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Journal articles on the topic 'Music theory History 16th century'

Author: Grafiati

Published: 4 June 2021

Last updated: 27 January 2023

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1

Tonietti, Tito M. "The Mathematical Contributions of Francesco Maurolico to the Theory of Music of the 16th Century (The Problems of a Manuscript)." Centaurus 48, no. 3 (July 2006): 149–200. http://dx.doi.org/10.1111/j.1600-0498.2006.00047.x.

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2

Kendall, G. Yvonne. "Thea Vignau-Wilberg. Music for a While: Music and Dance in 16th-Century Prints Munich: Staatliche Graphische Sammlung, 1999. 89 pis. + 224 pp. DM 35. ISBN: 3- 927803-29-4." Renaissance Quarterly 55, no. 1 (2002): 329–30. http://dx.doi.org/10.2307/1512559.

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3

Boer (book author), Erik de, and Hugues Daussy (review author). "The Genevan School of the Prophets. The congrégation of the Company of Pastors and their Influence in 16th Century Europe." Renaissance and Reformation 36, no. 4 (March 15, 2014): 153–55. http://dx.doi.org/10.33137/rr.v36i4.20988.

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4

ATHANASSOPOULOU (Φ. ΑΘΑΝΑΣΟΠΟΥΛΟΥ), F. "The history of development of medicine through time: a repeated case." Journal of the Hellenic Veterinary Medical Society 60, no. 2 (November 20, 2017): 125. http://dx.doi.org/10.12681/jhvms.14921.

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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).

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5

Choi, Won Sun. "Theory and Practice in 16th Century Printed Music." Yonsei Music Research 14 (December 31, 2007): 128–54. http://dx.doi.org/10.16940/ymr.2097.14.128.

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6

Ferreirа, Manuel. "Beyond nations: A thematic history." Muzikologija, no. 27 (2019): 163–86. http://dx.doi.org/10.2298/muz1927163f.

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This paper describes an on-going project, the collaborative Thematic History of Music in Portugal and Brazil; it details its context, rationale, concept, structure and the process that led to its public presentation and preliminary development at CESEM/FCSH, Universidade Nova de Lisboa. The importance of Africa in the understanding of some facets not only of modern popular music, but also of 16th- 18th century genres in Portugal and Brazil is particularly stressed; examples of both polyphonic and instrumental music are given to illustrate this early influence.

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7

Burganova, Maria A. "LETTER FROM THE EDITOR." Scientific and analytical journal Burganov House. The space of culture 17, no. 5 (December 10, 2021): 8–9. http://dx.doi.org/10.36340/2071-6818-2021-17-5-8-9.

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Dear readers, We are pleased to present to you Issue 5, 2021, 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 journal traditionally opens with the Academic Interview rubric. In this issue, we present an interview with Alexander Burganov, Academician of the Russian Academy of Arts, an outstanding Russian sculptor, National Artist of Russia, Doctor of Art History, Professor, Director of the Burganov House Moscow State Museum, interviewed by Irina Sedova, the Head of the 20th Century Sculpture Department of the State Tretyakov Gallery. This dialogue became part of the sculptor’s creative evening at the State Tretyakov Gallery, which included a personal exhibition, donation of the sculptural work Letter, screening of a special film and a dialogue with the audience in the format of an interactive interview. In the article “The Apocalypse Icon from the Kremlin’s Assumption Cathedral. Dating and Historical Context”, T. Samoilova points out the similarities between some motifs of the Apocalypse iconography and the motifs of Botticelli’s illustrations to the Divine Comedy, as well as the role of a line in both artworks which testifies to the influence of the Renaissance art on icon painting of the late 15th — early 16th centuries. Studying palaeography and stylistic features of the icon, the author clarifies the dates and believes that the icon was most likely painted after 1500, in the first decade of the 16th century. P. Tsvetkova researches the features of the development of the Palladian architectural system in Italy, in the homeland of Andrea Palladio. On the examples of specific monuments, drawings and projects created during two and a half centuries, the author analyses the peculiarities of the style transformation in the work of Palladio’s followers, the continuity of tradition, deviations from canonical rules. In the article “Artistic Features of the Northern White Night Motif in the Landscapes of Alexander Borisov and Louis Apol”, I. Yenina conducts art analysis and compares the works of the Russian “artist of eternal ice”, A. Borisov, and the Dutch “winter artist”, L. Apol. They were the first to depict such a phenomenon as a white night in the Far North. V. Slepukhin studies the artworks of the first decades of the Soviet era in the article “Formation of the Image of a New Hero in Russian Art of 1920- 1930”. The author concludes that the New Hero in the plastic arts of the 1920s–1930s was formed as a reflection of social ideals. The avant-garde artists searched for the Hero’s originality in the images of aviators, peasants, women. The artists of socialist realism began to form the images of the “typical” heroes of the time — warriors, athletes, rural workers, scientists, as new “people of the Renaissance”. In the article “Dialogues of the Avant-garde”, A. N. Lavrentyev presents a comparative analysis of spatial constructions created by the Russian Avant-Garde Artist Alexander Rodchenko and the famous kinetic European and American artist Alexander Calder in the first half of the 20th century. Wei Xiao continues his analysis of contemporary art in the article “Chinese Sculpture in the New Era”. The author notes that the art of sculpture is in many ways a reflection of social change, both in terms of cultural content and practice. The author emphasises the need for cultural identity to preserve national traditions and spirituality. Xu Yanping’s article “The Dynamics of the Choral Culture Development in China in the 1930s on the Example of Huang Tzi’s Oratorio Eternal Regret” is a scientific study of a particular phase of the active entry of Chinese choral music into the sphere of the oratorio genre, directly related to the name of the great Chinese composer, Huang Tzi. It also highlights the issues of the country’s political life in the 1930s, which actively influenced the creation of nationwide singing movements and new choral works in the country. The author believes that the oratorio Eternal Regret presented in the article is a unique creation that organically combines ethnic musical material and Western composition techniques. 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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8

