German legacy“. In The Cambridge History of Western Music Theory, 778–811. Cambridge University Press, 2002. http://dx.doi.org/10.1017/chol9780521623711.027.
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Klumpenhouwer, Henry. „Dualist tonal space and transformation in nineteenth-century musical thought“. In The Cambridge History of Western Music Theory, 456–76. Cambridge University Press, 2002. http://dx.doi.org/10.1017/chol9780521623711.016.
Konferenzberichte zum Thema "Music theory History 17th century":
1
YANG, LING, und SHENG-DONG YUE. „AN ANALYSIS OF THE CHARACTERISTICS OF MUSIC CREATION IN MEFISTOFELE“. In 2021 International Conference on Education, Humanity and Language, Art. Destech Publications, Inc., 2021. http://dx.doi.org/10.12783/dtssehs/ehla2021/35726.
Annotation:
Successful opera art cannot be separated from literary elements, but also from the support of music. Opera scripts make up plots with words. Compared with emotional resonance directly from the senses, music can plasticize the abstract literary image from the perspective of sensibility. An excellent opera work can effectively promote the development of the drama plot through music design, and deepen the conflict of drama with the "ingenious leverage" of music. This article intends to analyze the music design of the famous opera, Mefistofele, and try to explore the fusion effect of music and drama, and its role in promoting the plot. After its birth at the end of the 16th century and the beginning of the 17th century, western opera art quickly received widespread attention and affection. The reason for its success is mainly due to its fusion of the essence of classical music and drama literature. Because of this, there have always been debates about the importance of music and drama in the long history of opera art development. In the book Opera as Drama, Joseph Kerman, a well-known contemporary musicologist, firmly believes that "opera is first and foremost a drama to show conflicts, emotions and thoughts among people through actions and events. In this process, music assumes the most important performance responsibilities."[1] Objectively speaking, these two elements with very different external forms and internal structures play an indispensable role in opera art. A classic opera is inseparable from the organic integration of music and drama, otherwise it will be difficult to meet the aesthetic experience expected by the audience. On the stage, it is necessary to present wonderful audio-visual enjoyment, and at the same time to pursue thematic expressions with deep thoughts, but the expression of emotions in music creation must be reflected through its independent specific language rather than separated from its own consciousness. Only through the superb expression of music can conflicts, thoughts and emotions be fully reflected, or it may be reduced to empty preaching. Joseph Kerman once pointed out that "the true meaning of opera is to carry drama with music". He believes that opera expresses thoughts and emotions through many factors such as scenes, actions, characters, plots and so on. However, the carrier of these elements lies in music. Only under the guidance and support of music can the characters, thoughts and emotions of the drama be truly portrayed. Indeed, opera scripts fictional plots with words, and music presents abstract literary image specifically and recreationally, allowing more potentially complex emotions that are difficult to express in words to be perceived by the audience in the flow of notes, thereby resonate with people.[2] Mefistofele, which this article intends to explore, is such an opera that is extremely exemplary in the organic integration of music and drama.