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1
Pister, Aleksandra. "Printed Music as a Medium of International Representation for the Magnates of the Grand Duchy of Lithuania: A Case Study of Music Prints Dedicated to Jan Karol Chodkiewicz and Aleksander Chodkiewicz." Lietuvos istorijos studijos 49 (July 4, 2022): 8–29. http://dx.doi.org/10.15388/lis.2022.49.1.
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The article deals with the collections of printed music dedicated to the distinguished nobles, statesmen and military commanders of the Grand Dutchy of Lithuania, brothers Jan Karol and Aleksander Chodkiewicz. These collections were printed in Venice in the beginning of the 17th century and dedicated to the Lithuanian magnates by Italian composers Giovanni Valentini and Giulio Osculati. However, it was not in their home country where composers became acquainted with the above-mentioned noblemen who had studied and travelled extensively in Italy but in the Polish-Lithuanian Commonwealth. In fact, both composers had served for certain periods of time as musicians in the Polish court chapel under Sigismund III Vasa. The said collections of motets are being examined here with an emphasis on publicity and international representation. The author notes that besides the reasonable expectations of both Italian composers to raise their public profiles, to publish and disseminate their work in Europe, these personal aspirations also resonated with the interests of other public figures. They both represent Sigismund III Vasa, King of Poland and Grand Duke of Lithuania, as a generous patron and a leading social figure. The dedications were intended to glorify the Chodkiewicz and raise their profile within the Polish-Lithuanian Commonwealth and beyond. They account for the magnates’ victories in major military campaigns of the time, such as those achieved during the Polish–Swedish war of 1600–1611, as well as Chodkiewicz’s merits in defence of the state. Within the context of shifting confessional identities at the turn of the 16th and 17th centuries (i.e. the Reformation and the Counter-Reformation movements) these notated sources should be considered as a reflection of the magnates’ confessional identity. The very genre of printed works – motets for Catholic church service – reflects Chodkiewicz’s firm self-determination as Roman Catholics.
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Apanavičius, Romualdas. "Upowszechnianie się polskiej etnicznej kultury muzycznej na Litwie w XVI–XX wieku." Analecta Cracoviensia 40 (January 4, 2023): 323–44. http://dx.doi.org/10.15633/acr.4021.
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Influence of Polish ethnic musical culture in Lithuania is evident mainly in usage of European musical instruments and of folk dances repertoire as well in the religious ethnic music.European musical instruments were spread in Lithuania at the beginning of 16th – 17th cc. These instruments were adopted by Lithuanians from Poland or from Western Byelorussia, where the Catholic Church and strong traditions of Polish culture were prevailing. European folk dances were performed by the Lithuanians at the beginning of 18th – 19th cc., and the main part of these dances was spread to Lithuania from Poland. Noticeable part of folk dances repertoire consists of Polish dances. These new dances were lead by the music of the European instruments; it was the noticeable innovation, because until this period, Lithuanian games and round games, as well as in all the other nations of Europe, were performed by singing.We can notice less Polish influence in Lithuanian ethnic songs, while researching monody of Lithuanians and Poles is evident, that songs of this style of ethnic music of both nations were spread from Great Poland to Southern and Middle Lithuania, most probably, marking the common area of former culture of ethnic music. The roots of this former culture could reach the pre – historical times.Polish influence is evident in the traditions of co – called “literary” songs, which were popular in 19th – beginning of 20th cc., and in the repertoire of latest centuries of ethnic musical instruments.The ethnic music from Poland of the Additional service in Lithuania: devotions and songs of Advent Little hours of St. Mary the Virgin, devotions and songs of Mournful Whining and devotion and songs of the Žemaičių Kalvarija (Samogitia in Latin) – are the reflection of the Polish origin.In Poland and Lithuania from time immemorial on Advent Sundays, as early as before the sunrise, early Mass (Matins) has been held which begins with the words Rorate coeli and therefore it is called Rarotos (in Lithuania). Its origin in Lithuania is linked to Poland. Their basis was The Little hours of St. Mary the Virgin or Godzinki (in Poland). This cult has come to Lithuania from Cracow in the 17th century.The customs of Mournful Whining or Gorzkie Żale (in Poland) prayers and songs is known only in Lithuania and Poland. The liturgy of Rome does not have this customs. The earliest manuscript text of Gorzkie Żale was founded in Poland (Calvaria Zebrzydowska, War- saw) in 17th century. Having this religious practice originated in Poland, finally is spread in Lithuania as late as mid-19th century.The devotions and songs of the Žemaičių Kalvarija (Samogitia) are established by the model of Polish Calvaria Zebrzydowska. The cult of Žemaičių Kalvarija was born in 1637. Its religious ethnic music – the analogue Polish religious culture.Roots of the Polish influence arose not only because of the neighbourhood of the both nations, but also because of living in the common state and the same Catholic faith, which was one of the strongest common feature of the ethnic and musical culture of Lithuanians and Poles.
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Dubka, O. S. "Sonata for the trombone of the second half of the 16th – the beginning of the 19th centuries in the context of historical and national traditions of development of the genre." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 54, no. 54 (December 10, 2019): 55–70. http://dx.doi.org/10.34064/khnum1-54.04.
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The present article is devoted to the general characteristics of the historical process of the formation of the sonata for the trombone (or with the participation of the trombone) in the European music of the Renaissance – Early Classicism era. A particular attention in the research has been paid to the study of the national stylistic, which was the main driving force in the evolution of the trombone at the level of the chamber instrumental and concert genres. It has been noted that since the time of A. Willaert and A. and J. Gabrieli brothers, the trombone and trombone consorts have been the permanent components of the concerts da chiesa, and later – da camera. Due to its construction and melodic-declamatory nature of the sounding, the trombone was in good agreement with both the voices of the choir and other instruments. Gradually, along with collective (concert) varieties of trombone sonatas, solo sonatas with bass began to appear, and they reflected the practice of the Baroque-era concert style. The article reviews a number of trombone sonatas of the Italian, Czech, Austro-German schools, which later became the model for composers of the Newest Time, who fully revealed the possibilities of the trombone semantics and techniques in the sonata genre. The article has noted that the formation of the instrumental sonata in Europe was associated with the practice of concerts in the church, which was for a long time practically the only place where academic music could be performed. The term “sonata” was understood then as the music intended for the instrumental performance, which, however, was closely connected with the vocal one. Therefore, the first samples of sonatas with the participation of the trombone were mixed vocal-instrumental compositions created by the representatives of the Venetian school of the second half of the 16th century – A. Willaert and A. and J. Gabrieli brothers. It has been noted that the key and largely “landmark” composition opening the chronicle of a concert sonata with the participation of trombones was the sonata called “Piano e forte” (1597), where the functions of trombone voices are already beginning to the counterpoint independence, rather than to duplicating the vocal ones. G. Gabrieli is the creator of one of the most large-scale, this time exclusively trombone compositions – “Canzon Quarti Toni” for 12 trombones, cornet and violin – one of the first trombone ensembles based on the genre of canzone as the progenitor of all the baroque instrumental-concert forms. It has been emphasized that among Italian masters of the subsequent period (the early Baroque), the trombone received a great attention from C. Monteverdi, who in his concert opuses used it as the substitute for viola da brazzo (three pieces from the collection called “Vespro della Beata Vergine”). It is noted that in the era of the instrumental versioning, when compositions were performed by virtually any instrumental compound, the trombone was already distinguished as an obligate instrument capable of competing with the cello. Sonata in D minor Op. 5 No. 8 by A. Corelli is considered a model of such a “double” purpose. It has been proved that the Italian schools of the 16th – 17th centuries, which played the leading role in the development of the sonata and concert instrumentalism, mainly the stringed and brass one and the brass one as well, were complemented by the German and Austrian ones. Among the masters of the latter one can distinguish the figure of G. Schütz, who created “Fili mi, Absalon” for the trombone quartet and basso-continuo, where trombones are interpreted as instruments of cantilena sounding, which for a long time determines their use in opera and symphonic music, not to mention the sonata genre (introductions and slow parts). Along with the chamber sonata, which was written in the Italian style, German and Austrian masters of the 17th century turn to “tower music” (Tower music), creating their own opuses with almost obligatory participation of one or several trombones. Among such compositions there are the collection by G. Reich called “Quatricinua” of 24 tower sonatas (1696) for the cornet and three trombones, where, modelled on A. Corelli’s string-and-bow sonatas, the plays of a homophonic and polyphonic content are combined. The article notes that the creation of a solo sonata with bass for the trombone was historically associated with the Czech composing school of the second half of the 17th century. The first sample of such composition is the Sonata for the trombone and the thorough-bass (1669), written by a certain monk from the monastery of St. Thomas in Bohemia, where the instrument is shown in a wide range of its expressive possibilities. A significant contribution to the development of a trombone sonata was made by the Czech composer of the late 17th century P. Y. Veyvanovsky, who created a number of sonatas, which, despite the typical for that time performing versioning (trombone or viola da brazzo), were a milestone in the development of the genre in question. The traditions of the trombone sonata-quality genre in its three main expressions – da chiesa, da camera, “tower music” – have been preserved for a certain time in the era of Classicism. This is evidenced, for example, by F. Schneider’s 12 “Tower sonatas” for 2 pipes and 3 trombones (1803–1804). In general, in the classic-romantic era in the evolution of the trombone sonata genre there is a “pause”, which refers to both its collective and solo varieties. The true flourishing of the trombone sonata appeared only in the Newest time (from the end of the 19th century), when the instrumental music of a concert-chamber type declared itself not only as the one demanded by the public, but also as the leading, “title” field of creativity of a number of the leading composers. Among the instruments involved in the framework of the “new chamber-ness” (B. Asafiev) was also the trombone, one of the recognized “soloists” and “ensemblers” of the music from the past eras. The conclusions of the article note that the path travelled by the sonata for the trombone (or with the participation of the trombone) shows, on the one hand, the movement of the instrument to the solo quality and autonomy within the framework of “little-ensemble” chamber-ness (the sonata duet or the solo sonata without any accompaniment), on the other hand, the sustainable preservation of the ensemble origins of this genre (the trombone ensemble, sometimes in combination with other representatives of the brass group).