Hammond, Susan Lewis, Stanley Boorman, and Stanley Boorman. "Studies in the Printing, Publishing and Performance of Music in the 16th Century." Sixteenth Century Journal 39, no. 3 (October 1, 2008): 759. http://dx.doi.org/10.2307/20479007.

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9

Moody, Ivan. "Mensagens: Portuguese Music in the 20th Century." Tempo, no. 198 (October 1996): 2–10. http://dx.doi.org/10.1017/s0040298200005313.

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These lines of Fernando Pessoa (1888–1935), the great poet of Portuguese modernism, may seem at first sight to invoke the principal element of fado, Portugal's national music: the element represented by that famously untranslatable word suadade, implying longing, nostalgia, homesickness … However, they hide far deeper resonances. Mensagen (Message), the poetic sequence from which they come, is a profound exploration of Portugal's history, a modern counterpart to Camoens's great 16th-century epic The Lusiads. It is connected to the nationalist Integralismo Lusitano movement, and to Sebastianism. Other poets, particularly Mario Sa-Carneiro (1890–1916), and plastic artists, notably Amadeo de Sousa Cardoso (1887–1918) and Jose de Almada Negreiros (1893–1970), similarly reflect the strength of these patriotic and mystical ideas in Portugal during the country's deepening social crisis in the early part of the century. But Pessoa, who famously split himself into several persons, each with their own name, style and poetic output, may also stand as a symbol of the different currents Portuguese composers have ridden in search of their national identity.

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10

Dibbets, Geert R. W. "Dutch philology in the 16th and 17th century." Historiographia Linguistica 15, no. 1-2 (January 1, 1988): 39–61. http://dx.doi.org/10.1075/hl.15.1-2.04dib.

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Summary Within a hundred years the first Dutch vernacular orthographies and grammars were published in the Netherlands, as contributions to the cultivation of the language. In a number of these books the authors assumed the independence of the several Dutch dialects; in other publications we find the tendency towards a cultivated language, or we see that the authors started from the existence of a Refined Standard Dutch. However that may be the orthographists and grammarians aimed at the cultivation of written and spoken Dutch. Generally the grammarians did not pay much attention to two traditional areas of the grammar: orthographia and prosodia, but the etymologia was stressed: the theory of the parts of speech, and – to a lesser degree – the syntaxis. The influence of Latin grammar on Dutch was enormous, but could not prevent particularly van Heule (1633) and Leupenius (1653) from following their own course, for the most part within the traditional framework. In doing so the grammarians based themselves on the language usage, in which the nature of the language was given a concrete form.

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11

REGEV, Shaul. "The Attitude towards theconversosin 15th-16th Century Thought." Revue des Études Juives 156, no. 1 (July 1, 1997): 117–34. http://dx.doi.org/10.2143/rej.156.1.519374.

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12

Metan, Saskia. "Editorische Verflechtungen." Zeitschrift für Slawistik 64, no. 4 (October 30, 2019): 507–19. http://dx.doi.org/10.1515/slaw-2019-0029.

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Summary Among the various descriptions of „Sarmatia“ which have been printed in the 16th century, the works of Maciej z Miechowa, Marcin Kromer and Alessandro Guagnini possessed the largest distribution: Published between 1517 and 1578, their works – containing information about the geography, history and population of the eastern part of the European continent – were reprinted and translated several times at several places until the middle of the 17th century. With a focus on paratexts and metatextual comments, the present article considers the entangled history of their editions in the 16th and 17th century and deduces receptions of these texts.

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13

Krummel, D. W. "Studies in the Printing, Publishing, and Performance of Music in the 16th Century. Stanley Boorman." Papers of the Bibliographical Society of America 100, no. 2 (June 2006): 297. http://dx.doi.org/10.1086/pbsa.100.2.24293677.

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14

Gürkan, Emrah. "The efficacy of Ottoman counter-intelligence in the 16th century." Acta Orientalia Academiae Scientiarum Hungaricae 65, no. 1 (March 2012): 1–38. http://dx.doi.org/10.1556/aorient.65.2012.1.1.

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15

Santangelo, Paolo. "A Neo-Confucian Debate in 16Th Century Korea." T'oung Pao 76, no. 4 (1990): 234–70. http://dx.doi.org/10.1163/156853290x00083.

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16

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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Monteiro, Jesus Alexandre Tavares, and Danilo Ferreira Soares. "Each toada represents a missing: a brief history about the use of caipira music in the study of human and social sciences in new high school." Revista Tempos e Espaços em Educação 15, no. 34 (December 14, 2022): e17862. http://dx.doi.org/10.20952/revtee.v15i34.17862.

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This article aims to present a brief history of country music, through qualitative bibliographic research and exhibitions of musical excerpts to offer teachers and other interested parties a path of educational intervention. Music associated with education promotes dynamism in the learning and teaching process. Specifically, country music contextualizes the social relationships of students in rural regions and also in large urban centers. From the Brazilian colonial period, in the mid-16th century to the present day, this musical style adapts and characterizes the historical and chronological times through which it passes. Each country song represents a historical context permeated with culture and sensibility. It is an investigation that explains the didactic and educational potential of the use of country music in the study of human and social sciences within the new high school.

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Winkel, Laurens. "Francisco de Vitoria on just war on both sides and on the legal position of Burgundy." Tijdschrift voor Rechtsgeschiedenis / Revue d'Histoire du Droit / The Legal History Review 75, no. 3 (2007): 355–62. http://dx.doi.org/10.1163/157181907783054950.

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AbstractTwo texts of Francisco de Vitoria, a 16th century theologian, on the emerging concept of just war on both sides give interesting information on a less known aspect of the contemporary controversy between the Emperor Charles V and the French King François I: the position of the Duchy of Burgundy. These texts also link elegantly the theory of international law and political reality.

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Antipov, Ilya V. "The So-Called Faceted Palace (1433) and the Architecture of Novgorod from the Middle of the 15th to the First Quarter of the 16th Century." Vestnik of Saint Petersburg University. Arts 11, no. 2 (2021): 310–26. http://dx.doi.org/10.21638/spbu15.2021.208.

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The article is devoted to the history of Novgorodian architecture in the middle of the 15th to the first quarter of the 16th century. In 1433, one of the key events in the history of Novgorodian architecture took place — the German and local builders constructed the Faceted Palace commissioned by the archbishop Eufimiy II on the Vladychny Dvor. The article focuses on two interconnected problems: 1) did the German master builders continue to work on the Archbishop’s Court after 1433; 2) did the Faceted Palace influence the architecture of Novgorod in the middle of the 15th to the first quarter of the 16th century? An analysis of available written sources and the results of research bear no evidence of the presence of the German builders in Novgorod later than 1433. Several new features in Novgorod edifices in the middle — second half of the 15th century should be interpreted as traces of the influence the Faceted Palace had upon the later Novgorodian architecture. Most likely the German Builders returned overseas upon completing the Archbishop’s Palace and never came back to Rus. Overall, the 15th century Brick Gothic architecture influenced the Novgorod architecture of the middle — second half of the 15th century: new construction and decorative features in one way or another are connected with the architecture of the Faceted Palace that appeared in the edifices of the 1440–1460s. However, not all the striking features of the outstanding Palace of the Archbishop are reflected in buildings of the middle — second half of the 15th century.

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Agustono, Budi, and Muh Takari. "CONTINUITIES AND CHANGES MUSICAL CULTURE OF MELAYU DELI." Grenek Music Journal 8, no. 2 (July 15, 2019): 78. http://dx.doi.org/10.24114/grenek.v8i2.14022.