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Ting, Liu. "Aesthetic principles of interpretation of early arias in the vocalist’s concert repertoire: air de cour." Aspects of Historical Musicology 27, no. 27 (December 27, 2022): 73–96. http://dx.doi.org/10.34064/khnum2-27.05.
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Statement of the problem. Nowadays, there has been a high demand for historically informed performance, including in the educational process. However, a young performer often faces not only technical problems, but also a lack of understanding of the performance style. So, the relevance of the topic of the article is caused by urgent needs of modern concert and stage practice related to historically oriented performance as well as by the task of modern music education to introduce the Baroque styles into the educational process of vocal performers. The article offers the experience of musicological reception of the early aria genre using the example of the French “air de cour” as the personification of European Baroque aesthetics. The genre, which is little known to both Ukrainian and Chinese vocalists, is considered from the standpoint of a cognitive approach, which involves a combination of practical singing technology with the understanding of the aesthetic guidelines of the baroque vocal style as an original phenomenon. One of the manifestations of it is the “sung dance” (singing in ballet) as the embodiment of artistic synthesis rooted in the musical and theatrical practice of France during the time of Louis XIV with its luxurious court performances, a bright component of which were “airs de cour”. To reveal the chosen topic it was necessary to study scientific literature in such areas as the issues of performing early vocal music (Boiarenko, 2015), the history and modernity of vocal art (Shuliar, 2014; Hnyd, 1997; Landru-Chandès, 2017); peculiarities of the air de cour genre, which are highlighted with varying degrees of detailing in different perspectives in the works of European and American scholars: 1) in publications on the synthetic opera and ballet genres in the time and at the court of Louis XIV, in particular ballet-de-cour (Needham, 1997; Christout, 1998; Verchaly, 1957; Harris-Warwick, 1992; Cowart, 2008); 2) special studies (Durosoir, 1991; Khattabi, 2013; Brooks, 2001); 3) monographs on Baroque music (Bukofzer, 1947); 4) reference articles by authoritative musicologists (Baron, 2001, the editors of Encyclopaedia Britannica and others). A study that would focus on the aesthetic principles of the modern vocal interpretation of air de cour as a sample of the early aria genre has not been found. Research results. Air de cour, the origins of which are connected with the secular urban song (voix-de-ville) in arrangements for voice and lute and lute transcriptions of polyphonic vocal works of the Renaissance, was popular in France, and later, in Europe at the end of the 16th and 17th centuries. As part of the popular synthetic theatrical spectacle – ballet-de-cour, which combined dance, music, poetry, visual and acting arts and flourished at the court of Louis XIV as an active means of sacralizing the king’s person, “air de cour” even in its name (which gradually replaced “voix-de-villes”) alludes to the social transformations of the French Baroque era with its courtly preferences. With the transition to an aristocratic environment, the link of the genre with its folk roots (squareness, metricity, melodic unpretentiousness) weakens, giving way to the refined declamation style of musique mesurée; the strophic repetitions of the melody with a new text are decorated by the singers with unique ornamentation (broderies), which is significantly different from the Italian. The poetic word and music complement the art of dance since air de cour has also adapted to ballet numbers, providing great opportunities for various forms of interaction between singing and dancing and interpretation on the basis of versioning – the variable technique of combinations, which were constantly updated. Vocal numbers in ballets were used to create various musical imagery characteristics. When choosing singers, the author of the music had to rely on such criteria as the range and timbre of the voice. As leaders, the creators of airs de cour used high voices. This is explained by the secular direction of the genre, its gradual separation from the polyphonic traditions of the past era: the highest voice in the polyphony, superius, is clearly distinguished as the leading one in order to convey the meaning of the poetic declamation, to clearly hear the words, turning the polyphonic texture into a predominantly chordal one with the soprano as the leading voice. Hence, the modern performing reproduction of air de cour, as well as the early aria in general, requires a certain orientation in the characteristics of the expressive possibilities of this particular singing voice; for this purpose, the article provides a corresponding classification of sopranos. So, despite the small vocal range and the external simplicity of the air de cour form, the vocalist faces difficult tasks, from deep penetration into the content of the poetic text and reproduction of the free declamatory performance style to virtuoso mastery of the technique of ornamental singing and a special “instrumental” singing manner inherited from Renaissance polyphonic “equality” of vocal and instrumental voices. Conclusions. What are the aesthetic principles of vocal music of the European Baroque period that a vocalist should take into account when performing it? First of all, it is an organic synthesis of music, poetry and choreography. The connection of singing with dance plasticity is inherent in many early vocal works. Hence the requirement not only to pay attention to the culture ofrecitation, pronunciation of a poetic text, understanding of key words-images, which precedes any performance interpretation of a vocal work, but also to study the aesthetic influences of various arts inherent in this or that work of Baroque culture. Air de cour differs from the German church or Italian opera aria as other national manifestations of the psychotype of a European person precisely in its dance and movement plasticity. Therefore, the genre of the early aria requires the modern interpreter to understand the socio-historical and aesthetic conditions of its origin and existence and to rely on the systemic unity (polymodality) of vocal stylistics. The prospect of research. There are plenty of types of vocal and dance plasticity in early arias; among them, rhythmic formulas and dance patterns of sicilianas, pavanes, and tarantellas prevail; movement rhythm (passacaglia). And they received further rapid development in the romantic opera of the 19th century. This material constitutes a separate “niche” and is an artistic phenomenon that is practically unstudied in terms of historical and stylistic integrity, continuity in various national cultures, and relevance for modern music and theatre art.
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Tomalska-Więcek, Joanna. "ICONS, SMUGGLING AND MCDONALDIZATION OF CULTURE." Muzealnictwo 58 (November 2, 2017): 0. http://dx.doi.org/10.5604/01.3001.0010.5025.
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Culture undergoes constant changes. Although today, Poland is an almost ethnically homogenous country, ages ago, the dialogue of cultures took place not only on the borderlines of the First Polish Republic but also in the then capital city of Cracow. In 1390, Slavic Benedictine monks who used Old Church Slavic language settled in the church of the Holy Cross in Krakow. Francis Skaryna (Francysk Skaryna), a pioneer of Belarusian printing and later the founder of the first printing house in Eastern Europe in Vilnius, published the first Cyrillic prints in the world in Cracow and in the early 16th c. also studied there. Poland was a great example of a multicultural society. In the early 16th c. the Catholics and the Protestants, the Jews and the Armenians, the Tatars and the Karaims lived in Poland. After the Union of Lublin, the Crown of the Kingdom of Poland and the Grand Duchy of Lithuania formed one of the biggest countries in Europe at the time; it was inhabited by the Poles, the Lithuanians, the Ukrainians and the Belarusians. In the mid-16th c. Poland became a shelter for multitudes of religious dissenters in Western Europe, such as the Lutherans, the Calvinists, and other Protestants. Today it is useless to seek traces of such multiculturality in many museums. In museums which collect paintings related to the Eastern Orthodox Church, places of monuments connected with Polish culture are frequently occupied by late icons of mediocre artistic value smuggled from Russia. The article attempts to explain this phenomenon in the context of the transformation of modern museology.