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This paper analyze about continuities and changes Malay North Sumatra musical culture, with historical and ethnomusicological approach. We use the evolution theory, and qualitative methods in this research. Malay music North Sumatran begun in the early of Malay culture, in 1300 B.C. By this time to the first century, Malay musical culture basic on animism and dynamism, which use to ceremony activities. In firs to thirteen century Hinduism and Buddhism come to Malay culture. In this era musical culture from Hinduism and Buddhism absorbed by Malay North Sumatran, in the form as follows: raga and tala influence, some instrumets from India as tabla, mrdanga, sarenggi, and so on. Then, 13th century Islam adopted by North Sumatran in musical culture. The concep One God and adat bersendikan syarak, syarak bersendikan kitabullah has been make the main role in custom and music. The concept maqam and iqaat adopted to Malay musical culture. Th 16th century European come to Malay World, and some musical genres adopted by Malay, as dondang sayang (from branyo Portuguese), ronggeng, popular music, and so on. Today, all of musical element fusion to Malay culture with new development aesthetics.

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Gessele, Cynthia M. "Base d'harmonie: A Scene from Eighteenth-Century French Music Theory." Journal of the Royal Musical Association 119, no. 1 (1994): 60–90. http://dx.doi.org/10.1093/jrma/119.1.60.

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History can often be read as story or drama, with the events of the narrative partitioned into scenes. As a play, the history of music theory in eighteenth-century France has Jean-Philippe Rameau as its main character. The scenes in which Rameau and his opponents debated his theory are filled with contentious dialogue. Even if the historian excludes Rameau and devotes scenes to his predecessors, contemporaries and interpreters, the plot still revolves around the story's protagonist who stands in the wings.

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George Mariscal. "Theory and History of Ideological Production: The First Bourgeois Literatures (the 16th Century) (review)." Arizona Journal of Hispanic Cultural Studies 7, no. 1 (2003): 285–86. http://dx.doi.org/10.1353/hcs.2011.0222.

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23

Dehqan, Mustafa, and Vural Genç. "Kurds as spies: Information-gathering on the 16th-century Ottoman–Safavid frontier." Acta Orientalia Academiae Scientiarum Hungaricae 71, no. 2 (June 2018): 197–230. http://dx.doi.org/10.1556/062.2018.71.2.5.

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Matyjaszczyk, Joanna. "Struggles with Dramatic Form in 16th-Century English Biblical Plays." Anglica. An International Journal of English Studies, no. 31/1 (October 2022): 5–27. http://dx.doi.org/10.7311/0860-5734.31.1.01.

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The aim of the article is to pinpoint how 16th-century biblical drama tried to appropriate its genre and medium to carry the reformist message and in what sense the project turned out to be a self-defeating one. The analysis of selected plays from reformed biblical cycles (The Chester Mystery Cycle, play iv; and “The Norwich Grocers’ Play”) and newly composed drama (John Bale’s plays, Lewis Wager’s Life and Repentaunce of Marie Magdalene, the anonymous “History of Jacob and Esau”), supported with an over- view of the criticism on the matter, reveals some common tensions in the dramatic texts which may have had their roots in the reformist need to eliminate any room for doubt that a theatrical performance could leave. The conclusion is that, in its attempts at striking the right balance between dramatizing and overt sermonizing, engaging and distancing, as well as providing an immersive experience and discouraging it, post-Reformation Scrip- ture-based drama oscillated between being more effective as a performance or as a carrier of the doctrinal message, with the resulting tendency to subvert either the former or the latter.

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Wright, O. "Çargâh in Turkish classical music: history versus theory." Bulletin of the School of Oriental and African Studies 53, no. 2 (June 1990): 224–44. http://dx.doi.org/10.1017/s0041977x00026057.

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If there has been one dominant, quasi-official theory for Turkish classicalmusic in the second half of the twentieth century, it is that particularlyassociated with Ezgi and Arel. Their notational conventions have becomestandard, supplanting earlier norms, and the framework they developed is theone still employed in recent general accounts of the modal system, whether thesimplified introductory survey of Yilmaz (1983), for example, or the moredetailed and comprehensive coverage of Ozkan (1984). Both of these follow theanalytical models provided by their predecessors, and begin with an expositionofintervals and the various species of tetrachord and pentachord formed from them before moving on to describe the structure of the makams themselves. Thesequence interval, scale, mode, nevertheless forms a conceptual continuum: theintervals denned are restricted to those deemed to occur in Turkish classicalmusic, and the nomenclature of the various species, for all that they appear asabstract assemblages of intervals, identifies them with characteristic segments ofwell-known and important makams.

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Kuzmina, Marina D. "“Alphabet Scribe” in the History of Russian Literature." Philology 19, no. 9 (2020): 87–101. http://dx.doi.org/10.25205/1818-7919-2020-19-9-87-101.

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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.

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Ismail, Noorilham, Mohd Kasturi Nor Abd Aziz, and Zarifah Arsani. "Idea Pembentukan Pemerintahan Ibn Khaldun dan Asas Pembinaan Kesultanan Melaka dari Kurun Ke-15 hingga 16." Journal of Al-Tamaddun 16, no. 2 (December 13, 2021): 31–47. http://dx.doi.org/10.22452/jat.vol16no2.3.

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This study focuses on the idea of Ibn Khaldun’s governance by focusing on the Sultanate of Melaka in the 16th century. The primary goal of this research is to demonstrate the development of the Melaka Sultanate through the lens of cycle theory, the spirit of asabiyyah, and the concept of ‘umran as defined by Ibn Khaldun. The timeline discusses the early establishment of the Sultanate of Melaka until its fall at the start of Portuguese colonisation in 1511. The study used Muqaddimah and Sulalat us-Salatin (Sejarah Melayu) as the main source for discussion of various ideas to explain Ibn Khaldun's ideas about the reign of the Melaka sultanate from the 15th century to 16 AD. The qualitative method-guided analysis concluded that the Melaka Sultanate was built in accordance with Ibn Khaldun's theory of one-time rule. Thus, the intertextual differences employed are expected to yield an authoritative and informative argument on the relationship between Ibn Khaldun's ideas and the construction of the Melaka sultanate in the 15th to 16th centuries AD.

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Young, James O. "Assessing the Ethos Theory of Music." Disputatio 13, no. 62 (December 1, 2021): 283–97. http://dx.doi.org/10.2478/disp-2021-0015.

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Abstract The view that music can have a positive or negative effect on a person’s character has been defended throughout the history of philosophy. This paper traces some of the history of the ethos theory and identifies a version of the theory that could be true. This version of the theory can be traced to Plato and Aristotle and was given a clear statement by Herbert Spencer in the nineteenth century. The paper then examines some of the empirical literature on how music can affect dispositions to behave and moral judgement. None of this evidence provides much support for the ethos theory. The paper then proposes a programme of research that has the potential to confirm the ethos theory.

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Svyrydenko, N. "Music in museum (second half of 20th century, Ukraine)." Musical art in the educological discourse, no. 3 (2018): 61–65. http://dx.doi.org/10.28925/2518-766x.2018.3.6165.

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Due to the process of early music revival, started in the USSR from the 60s of the 20th century, there are searches of the appropriate premises, in which early music could be perceived naturally, where one can feel a single style in combination of rooms, music, instrumentation and performance style that would increase the perception of each of the components of the creative process. Such most suitable premises are found out to be the halls of museums — former mansions, or palaces, which serve as museums in our time. The practice of conducting concerts in museums was introduced in Western Europe in the first half of the 20th century as a part of the overall process of early music revival and became an example for other countries including Ukraine.The Museum of Ukrainian Fine Arts was one of the first museums where concerts of early music were held in 1988. The concert programs featured the music of prominent Ukrainian composers of the 16th–18th centuries. Since 1989, the «Concerts in Museum» began to be held at the Museum of Russian Art, where one could hear music from the 18th to the beginning of the 19th century from «The Music Collection of the Razumovsky Family». Since 2003, the door has opened for concerts at the National Museum of History of Ukraine, where, in addition to chamber music, the visitors watched the whole performance — the chamber opera by D. Bortniansky «Sokil». The performance of this opera was also held at other museums of Ukrainian cities, as well as in Poland.Ancient instruments in some museums, that have lost its sound and artistic qualities, attracted attention of the musical experts. In association with scholars and the administration of museums, restoration work was carried out and brought back the old tools to life, which made it possible to hear the true «voice of the past «. This happened from the pianoforte at the Museum of Ukrainian History, the Lesia Ukrainka Museum in the village Kolodyazhny of Kovelsky District in Volyn and the Memorial Museum of Maxim Rylsky in Kyiv. Nowadays many museums in Ukraine have become centres of culture, both visual and musical. Due to this process, contemporaries’ views about the past art have expanded, the recordings of ancient music phonograms initiated film-making.

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Milin, Melita. "Ancient Greek mythology mediated by Latin culture: On Vlastimir Trajkovic’s arion and Zephyrus returns." Muzikologija, no. 12 (2012): 165–82. http://dx.doi.org/10.2298/muz120130008m.