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Bertoglio, Chiara. "Cats, bulls and donkeys: Bernardino Cirillo on 16th-century church music." Early Music 45, no. 4 (November 2017): 559–72. http://dx.doi.org/10.1093/em/cax081.
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Supady, Jerzy. "Nursing care organizations in Western Europe from the 16th to 18th centuries." Health Promotion & Physical Activity 6, no. 1 (April 4, 2019): 8–10. http://dx.doi.org/10.5604/01.3001.0013.1520.
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From the 16th to 18th centuries in Western Europe care and nursing institutions for the sick were created by the faithful of the Catholic Church. The greatest successes in that field were achieved by three persons: Juan de Dios, Camillo de Lellis and Vincent de Paul. They established charity, care and nursing congregations, orders and convents which conducted wide charity activities in Europe before the French Revolution.
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Plemmenos, John. "The Rosary and the Rose: Clergymen as Creators of Secular Poetry and Music in Early-modern Balkans." Musicological Annual 50, no. 2 (April 3, 2015): 77–91. http://dx.doi.org/10.4312/mz.50.2.77-91.
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This paper deals with the involvement of Greek clergy in secular poetry and music in early-modern Balkans. This trend began in late-16th century, and involved the production of large anthologies and treatises on Ottoman music. This paper offers insights into the motives of those clergymen, the reception of their works by laymen and clerics, and the reaction of the official church.
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Jeż, Tomasz. "Studies on the reception of Italian music in central-eastern Europe in the 16th and 17th century, ed. Marina Toffetti, Kraków 2018." Muzyka 64, no. 1 (April 1, 2019): 155–58. http://dx.doi.org/10.36744/m.250.
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Slivka, Daniel. "Reformation versus Council of Trent and Rules for Interpretation from 16th to 19th." E-Theologos. Theological revue of Greek Catholic Theological Faculty 3, no. 1 (April 1, 2012): 28–37. http://dx.doi.org/10.2478/v10154-012-0003-z.
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Reformation versus Council of Trent and Rules for Interpretation from 16th to 19th Council of Trent confronts "sola Scriptura" the Holy Scripture and Tradition without explaining their mutual relation. At that time, the term Tradition was considered to refer to customs of the Church which dealt with the faith and practice of homily. The council emerged at the time of difficult social, agricultural, and political situation in Europe. Religious disputes were connected with the reformation which took place in Europe. Catholic reformation started even before Protestant one and Council of Trent and its findings were results of it.
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Parfentiev, N., and N. Parfentieva. "On creative activity of the master of church-singing art Ivan (Is aiah) Lukos hkov (died circa 1621)." Bulletin of the South Ural State University Series «Social Sciences and the Humanities» 20, no. 04 (2020): 72–87. http://dx.doi.org/10.14529/ssh200410.
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The authors of the scientific study summarize and investigate data about one of the most prominent representatives of old Russian music — Ivan (in monasticism — Isaiah) Lukoshkov, son of Trofim. Contemporaries knew him as master of Usol’e (Stroganovs) church singing art school of the 16th—17th centuries. The authors provide an overview of the artworks — Lukoshkov’s chants, and on the example of the most representative of them the creative principles and techniques of this raspevshik (Old Russin composer) are shown. The researchers base their observations and conclusions on the study of a wide range of documentary and narrative sources, church singing manuscripts of the 12th—17th centuries. In the course of the study of the Old Russian music artworks they use the author’s textological formula-structural method.
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Hui, Tak-Cheung, and Yu-Chia Kuo. "A Concert in a Vanished Church: Contextualizing Peace Island's Auditory History with Modern Technology." Proceedings of the ACM on Computer Graphics and Interactive Techniques 7, no. 4 (July 19, 2024): 1–9. http://dx.doi.org/10.1145/3664218.
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This paper presents an interdisciplinary project that merges archaeoacoustics with live music performance, aiming to offer a sound interpretation of San Salvador City's history in Taiwan through the fusion of historical research, archaeological discoveries, and the use of contemporary music technology. Central to the project is Ashes to Ashes, a musical performance that integrates live instruments, electronic music, and sound elements derived from 16th and 17th-century artifacts, including Dominican chants and indigenous storytelling. Employing techniques like 3D printing of instruments, physical modeling synthesis, and data sonification, the project not only resurrects forgotten sounds but also connects them with modern auditory experiences. This approach transcends traditional boundaries between historical conservation and artistic innovation, emphasizing the role of interdisciplinary collaboration in enriching our understanding of cultural heritage, particularly in East Asia.
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Pinyawali, Lasarus Umbu Labu, Purwo Santoso, and Paulus Sugeng Widjaja. "Proposing Publicity Leaving Church Apolitical Piety." International Journal of Indonesian Philosophy & Theology 2, no. 2 (December 29, 2021): 92–105. http://dx.doi.org/10.47043/ijipth.v2i2.25.
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This article seeks to release the Church from the false dichotomy of piety vs activeness in political issues, so that church members can optimally actualize piety and public responsibilities simultaneously. Apolitical piety has been running in GKS since its establishment on January 15, 1947, as the Dutch Reformed Church's evangelism legacy. Apolitical piety places the piety only as an individual's internal affair, not covering the public sphere. This discourse is a direct influence of Pietism, which began to develop in Europe in the 16th century. And Pietism itself was present as a response to Secularism, which originated in European society since the end Middle Ages. Like Pietism, Secularism also places the Church/religion and mystical aspects as personal human affairs because it doesn't want state life to be governed by or based on religion. But ideally, I view apolitical piety as the distorted discourse that should be abandoned and embrace new discourse: politics as an integral part of Church piety.
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Zheng, Lijun. "A Two-Way Choice: The Medieval Pipe Organ and the Development of Medieval Church Music." Communications in Humanities Research 33, no. 1 (May 24, 2024): 94–99. http://dx.doi.org/10.54254/2753-7064/33/20240058.
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The pipe organ during the medieval period played a significant role in religious ceremonies and worship. During this time, the pipe organ was the primary instrument used in churches and cathedrals across Europe. Organ music of the medieval period was characterized by its solemnity, grandeur, and religious significance. This paper explores the intricate relationship between the medieval pipe organ and the development of church music during the medieval period. It examines the historical background, construction, religious significance, and evolution of the pipe organ alongside medieval church music and music education. This paper discusses the symbiotic connection between the advancement of the pipe organ and the education in medieval church music, highlighting the role of cultural, historical, and socio-political factors in shaping this relationship. Additionally, it explores the significance of the "Codex Faenza," a renowned collection of medieval instrumental works, in understanding the interplay between the pipe organ and medieval religion. Overall, the abstract underscores how the pipe organ served as more than a musical instrument; it acted as a cultural symbol, facilitating identity expression, cultural exploration, religious dissemination, and the display of power in medieval Europe.
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Morucci, Valerio. "Music, patronage and reform in 16th-century Italy: new light on Cardinal Carlo Borromeo." Early Music 47, no. 4 (November 2019): 499–513. http://dx.doi.org/10.1093/em/caz071.
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Abstract Music historians are certainly familiar with the figure of Cardinal Carlo Borromeo. Important research has illuminated his association with the composer Vincenzo Ruffo, his reform of female convents, and, more generally, his influence over the musical life of Milan, including local churches and confraternities; more recently, Borromeo’s relationship with the musician Tomás Luis de Victoria has been closely examined. However, our knowledge of his role as a promoter of the so-called ‘Counter-Reformation’ in music is fragmentary. In particular, a comprehensive investigation of Borromeo’s private correspondence is lacking. In order to fill this lacuna, this article uses newly discovered letters (housed in the Biblioteca Ambrosiana, Milan) to illuminate several interrelated aspects of Borromeo’s activity as a patron and reformer in the aftermath of the Council of Trent: firstly, his support for musicians and the much discussed issue of textual intelligibility, and secondly, the prohibition of musical instruments in church and his directives against public musical entertainments.