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Vlastimir Trajkovic (b. 1947) is a prominent Serbian composer with a strong inclination towards subjects from ancient Greek mythology. Among his most important achievements may be counted Arion - le nuove musiche per chitarra ed archi (1979) and Zephyrus returns for flute, viola and piano (2003). Two important aspects of those works are discussed in the present article: 1. the line that connects them to ancient Greek culture via French Modernism (Debussy, Ravel, Messiaen) and Renaissance poetry and music (Petrarch, Caccini, Monteverdi); 2. modality, which has proved its vitality through long periods of the history of European music, beginning with ancient Greek modes, reaching its high point in the 16th century, and re-emerging at the beginning of the 20th century in different hybrid forms. Trajkovic is seen as a composer who has shaped his creative identity by exploring the rich musical heritage of the Latin European nations, especially the contributions of Debussy and Ravel.

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Chondros, Thomas. "The development of mechanics and engineering design and machine theory since the rennaissance." FME Transactions 49, no. 2 (2021): 291–307. http://dx.doi.org/10.5937/fme2102291c.

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The history of science and mechanics is confronted by two interconnected problems: a critical accumulation and systematization of historical information about the subject of study, and the relationship between events and the laws of their development.The influence of natural philosophy in classical times that led to the development of mechanics and engineering as a science from the 5th century B.C. to the Middle-Ages was investigated in a previous article by the author. The rapid development of mechanics as a science started in the 16th and the 17th century. Machine design as an applied science was heavily relying on mechanics. Since the beginning of the 19th century, mechanics became the theoretical basis of an increasing number of applied technical disciplines directly connected with the development of industry, the elaboration of new technological processes machines, and industrial plants. A brief history of the development of the theory of machines and mechanisms is attempted here, along with the personalities and Academic Institutions that influenced Mechanisms and Machine Theory from Medieval Times to the recent past.

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Buza, János. "The exchange rates of the Hungarian and Turkish ducats in the mid-16th century." Acta Orientalia Academiae Scientiarum Hungaricae 60, no. 1 (March 2007): 33–54. http://dx.doi.org/10.1556/aorient.60.2007.1.3.

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Gürkan, Emrah Safa. "Hile ü hud’a: Deception, Dissimulation and Manipulation of Information in 16th-century Ottoman Empire." Acta Orientalia Academiae Scientiarum Hungaricae 72, no. 4 (December 2019): 437–54. http://dx.doi.org/10.1556/062.2019.72.4.4.

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Guinle, Francis. "Review: Book: Poetry and Music in Seventeenth-Century England." Cahiers Élisabéthains: A Journal of English Renaissance Studies 54, no. 1 (October 1998): 156–57. http://dx.doi.org/10.1177/018476789805400130.

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Alsop, James. "‘More like a tavern than a school house’: Family strife, religious change, and the founding of Oundle Grammar School, 1556–1578." Cahiers Élisabéthains: A Journal of English Renaissance Studies 107, no. 1 (January 5, 2022): 24–38. http://dx.doi.org/10.1177/01847678211069466.

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The convoluted and contested foundation of the Grammar School at Oundle, Northamptonshire, in 1573 illustrated the complexities involved in giving concrete shape to pious wishes in 16th-century post-mortem bequests. Although the founder was Sir William Laxton (d. 1556), the key figure was his widow, the assertive matriarch Dame Joan Kirkeby-Luddington-Laxton, the richest woman of early Elizabethan London. This paper analyses the politics, religious context, and family strife of this dispute, and in so doing illuminates the contours of early Elizabethan London.

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Yeon, Sang-Chun. "A Study of Music History of the 18th Century on the Basis of Dahlhaus's Music Historical Theory." Yonsei Music Research 19 (November 30, 2012): 73–97. http://dx.doi.org/10.16940/ymr.2012.19.73.

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Žiemelis, Darius. "The problem of the application of the term second serfdom in the history of Central Eastern Europe: the case of Lithuanian economy in the 16th-19th (until 1861)." Romanian Journal for Baltic and Nordic Studies 7, no. 1 (August 15, 2015): 123–49. http://dx.doi.org/10.53604/rjbns.v7i1_6.

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In the 16th-19th centuries (until 1861) the term second serfdom is not applied in the investigations of the economic organization of Lithuania. However, the theory of the neo-Marxist capitalist world system (CWS) of the most famous and influential American comparative historical sociology representative I. Wallerstein offers to look at the phenomenon of the second serfdom from a global perspective emphasizing external causes and to consider it a manifestation of peripheral capitalism in Central Eastern Europe. In his fundamental work The Modern World System, the Polish and Lithuanian social economic order in the 16th-18th centuries is treated as the periphery of the CWS at that time. The goal of this article is using the access of modern comparative historical sociology to answer the question of whether the term second serfdom is applicable (and if so, when) to describe the economic organization of Lithuania in 1557–1861. The article states that in view of the economic development of Lithuania in 1557–1861 considering an essential component of the CWS theory – the concept of peripheral capitalism, the features of the second serfdom are most distinctly seen in Lithuania not in the 16th-18th centuries (as I. Wallerstein stated), but in the second half of the 18th century – 1861.

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Friedberg, Josh. "“This Music Begins on the Auction Block”." James Baldwin Review 8, no. 1 (September 27, 2022): 147–63. http://dx.doi.org/10.7227/jbr.8.8.

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One theme in James Baldwin’s work that has gained increasing attention in the last quarter-century is music. What has been missing from this discussion, however, has been a thematic survey of Baldwin’s writing on music and its implications for the twenty-first century. This article focuses on select music-centered texts to examine what Baldwin’s ideas about music reveal about history in our own times. Multiple themes in his writing show how racial slavery creates—in the present tense—differences in experiences and musical expression between people constructed as Black and as white. Baldwin’s writing illuminates the significance of racial slavery in American music history even beyond genres associated with Black Americans.

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Clarke, David. "Editorial: Twentieth-Century Music – Plural." Twentieth-Century Music 1, no. 2 (September 2004): 155–59. http://dx.doi.org/10.1017/s1478572205000010.

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Difference is among the twentieth century’s most volatile legacies to the twenty-first. Over this period it has increasingly lodged itself in our cultural consciousness, as both theoretical concept and lived experience. Its workings are refracted through culture (through phenomena such as music) and the way we contemplate and study it (through a journal such as this). A Brief History of Difference, at least the chapter relevant to the present story, might start in the early part of the last century with Ferdinand de Saussure’s courses on linguistics. Not only language, but potentially all signifying phenomena, Saussure argued, articulate the world for us by cutting it into units (e.g. phonemes, concepts, words, signs) that carry meaning precisely through being differentiated from one another: reality is rendered as a system of mutually conditioning differences. By mid-century these ideas had become decisive for literary and cultural theory under the banner of structuralism and semiotics, in which even a cultural practice such as fashion could be seen to signify as a system of difference. With the rise of poststructuralism and deconstruction, difference (or différance) was again seminal in debates about the very nature of meaning, which in turn informed later twentieth-century cultural politics of class and society, gender and sexuality, race and ethnicity. (As we know, all these movements would also in the end, and no less contentiously, make their mark on musicology.) Most recently – in terms far from academic – cultural difference has moved into the foreground of global consciousness with the literally shattering and explosive events of our new century.

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Novak, Maria O., and Yana A. Penkova. "Cyril of Jerusalem catechetical lectures: To linguistic and textual history of the 13th century Tolstovskii manuscript." Vestnik of Saint Petersburg University. Language and Literature 19, no. 2 (2022): 334–52. http://dx.doi.org/10.21638/spbu09.2022.208.

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The article presents a study of catechetical lectures by Cyril of Jerusalem in the Tolstovskii sbornik (collection) from the 13th century (RNB, F.p.I.39) in comparison with four manuscripts from the 11th–17th centuries. Considering lexical, derivational, and grammatical variations, the authors conclude that the Tolstovskii manuscript has much more archaic features in common with three representatives of the MSS from the “family Sin” (they are three MSS from 11th–16th centuries). At the same time, it looks closer to the manuscript from the 16th–17th centuries (RSL, f. 256, N.P.Rumiantsev collection, no. 194) at the grammatical level. Simultaneously, the grammatical commonality of the Tolstovskii and Rumiantsev manuscripts is also not associated with the later editing but better reflects the original readings of translation than the manuscripts from the “family Sin.” Along with general readings, the Tolstovskii copy is characterized by many special readings that do not coincide with any MSS involved in the analysis. Some of these readings better convey the Greek original text, while others, on the contrary, reflect the result of later distortions. The manuscript does not contain consistent “Preslav” revision traces, although one can sporadically find some East Bulgarian lexemes in it (since many of them are also present in other copies, one cannot consider them as a result of later revisions). Nevertheless, the archaic Cyril and Methodius’ translation layer, both in vocabulary and grammar, turns out to be predominant. Thus, the Tolstovskii manuscript should be recognized as the representative of a particular tradition of Cyril’s catechetical text, far from both the “family Sin” and the Rumiantsev copy, as far as it preserves a large number of archaic features in its language.

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Eamon, William. "Cannibalism and Contagion: Framing Syphilis in Counter-Reformation Italy*." Early Science and Medicine 3, no. 1 (1998): 1–31. http://dx.doi.org/10.1163/157338298x00013.