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Rinkūnaitė, Aušra. "Music Publications of the Beginning of 16th– 19th Centuries in Vilnius University Library." Bibliotheca Lituana 3 (December 22, 2014): 138–51. http://dx.doi.org/10.15388/bibllita.2014.3.15566.
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The article deals with music publications of the beginning of the 16th–19th c. – antiphonals, graduals, missals, hymnals and manuals held in the Rare Book Department of Vilnius University Library. On the basis of the extant XVIII c. manuscript catalogues of Vilnius Jesuit College Library and Library of Novitiate the publications related to music included in those catalogues are being discussed and provenances and marginalia found in them are being investigated. In addition, the article also describes anonymous manuals printed by Vilnius Academy Printing House at the end of 17th c.–18th c.: Ars et praxis musica (the first edition in 1667), Compendium regularum generalium cantus (1753) as well as canticle books in Polish and Latin languages. The second part of the article presents music activities of German composer Johann David Holland (1746–1827) who gave music lectures in Vilnius Imperial University at the beginning of the 19th c. The heritage of the Professor – nine music books – donated after his death in 1828 by his daughter Joanna to the Library of Vilnius Imperial University. The third part of the article deals with publications of church and secular music, published at the end of 16th c.–18th c., part of them – especially rare and valuable, and the diverse history of coming of these books to the Library which witnesses of their complicate and intricate journey through different institutions.
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Shlyakhov, Mikhail Yu, and Nina V. Starikova. "Characteristic features of Reformation in Hungary and the Formation of the Unitarian (Anti-Trinitarian) Church in Transylvania in the Second Half of the 16th Century." Journal of Frontier Studies 9, no. 1 (March 7, 2024): 126–44. http://dx.doi.org/10.46539/jfs.v9i1.524.
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This article examines the peculiarities of the Reformation process in the Hungarian territories, followed by the formation of a Unitarian (Anti-Trinitarian) church in Transylvania in the 16th century. The study aims to identify the specific features and periodization of this process in the said area. The first feature is the complex ethnic composition of the population, which led to political and religious opposition and the strengthening of state power by certain ethnic groups that adopted Protestant religious doctrines. The second feature is related to the complex military-political situation in Central Europe in the 16th century: the disintegration of the Kingdom of Hungary, the annexation of parts of the disintegrated kingdom by the Ottoman Empire, which led to several major Austro-Turkish wars and constant border skirmishes. This resulted in the emergence of various vassal formations and the use of interfaith conflict as a means to achieve success in military-political confrontations. The third feature, closely related to the previous ones, is the strengthening of magnate clans, which, in the context of weak government and a challenging international situation, became independent political forces significantly influencing the religious processes in the country. These characteristics of Reformation in the Hungarian territories led, in the second half of the 16th century, to a substantial expansion of Protestantism supporters and an increase in the number of Protestant denominations. In the small, frontier, vassal state of the Eastern Hungarian kingdom under the Ottoman Empire, the widest religious freedom in Europe was granted. A few years later, a Unitarian (Anti-Trinitarian) Christian church was established, receiving equal rights with all other religious denominations. It continues to exist in Hungary and Romania. This study will be of interest to the researchers of history of Reformation and religion in general.
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Boren, Braxton B. "Acoustic simulation of J.S. Bach’s Thomaskirche in 1723 and 1539." Acta Acustica 5 (2021): 14. http://dx.doi.org/10.1051/aacus/2021006.
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This paper investigates an early acoustical theory of Hope Bagenal about the Leipzig Thomaskirche, where J.S. Bach composed and conducted from 1723 to 1750. Bagenal predicted that the church had a shorter reverberation time than previously in Bach’s time as a result of the Lutheran alterations to the space in the 16th century. This study uses on-site measurements to calibrate a geometric acoustical model of the current church. The calibrated model is then altered to account for the state of the church in 1723 and 1539. Simulations predict that the empty church in 1723 had a T30 value nearly one second lower than today, while the empty church in 1539 was much more reverberant than today. However, when the fully occupied church is simulated across all time periods, the difference in T30 is much smaller, with values at 1 kHz ranging from 2.7s in 1539, 2.5s in the present day, and 2.3s in 1723. These empirical data are crucial for understanding the historical setting of Bach’s music as heard by its original congregation and by its composer.
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Harasimowicz, Jan. "Longitudinal, Transverse or Centrally Aligned? In the Search for the Correct Layout of the ‘Protesters’ Churches." Periodica Polytechnica Architecture 48, no. 1 (September 7, 2017): 1–16. http://dx.doi.org/10.3311/ppar.11309.
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The article was written within the framework of a research project “Protestant Church Architecture of the 16th -18th centuries in Europe”, conducted by the Department of the Renaissance and Reformation Art History at the University of Wrocław. It is conceived as a preliminary summary of the project’s outcomes. The project’s principal research objective is to develop a synthesis of Protestant church architecture in the countries which accepted, even temporarily, the Reformation: Austria, Czech Republic, Denmark, Estonia, Finland, France, Germany, Great Britain, Hungary, Island, Latvia, Lithuania, Norway, Poland, Romania, Russia, Slovakia, Slovenia, Switzerland, Sweden and The Netherlands. Particular emphasis is placed on the development of spatial and functional solutions (specifically ground plans: longitudinal, transverse rectangular, oval, circular, Latin- and Greek-cross, ground plans similar to the letters “L” and “T”) and the placement of liturgical furnishing elements within the church space (altars, pulpits, baptismal fonts and organs).
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Lück, Heiner. "Pluralismus der Rechtsordnungen als Folge der lutherischen Reformation?" PRÁVNĚHISTORICKÉ STUDIE 52, no. 1 (April 5, 2022): 29–52. http://dx.doi.org/10.14712/2464689x.2022.3.
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This article addresses the question of whether and how the Lutheran Reformation led to a (further) pluralisation of legal systems. Since the beginning of the early modern period, primarily in the course of the 16th century, a wave of legal records and legal codifications can be observed throughout Europe. The connection with the reception of Roman and Canon law is obvious. On a completely different level, an epochal church schism took place from the early 16th century onwards, triggered by Martin Luther’s (1483–1546) fundamental criticism of the Roman Church. The term “pluralism of legal systems” is used here in the sense of diversity as well as the accepted coexistence and togetherness of cultural phenomena in the field of law. The article is divided into three sections: In the first section, an overview of legislation, primarily in the Holy Roman Empire, from about 1517 to the end of the 16th century will be given. Among the many examples will be the famous Czech city law codification of Pavel Koldin, which was newly edited and annotated a few years ago. A second section will deal with those legal norms that are related to the Lutheran Reformation and can be seen as consequences of the Reformation. In a third section, some substantive innovations that have had an impact up to the current legal system will be presented. The conclusion will be a short summary and some further observations.
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HOUSTON, R. A. "‘Lesser-used’ languages in historic Europe: models of change from the 16th to the 19th centuries." European Review 11, no. 3 (July 2003): 299–324. http://dx.doi.org/10.1017/s1062798703000309.
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This article charts and tries to explain the changing use of ‘minority’ languages in Europe between the end of the Middle Ages and the 19th century. This period saw the beginnings of a decline in the use of certain dialects and separate languages, notably Irish and Scottish Gaelic, although some tongues such as Catalan and Welsh remained widely used. The article develops some models of the relationship between language and its social, economic and political context. That relationship was mediated through the availability of printed literature; the political (including military) relations between areas where different languages or dialects were spoken; the nature and relative level of economic development (including urbanization); the policy of the providers of formal education and that of the church on religious instruction and worship; and, finally, local social structures and power relationships. The focus is principally on western Europe, but material is also drawn from Scandinavia and from eastern and central Europe.
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Fagunwa, Omololu Ebenezer, and Ayokunle Oluwasanmi Fagunwa. "The English Sweating Sickness of 1485-1551 and the Ecclesiastical Response." Christian Journal for Global Health 7, no. 4 (November 9, 2020): 20–27. http://dx.doi.org/10.15566/cjgh.v7i4.449.
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During the 15th and 16th centuries, five epidemics of a disease characterized by high fever and profuse sweating ravaged England. The disease became known as English sweating sickness because it started in England, though it also struck Ireland and mainland Europe. The infectious disease was reportedly marked with pulmonary components, and the mortality rate was estimated to be between 30% and 50%. The evidence of the “sweating sickness” story is medically fascinating and historically noteworthy as to its sudden appearance in 1485 and major disappearance in 1551. This was a period when the Church of England broke away from the Roman Catholic Church; and the then Prince of Wales, Arthur Tudor, died possibly of sweating sickness. The Church played a vital role during those periods: responses were made in the form of treatment (in Germany), ecclesiastical prayers, tailored worship, and devotions during those trying times, and the preservation of fragile records relating to the epidemics.
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Kornii, Lidiia. "Specific Character of Ukrainian-Russian Contacts in the Musical Culture of the 17th – 18th Centuries: A Modern View." Materìali do ukraïnsʹkoï etnologìï 21 (24) (November 30, 2022): 28–32. http://dx.doi.org/10.15407/mue2022.21.028.
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The relevant problem of the significance of the Ukrainian-Russian musical dialogue in the 17th –18th centuries for the future development of Ukrainian and Russian musical cultures is considered in the article. Ukrainian-Russian contacts have taken place in the field of professional music, dominated with religious Christian themes at that time. Significant achievements of Ukrainian musical art of the late 16th - the first half of the 18th century are noted, where Ukrainian Orthodox traditions are combined with the adapted achievements of Polish and Western European art: the reformation of musical notation and the appearance of the five-line Kyiv notation, used to record church singing, the emergence and development of polyphonic church works of the baroque style, the genre of cant and school drama, significant achievements in choral church performance. The backwardness of the musical culture of Muscovy in the period of the 16th–17th centuries from the European world and imitating Ukrainian achievements in church singing, choral performance, canto culture and school theater are emphasized. It is accentuated that the composers, regents, choristers, musical works have been necessary for the implementation of such a restructuring in Moscow musical culture. The voluntary and forced resettlement of Ukrainian musical forces to Russia for almost two centuries is considered in the submitted work. They have taken musical works with them and remained there. It has caused a situation when many Ukrainian musicians are turned in Moscow and St. Petersburg. So, there are reasons to believe that they have been creating Ukrainian culture outside Ukraine in Muscovy (Russia), relying on Ukrainian traditions. There are, in particular, Ukrainian composers M. Berezovskyi and D. Bortnianskyi, who have initiated and developed the Ukrainian classical style of sacred music in Russia among them. At the same time the constant and systematic transfer of Ukrainian musical forces, as it is noted already, for almost two centuries has been bleeding Ukrainian musical culture and affected negatively its development in the 19th century.
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Schöning, Kateryna. "Lautentabulatur UKR-LVu 1400/I als ein humanistisches Scholarbuch." Die Musikforschung 73, no. 3 (September 22, 2021): 202–34. http://dx.doi.org/10.52412/mf.2020.h3.14.
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The Krakow Lute Tablature UKR-LVu 1400/I (ca. 1555-1592) belongs to the hardly explored collections of the Lviv University Library (Ukraine). This paper considers the manuscript is in the context of humanist culture and didactic practice in Central Europe during the 16th century. At the centre is an examination of the Tablature's relation to the elaborate scholarly traditions from the first half of the 16th century, especially to the humanist Lessons Book tradition and Commonplace practice. It is argued that the Krakow Lute Tablature was a guide to poetic and musical enterntainment in the upper-middle class and aristocratic milieu of Krakow. With its clear focus on the theme of love, it was possibly intended for the non-university leisure time among Polish-Lithuanian scholars and students around 1550. Analogies between literary and musical sayings (sententiae) can be found partly in semantic parallels (in the madrigal and chanson intabulations), but above all in the technique of creating and using sententiae which is precisely in the spirit of 'commonplace' practice. In the musical entries of the Krakow Lute Tablature, sketches, fragments, dance models and intabulations, which are close to vocal models, assume the function of the literary and poetic sententiae.
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Puškorius, Arūnas. "Avalynė Vilniaus Bernardinų bažnyčios freskose." Archaeologia Lituana 13 (January 1, 2012): 151–61. http://dx.doi.org/10.15388/archlit.2012.0.1195.
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Kiekvienas naujas Lietuvoje surastas rašytinis ar ikonografinis šaltinis netrukus būna pastebėtas įvairių sričių tyrėjų. Jis patenka į mokslinę apyvartą, tampa publikacijų ir įvairių didesnės apimties darbų tyrimų objektu. Nauji surasti ir restauruoti vaizduojamojo meno objektai – sienų tapyba monumentaliuose kultūros paminkluose – yra neįkainojamos vertės mokslinio pažinimo šaltinis. Jis tiesiogiai liudija apie čia dirbusius amatininkus, konkretaus laikotarpio žmonių mentalitetą, estetinį ir pasaulio suvokimą. Šie objektai tiriami ir daug žemiškesniais aspektais: analizuojamos piešimo technologijos ir technikos, pigmentai, pagal poreikį atliekami kiti medžiagotyriniai darbai. Taigi sienų freskos yra puikus senųjų laikų įvairiapusio pažinimo objektas....SHOES IN THE WALL PAINTING AT THE VILNIUS BERNARDINE CHURCHArūnas PuškoriusSummaryThe interior wall-painting on the northern wall at the Vilnius St. Franciscus and St. Bernardine Church (Bernardine Church) is very valuable and is the only example of a well preserved subject-painting of the Gothic period in Lithuania. The interior of the Bernardine Church is considered to have been painted after the reconstruction early in the 16th century (not later than 1521). Its common stylistics is highly influenced by the German graphics. Without any doubt, a lot of figures have been transferred from the illustrated book “Prayers and Morals” composed by Stephan Fridolino, an Observant German Franciscan priest. The book was published in 1491 by Anton Koberger in Nuremberg. Nevertheless, the decoration program on the wall of the Bernardine Church is specific. The purpose of this study was to discuss and identify the shoes that are painted in this wall-painting in the context of the different social strata of first half of the 16th century, and to compare these painted shoes with the Vilnius archaeological finds and other analogues in Europe....
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Tabyisova, Fedosia W. "Trio Texture in Choral Arrangements and Polyclavier Organ of Southern Germany in the First Third of the 16th Century." Contemporary Musicology, no. 2 (2022): 81–106. http://dx.doi.org/10.56620/2587-9731-2022-2-081-106.
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The article is an attempt to establish a relationship between the structure of large South German church organs of the first third of the 16th century and the compositional features of the thencontemporary organ works. The historical boundaries of the Renaissance in German architecture and music do not coincide, while an organ may be viewed as an architectural element. This contradiction presents a certain difficulty. In the indicated period, the late Gothic architectural style, which preceded the Renaissance, played a leading role. As we see it, the organ music of this time, usually attributed to the Renaissance, reflected the transition from the late Gothic to the Renaissance. This complex repertoire is marked by the coexistence and interaction of three general trends. Among them are archaic polymelodic polyphony as well as new techniques: the method of coloring that spread in Southern Germany and imitation borrowed from the European North. A polyclavier organ, which we take as the standard of the South German instrument, is called a late Gothic spaltsatz organ (spätgotische Spaltsatz-Orgel) in German musicology. The trio texture found in choral arrangements, in our opinion, most fully and accurately reflects the polyclavier structure and timbre richness of the large church organs of South Germany.
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Michałowska-Mycielska, Anna. "The Legal Status of Jews in the Polish-Lithuanian Commonwealth in the 16th-18th Centuries." Judaic-Slavic Journal, no. 1 (3) (2020): 19–50. http://dx.doi.org/10.31168/2658-3364.2020.1.03.
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In the 16th–18th centuries the Polish-Lithuanian Commonwealth was the largest Jewish center in Europe, numbering around 750,000 in the mid-18th century.The specific legal situation of the Jews meant that they constituted a separate state group, which enabled the development of self-government institutions and the flourishing of Jewish life.The legal situation of the Jewish population was determined by many factors: the ordinances of kings and private landowners (primarily privileges for Jewish communities),resolutions of the noble diet and dietines, as well as regulations of the town and church authorities.The diversity of these factors meant that the situation of Jews varied significantly from place to place.
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Sztajer, Sławomir. "Bracia polscy a Oświecenie." Humaniora. Czasopismo Internetowe 44, no. 4 (December 19, 2023): 65–75. http://dx.doi.org/10.14746/h.2023.4.5.
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The paper discusses the philosophical and theological ideas of the Polish Brethren, a nontrinitarian reformed church in 16th Century Poland. Due to religious persecution, the Polish Brethren, also known as Socinians or Polish Arians, were forced to leave the Polish-Lithuanian Commonwealth and seek refuge in other European countries. Their legacy had a significant impact on the development of Enlightenment thought in Europe and inspired legislators both in Europe and America. The ideas developed by the Polish Brethren had a significant impact on the formation of Enlightenment ideas and thought trends, such as rationalism and deism referring to rationalism, as well as tolerance, particularly religious tolerance, and secularism manifesting in the separation of religious and secular institutions. Moreover, the ideas of Polish Arianism, which fascinated Enlightenment thinkers, became part of the cultural mainstream and were reflected in modern Western state institutions.
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Loboda, M. I. "M.P.Drahomanov about freedom of conscience and social functionality of religion." Ukrainian Religious Studies, no. 9 (January 12, 1999): 55–59. http://dx.doi.org/10.32420/1999.9.823.
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Our research is based on a rather large "library" of various works by M. Drahomanov, which contains his views on religion. Among them: Paradise and Progress, From the History of Relations Between Church and State in Western Europe, Faith and Public Affairs, Fight for Spiritual Power and Freedom of Conscience in the 16th - 17th Centuries, , "Church and State in the Roman Empire", "The Status and Tasks of the Science of Ancient History," "Evangelical Faith in Old England," "Populism and Popular Progress in Austrian Rus, Austrian-Russian Remembrance (1867- 1877)," "Pious The Legend of the Bulgarians "," The Issues of Religious Freedom in Russia, "" On the Brotherhood of the Baptist or the Baptist in Ukraine, "" The Foreword (to the Community of 1878), " Shevchenko, Ukrainianophiles and Socialism "," Wonderful thoughts about the Ukrainian national affair "," Zazdri gods "," Slavic variants of one Gospel legend "," Resurrection of Christ (folklore record) ", etc.
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Исхакова, С. З. "On Metro-Rhythmic Difficulties in Western European Music of the 16th Century." Музыкальная академия, no. 2(782) (June 26, 2023): 108–33. http://dx.doi.org/10.34690/311.
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Статья посвящена анализу метроритмических трудностей, которые могли испытывать церковные певчие XVI века в связи: а) со смещением статуса наиболее распространенной длительности с минимы на семиминиму и с появлением в нотном тексте фуз (будущих восьмых), породивших то, что К. Закс в ХХ веке назвал «horror fusae»; б) с усложнением задачи адекватного прочтения трехдольных разделов музыкального текста, создающих полуторную пропорцию к основному (двухдольному) времени, что стало причиной не только записи «на четыре» инструментальных сочинений, задуманных «на три» (в табулатуре), но и переделки пропорциональных разделов в двухдольный формат во многих хоровых произведениях рубежа XV–XVI веков. В центре внимания находится рассмотрение решений, предпринятых самими исполнителями в целях облегчения трактовки метрической стороны музыки и связанных с изменением принципов тактирования. The article is devoted to the analysis of metro-rhythmic difficulties that church singers of the 16th century could experience in connection with: a) the shift in the status of the most prevalent duration from minima to semiminima and the appearance of fuses (future quavers) in the musical text, which gave rise to what K. Sachs in the 20th century called “horror fusae”; b) with the complication of the task of correct reading the triple meter sections of the musical text, creating one and a half proportions to the principal two-part time, which caused not only the recording “in four” of instrumental works conceived “in three” (in tablature), but also the alteration of proportional sections in many choral works created at the turn of the 15th—16th centuries into a duple meter form. The focus is on the consideration of decisions taken by the performers themselves in order to facilitate the interpretation of the metric aspect of music associated with a change in the principles of tactus.
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Chircev, Elena. "The Influence of Political Regimes on Romanian Psaltic Music in the Second Half of the 20thCentury." Musicology Papers 35, no. 1 (November 1, 2020): 7–34. http://dx.doi.org/10.47809/mp.2020.35.01.01.
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During the second half of the 20th century, the Romanian society was marked by two events that had a profound impact on its destiny: the establishment of the communist regime after the abdication of King Michael I in 1948, and the Romanian Revolution of 1989, which marked the end of this regime. The Byzantine monody has had a millenary tradition in this part of Europe, and the contribution of the local chanters to the perpetuation of Orthodox church music – also through their own compositions – is evidenced by the numerous manuscripts written by Romanian authors and by the works printed in the last two centuries. In 20th-century Romania, the music written in neumatic notation specific to the Orthodox Church manifested itself discontinuously due to the historical events mentioned above. The church chant in the traditional psaltic style managed to survive, despite being affected by the Communist Party’s decisions regarding the Church, namely the attempt to standardize the church chant. This paper captures the way in which the preservation of tradition and the perpetuation of church music succeeded through the difficult times of the communist period, with special emphasis on the religious music written in neumatic notation and on certain peculiarities of the period, due to the political regime. The musicians trained before the establishment of Communism – by teachers concerned with the preservation of the good tradition of church chanting, in monastic schools and prestigious theological seminaries of the interwar period – were the binding forces who ensured the rapid revival of the music of Byzantine tradition in the last decade of the 20thcentury and who enriched the repertoire of the Romanian churches with valuable original works.
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Gouk, Penelope. "Transforming Matter, Refining the Spirit: Alchemy, Music and Experimental Philosophy around 1600." European Review 21, no. 2 (April 30, 2013): 146–57. http://dx.doi.org/10.1017/s1062798712000324.
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Although tracing its origins back to antiquity, a distinctly new kind of alchemy emerged in mid-16th-century Europe. This new tradition developed out of the teachings of Paracelsus (1493–1541), a German medical practitioner who challenged the authority of university-trained physicians. He sought to establish a reformed kind of medicine based on first-hand experience of the natural world rather than dry scholastic texts. Alchemy was at the heart of this new medicine, a body of experimental practice and theory that not only held out the promise of improving the health of individuals but could also be applied to wider sicknesses of society.
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Cuenca Rodríguez, María Elena. "A Spanish composite Rex Virginum Mass and the Beata Virgine Maria Mass tradition in Europe." Early Music 47, no. 3 (August 2019): 291–305. http://dx.doi.org/10.1093/em/caz047.
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Abstract Concepts of ‘centre’ and ‘periphery’ in Renaissance music studies have sometimes been the cause of oversights concerning points of contact and cultural exchange between the musical ‘mainstream’—represented by the northern European and Italian circles—and the Spanish kingdoms. Musicians from the Iberian Peninsula—among them, Francisco de Peñalosa—were well aware of musical developments in the Franco-Netherlandish polyphonic tradition, and incorporated some of these into their Mass composition throughout the 16th century. This article presents a case study of the Rex Virginum composite Mass, with sections by Pedro de Escobar, Francisco de Peñalosa, Pedro Hernández [de Castilleja] and Alonso Pérez de Alba. This Mass is directly connected with the popularity of votive Beata Virgine Maria Masses composed by Franco-Netherlandish and later Spanish composers. In order to shed more light on the significance of this work, the different musical styles of each composer involved in its creation are examined, and the Mass compared with other Beata Virgine Maria models. Through this analysis, the distinct musical contribution of this Mass in the context of European Renaissance music, and its influence on later generations of Spanish composers—especially Francisco Guerrero—are examined.
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d’Alvarenga, João Pedro. "On performing practices in mid- to late 16th-century Portuguese church music: the cappella of Évora Cathedral." Early Music 43, no. 1 (January 14, 2015): 3–21. http://dx.doi.org/10.1093/em/cau135.
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Yi, Xinyue. "Science and Art in The Creation of Adam." Journal of Education, Humanities and Social Sciences 11 (April 20, 2023): 149–54. http://dx.doi.org/10.54097/ehss.v11i.7541.
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The Renaissance was an intellectual and cultural movement that took place in Europe from the mid-14th century to the 16th century, and profoundly influenced European intellectual life in the early modern period. Beginning in Italy and spreading to the rest of Europe in the 16th century, its influence is reflected in art, architecture, philosophy, literature, music, anatomy, etc. The Creation of Adam is one of the important works of this period. Michelangelo's rigorous judgment of the body on the basis of anatomy, coupled with the use of clairvoyance skills, paints a unique human beauty with a sense of power. Renaissance scholars adopted a humanistic approach in their studies and looked for realism and human emotions in art. Based on The Creation of Adam, this article provides a case study and literature analysis of the connection between art and science, especially the embodiment of anatomy in The Creation of Adam. This article offers contemporary historians and artists some thoughts on the visual language of science, including how to understand science as a craft or even as an art, understand which works are both scientific and artistic, and how to develop a new visual language for science.
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Nikolakopoulos, Konstantin. "Die orthodoxe Kirchenmusik als ein bedeutendes Erbe von Byzanz und ihre moderne Rezeption im Westen am Beispiel des „Byzantinischen Kantorenchores München“." Review of Ecumenical Studies Sibiu 7, no. 3 (December 1, 2015): 447–59. http://dx.doi.org/10.1515/ress-2015-0033.
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The Byzantine Music was created within the liturgical life of Orthodoxy and has been developed accordingly in the Eastern Church Worship. Together with the hymnography the Byzantine Music in Orthodoxy has from the beginning taken a central place, especially since there is absolutely no orthodox worship without psalmodic accompaniment. It is one of the most notable achievements in the Byzantine era, for which in the last decades also in Western Europe a great interest is awakened.
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Drozdowicz, Zbigniew. "Jakobińska wolność opresyjna." Humaniora. Czasopismo Internetowe 43, no. 3 (October 12, 2023): 27–40. http://dx.doi.org/10.14746/h.2023.3.2.
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The advice of oppressive freedom in Western culture dates back to ancient times, including those principles of democracy that were implemented in Greek city-states. It changed forms of expression together with Christianity gaining the position of the dominant religion. However, this Christianization over the centuries encountered such unbelievers or infidels who were not willing to subscribe to the Christian conviction that surrendering to the slavery of God and the Church representing Him on earth is the best way to free oneself from various sins. In the 16th and 17th centuries, attempts were made to justify oppressive freedom with earthly needs. In the eighteenth century, however, such social forces came to the fore, which, regardless of the existing beliefs, implemented its form, which in the final phase was primarily terror. It was Jacobin oppressive freedom. Later, various political forces in Western Europe distanced themselves from it, but in Eastern Europe they added their card to it under the title – communist terror.
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Hulková, Marta. "Central European Connections of Six Manuscript Organ Tablature Books of the Reformation Era from the Region of Zips (Szepes, Spiš)." Studia Musicologica 56, no. 1 (March 2015): 3–37. http://dx.doi.org/10.1556/6.2015.56.1.1.
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Tablature notations that developed in the sixteenth century in the field of secular European instrumental music had an impact also on the dissemination of purely vocal and vocal-instrumental church music. In this function, the so-called new German organ tablature notation (also known as Ammerbach’s notation) became the most prominent, enabling organists to produce intabulations from the vocal and vocal-instrumental parts of sacred compositions. On the choir of the Lutheran church in Levoča, as parts of the Leutschau/Lőcse/Levoča Music Collection, six tablature books written in Ammerbach’s notation have been preserved. They are associated with Johann Plotz, Ján Šimbracký, and Samuel Marckfelner, local organists active in Zips during the seventeenth century. The tablature books contain a repertoire which shows that the scribes had a good knowledge of contemporaneous Protestant church music performed in Central Europe, as well as works by Renaissance masters active in Catholic environment during the second half of the sixteenth century. The books contain intabulations of the works by local seventeenth-century musicians, as well as several pieces by Jacob Regnart, Matthäus von Löwenstern, Fabianus Ripanus, etc. The tablatures are often the only usable source for the reconstruction of sixteenth- and seventeenth-century polyphonic compositions transmitted incompletely.
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Magina, Adrian. "NIKOLA CREPOVIĆ. A SERBIAN NOBLEMAN AND HIS FAMILY IN 16TH CENTURY TRANSYLVANIA." Историјски часопис, no. 72/2023 (December 30, 2023): 311–41. http://dx.doi.org/10.34298/ic2372311m.
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Nikola Crepović was one of the most representative Serbian nobles in the Kingdom of Hungary and Transylvania. In the two decades (1542–1562) in which he came to the attention of historical sources, this Serbian nobleman was involved in a series of events that marked the history of Central Europe. He built his career through working with both the Szapolyai family and the Habsburgs, and was rewarded with estates and dignities by both parties. Following the fall of Timișoara to the Ottomans (1552), Crepović fled with his family (wife Mara and daughters Jelena and Katerina) to Transylvania, where he built an estate in Hunedoara (Hunyad) and Alba (Fehér) counties. Through his daughters he was related to the ruling family of Wallachia and to important noble families in Transylvania. After his death he was buried in the Orthodox church of Bârsău (Hunedoara/Hunyad county) together with his wife and daughters. Because he had no male heirs, his estates, hard-won through faithful service to the Szapolyai or Habsburgs, came into the possession of nobles with whom he was related.
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Abdounur, Oscar João. "Structural Mathematical Changes in Theoretical Music in the Early Renaissance." International Journal of Mathematical, Engineering and Management Sciences 4, no. 1 (February 1, 2019): 191–98. http://dx.doi.org/10.33889/ijmems.2019.4.1-017.
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This paper investigates interrelationships between theories of ratio and theoretical music originating in Antiquity, with special attention to the early Renaissance in Europe. It considers evidence from different theories of ratio, stressing tendencies in mathematical treatment involving such concepts, which show similarities with music in structure and⁄or terminology and also examines their reflection in music in the period in question. It could be said that from later times and in particular in Euclid's Elements Book V, ratios were seen as musical intervals generalized, whose nature was very different from numbers or magnitudes. The change is from operations with ratios related to contiguous musical intervals to theories admitting compounding ratios in general sense with an essentially arithmetic character, manifested for instance in the idea that a ratio is equal to a number. It will be investigated here some attributes of these competing theories of ratios, as well as its close relationships with theoretical music up to the 16th century.
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Amano, Sachi. "Japanese performing arts known by missionary priests within the intercultural milieu of the 16th century: did Fróis encounter Christian Noh?" DEDiCA Revista de Educação e Humanidades (dreh), no. 5 (March 1, 2014): 123–38. http://dx.doi.org/10.30827/dreh.v0i5.7004.
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ABSTRACTIn 1549 Francisco de Xavier, a Catholic missionary, went to Japan, and from then on missionaries continued to arrive there throughout the 16th century. Notably Luís Fróis, who arrived from Portugal in 1563, lived in Japan for more than 30 years, and wrote “Historia de Japam” and other works comparing the cultures of Japan and Europe, considered invaluable historical materials for understanding the Japanese culture of that period: for example, pronunciation, music and theatre. In addition, European religious music was taken to Japan by missionaries. They founded theological schools called Seminarios or Correggios where Japanese boys were taught vocal and instrumental music. Later, a commission of four boys was dispatched to Rome, and they came back with some musical instruments and typographic machines. This paper focuses on the description by the missionaries of Japanese music and plays of that time in this intercultural setting, which enabled them to become acquainted with those concrete images.
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Ricci, Cristina. "Hi quattuor egregii doctores […] ueluti clarissima sidera micant." Augustinianum 60, no. 1 (2020): 265–76. http://dx.doi.org/10.5840/agstm202060112.
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The article outlines some aspects of the reception of the so-called four Father of the Latin Church in Renaissance Europe, as emerging in the prefaces of their Opera omnia edited in Basel during the end of the 15th and the first half of the 16th century. Through selected passages from the prefaces, the article discusses (§ 1) the relevance of these sources of old Christianity to the cultural and spiritual renewal many humanistic scholars aimed at; (§ 2) the importance of print in promoting the formation and circulation of patristic editions; finally (§ 3) it illustrates the philological approach to late Antique Christian texts, which was innovative in comparison to former methods of their transmissions and is still very instructive to this day.
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Leszczyński, Rafał Marcin. "Filip Melanchton i 500 lat jego Loci communes (1521)." Biuletyn Historii Wychowania, no. 44 (January 3, 2023): 201–14. http://dx.doi.org/10.14746/bhw.2021.44.14.
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In Poland, the Protestant Reformation of the 16th century is most often associated with Martin Luther. However, together with Luther, the reforms were introduced into the Church by Ulrich Zwingli in Zurich, while Philip Melanchthon, Luther’s friend and collaborator, was a very important theologian in Germany. It was him who determined the ultimate doctrinal and organizational form of Lutheranism. Melanchthon was a theologian and a humanist, the reformer of German education, author of numerous textbooks widely used in all over Renaissance Europe, including Poland and Lithuania. One of Melanchthon’s major textbooks was Loci communes (1521). In this book, Melanchthon made an attempt to systematize evangelical doctrines. Consequently, it is considered the first evangelical theology textbook and, at the first time, the first work on Protestant dogmas.
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Tao, Lin. "Research on the Notation of French Guitar and Lute in the Renaissance and Baroque Periods." Arts Studies and Criticism 3, no. 2 (July 6, 2022): 195. http://dx.doi.org/10.32629/asc.v3i2.916.
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After the long and dark Middle Ages, Europe ushered in the Renaissance of ideological and cultural prosperity. Under the influence of humanism, secular music began to be valued and some church music also began to be secularized, and thus the guitar instrument ushered in its first heyday. With the development of instrumental music, a notation method, which is suitable for musical instruments, gradually began to appear, also known as "sign spectrum". Besides, guitar instruments use a lot of musical notation. Even in the baroque period when the staff is mature, some French lute and baroque guitar solo works still use this notation. This notation was recorded in different ways in various parts of Europe during the Renaissance and Baroque periods, but it can be roughly divided into Italian notation and French notation. This paper will focus on the analysis of French notation.
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LYUBASHCHENKO, Viktoriya. "CROATIAN HUMANIST MATIJA VLAČIĆ AND HIS CONTRIBUTION TO THE SCIENTIFIC THOUGHT OF THE EARLY MODERN AGE." Problems of slavonic studies, no. 68 (2019): 54–87. http://dx.doi.org/10.30970/sls.2019.68.3071.
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Background: The 500th Anniversary of the Reformation has caused the emergence of many new publications in Ukraine dedicated to this phenomenon. Biographical research were taken quite modest positions among them. The focus was on the figures of the Western European Reformation, whose biographies are widely represented in world historiography. However, many Slavonic reformers still undervalued. In particular, a little known in Ukrainian studies remains a Croatian humanist of the 16th century Matija Vlačić (Matthias Flacius Illyricus). Purpose: The author put forward the task to acquaint the Ukrainian reader with the biography and creativity of the Croatian thinker, as well as to reveal his role in church processes, the development of theological and scientific knowledge in Early Modern Europe. To achieve this, the article is divided into several thematic blocks. The first covers the main pages of life and activity of Matija Vlačić as a Lutheran theologian, polemicist, enlightener, and scholar, the second – summarizes the early and modern studies devoted to Vlačić. The following two thematic blocks relate to his scholarly heritage in the fields of Biblical exegesis and hermeneutics (based on his “Clavis Scripturae”), сhurch history, and critical study of sources (based on “Catalogus testium Veritatis” and role of Vlačić in the creation of “Ecclesiastica Historia” – “Magdeburg Centuries”). Results: The author pays tribute to the scientific achievements of many scholars who have done important work in the study of personality of Matija, and supports the opinion expressed in contemporary historiography of his role in protection of Martin Luther’s reform. The article confirms significant of Vlačić contribution to the development of new principles of exegetics and its rise on the level of Biblical studies, and to the laying down the foundations of scientific hermeneutics and textology. The author traced use by Matija Vlačić his methods of exegetics in the study of historical documents and the comprehension of church history. An attempt at such use is his historical work “Catalogus testium Veritatis”, which can be regarded as an early experience which found a more serious incarnation in “Magdeburg Centuries”. Despite the obvious for the 16th century scientific achievements of “Catalogus” and “Centuries” polemical and ideological tendentiousness of their authors made church-historical science an element of confessional confrontation in Post-Reformation Europe. Scientific methods of Vlačić were used by Andrzej Węgierski – theologian and historian in the Polish-Lithuanian Commonwealth, the author of the chronicle “Slavonic Reformation”, which became factual material for the historical works of many scholars of Eastern Europe. Key words: Reformation, Croatia, Matija Vlačić (Matthias Flacius Illyricus), exegetics, hermeneutics, сhurch history, “Clavis Scripturae”, “Catalogustestium Veritatis”, “Magdeburg Centuries”.
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Pruett, Lilian P. "Central Europe in the Sixteenth Century: A Musical Melting Pot." Musicological Annual 40, no. 1-2 (December 17, 2021): 97–102. http://dx.doi.org/10.4312/mz.40.1-2.97-102.
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After briefly reviewing the problems arising from attempts to dentify precise geographical outlines of Central Europe in the course of time, the author opts to use the limitations existing in the sixteenth century, the time frame of the presentation. This means, essentially, the borders of the Habsburg homelands, i.e., the southeastern part of the Holy Roman Empire. The paper argues that the roots of Central European musical practices were established through the foundation of regulated institutional entities such as the imperial chapels of Maximilian I (1496) and other rulers (Albrecht V of Bavaria, 1550), their successors and imitators, as well as the transalpine Renaissance church centers. As these institutions were staffed by musicians coming from virtually every corner of Europe – each practitioner bringing his own territorial contribution with him – the emerging musical consciousness of the Central European region had as cosmopolitan a foundation as that of Europe at large. Still, the proximity of the Central European art music scene to the variety of local ethnic traditions may be interpreted as lending a flavor to the musical expression of the area, endowing it with a character of its own. While in its beginnings the recipient of many influences from multinational contributors, in a later, equally cosmopolitan period (the Classicism of the eighteenth century), Central Europe reciprocates in equal measure, its contributions exerting impact upon European music in general.
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Szyszka, Tomasz. "Franciszkańscy misjonarze w Peru." Annales Missiologici Posnanienses, no. 22 (January 4, 2018): 33–46. http://dx.doi.org/10.14746/amp.2017.22.3.
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The history of evangelization in Peru, which started at the very onset of the 16th century is connected with the presence of the missionaries of the Franciscan Order, who played a major role in the building of Church structures on the territory of the former Inca empire. However, their main contribution was an effective evangelization of the indigenous peoples through the use of innovative methods (music, singing and art, organizing schools for Indians, knowledge of indigenous languages, protection of Indians against excessive exploitation). In this activity they were urged by their Franciscan charisma summed up in the greeting “Peace and good”. Their missionary commitment was realized not only in the Andean world, but over time expanded across the Amazon Selva.
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STEBBING, JACK. "New evidence from Shrewsbury on the creation and circulation of music in high-medieval England." Plainsong and Medieval Music 33, no. 1 (April 2024): 21–61. http://dx.doi.org/10.1017/s0961137124000020.
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ABSTRACTThis article presents new discoveries from a manuscript from the Collegiate Church of St Chad, Shrewsbury, with implications for the circulation of ecclesiastical music, particularly sequences, in twelfth- and thirteenth-century England. It begins with a brief examination of the twelfth-century musical contents of the manuscript, which are shown to hold close scribal affinities: in particular, a ‘winged’ neume shape is contextualised by contemporaneous musical inscriptions found in a manuscript probably written at Haughmond Abbey. The remainder of the article considers music, mostly sequences, inscribed in a palimpsest gathering at the back of the St Chad's manuscript in the thirteenth century. Two of these are compared for the first time with their concordances, one concordance newly discovered. Examination of the preservation and record of these musical entries (with discussion of contrafacture and marginalia) sheds light on creative practices of citation and intertextuality, performance traditions, and processes of reading and recording music at St Chad's, ultimately illuminating the role the church played within a creative network across England and northern Europe.
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Eastell, Kevin. "The Silent Witness of Montrelais." Moreana 40 (Number 156), no. 4 (December 2003): 41–64. http://dx.doi.org/10.3366/more.2003.40.4.6.
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The writing of Thomas More’s A Dialogue of Comfort against Tribulation is set against the background of the complex political situation of Europe in the early 16th century. In this survey, the internal European power struggles are explored and the external Muslim threat is discussed. Using the stained-glass east window within the church of Montrelais, France, as an illustration, the author examines the detailed commentary provided by this primary source evidence, installed within the building in 1535. The exploration includes the political and theological elements present in the work, along with the compositional significance of its artistic design. An appreciation is made of this remarkable window about the times of tribulation its construction witnessed, with its depictions of François I, Charles V, Suleiman the Magnificent and Henry VIII.
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Mosterín, Jesús. "Scholars East and West." European Review 24, no. 2 (April 18, 2016): 325–34. http://dx.doi.org/10.1017/s1062798715000666.
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The great contribution of China to politics was the development of a bureaucratic, meritocratic civil service, based on mastery of a well-defined canon of scholarship. Civil servants were scholars. Already under the Han dynasty, Confucianism (the Rújiā or school of the scholars) was made the official ideology of the State and the basis of the competitive examination system. Europe was less advanced in political organization than China. Rulers and their courts relied on family ties and brute force. The only working bureaucracy belonged to the Catholic Church. This paper follows the parallel development of both the Western and the Chinese traditions and emphasizes their points of intersection, such as the Jesuit missions to China in the 16th and 17th centuries and the visits of Bertrand Russell and John Dewey around 1920.