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AbstractThe outbreak of syphilis in Europe elicited a variety of responses concerning the disease's origins and cure. In this essay, I examine the theory of the origins of syphilis advanced by the 16th-century Italian surgeon Leonardo Fioravanti. According to Fioravanti, syphilis was not new but had always existed, although it was unknown to the ancients. The syphilis epidemic, he argued, was caused by cannibalism among the French and Italian armies during the siege of Naples in 1494. Fioravanti's strange and novel theory is connected with his view of disease as corruption of the body caused by eating improper foods. His theory of bodily pollution, a metaphor for the corruption of society, coincided with Counter-Reformation concepts about sin and the social order.

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Burmistrov, Konstantin Yu. "Moshe Cordovero’s Kabbalah and its reception in Europe at the end of the 17th century." Philosophy Journal 15, no. 1 (2022): 21–36. http://dx.doi.org/10.21146/2072-0726-2022-15-1-21-36.

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Moshe ben Ya’akov Cordovero (1522–1570) was one of the most influential Kabbalists of the 16th century living in Safed in Northern Galilee (Ottoman Empire). The systematic explanation of the basic concepts of Kabbalah that he proposed had a significant impact on the subsequent development of Kabbalah. A characteristic feature of the views of Cordovero and his followers was the desire to “demythologize” Kabbalah, to create a synthesis of earlier views and to develop a unified speculative theory on their basis. At the same time, since the end of the 16th century, the Kabbalah school of Yitzhak Luria has gained increasing influence, striving to offer a completely new interpretation of the basic concepts of this teaching by remythologizing it. As a rule, it is believed that it was Luria’s Kabbalah that was at the center of interests of Christian researchers of Kabbalah of the 17th century, who in turn influenced the views of a number of European philosophers (H. More, G.W. Leibniz, J. Locke, F.C. Oetinger, F.X. von Baader, F.W.J. Schelling, F.J. Molitor and others). The article attempts to revise this idea and show that Cordovero’s Kabbalah was also very significant for the European thinkers of the 17th century, who were engaged in the translation and interpretation of Kabbalistic writings. The article is based on the analysis of the original Hebrew sources, as well as the Latin translations, made in the late 17th century.

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Gjerdingen, R. O. "The Art of Partimento: History, Theory, and Practice/The Italian Traditions and Puccini: Compositional Theory and Practice in Nineteenth-Century Opera." Journal of Music Theory 57, no. 1 (March 1, 2013): 119–29. http://dx.doi.org/10.1215/00222909-2017124.

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Roberts, H. "Narrative Worlds: Essays on the 'Nouvelle' in 15th and 16th Century France." French Studies 61, no. 4 (October 1, 2007): 498. http://dx.doi.org/10.1093/fs/knm181.

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McKinney, Timothy R. ":Music in the Mirror: Reflections on the History of Music Theory and Literature for the Twenty-First Century." Music Theory Spectrum 31, no. 1 (April 2009): 199–209. http://dx.doi.org/10.1525/mts.2009.31.1.199.

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Zhumagazin, Zhanbolat. "Evolution of opera at early stages of development as a musical theater." Pedagogy and Psychology 42, no. 1 (March 30, 2020): 230–36. http://dx.doi.org/10.51889/2020-1.2077-6861.29.

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The opera originated in Italy. Researchers, right up to the exact date, say the time, when the first piece of music, called the opera today, was written. Nevertheless, the opera form has its own history, despite the fact that it was still a new art form at that time. The roots of this musical style go back to the musical everyday life of ancient Italian village entertainments, so-called «May» games, accompanied by songs and dramatic performances. Around the middle of the 13th century, in Umbria on the squares, people began to hold lauds, religious chants on the plots of gospel themes, which became in the next two centuries the basis for sacred performances (sacre rappresentazioni), a genre close to the mystery. In it, the music was also closely associated with the dramatic action. Thus, the opera, having arisen at the end of the 16th century as a kind of theatrical performance, accompanied by music, has its roots deep into the centuries of the Italian folk art. So, in the vocal class, it is necessary to acquaint students with the works of great composers, genres of musical art, theatrical productions and acting. At the same time, vocals, plastic, dance, acting – all this should be present in the future specialist at the highest professional level.

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Scherer, Savitri. "Globalisation in Java in the 16th Century. A Review of Pramoedya's Arus Balik." Archipel 55, no. 1 (1998): 43–60. http://dx.doi.org/10.3406/arch.1998.3441.

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Karolewski, Janina. "What is Heterodox About Alevism? The Development of Anti-Alevi Discrimination and Resentment." Die Welt des Islams 48, no. 3 (2008): 434–56. http://dx.doi.org/10.1163/157006008x364767.

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AbstractThis article examines how the widespread denomination of the Alevi tradition as “heterodox Islam” was introduced in the academic field in the late 19th century. This denomination reflects the differentiation between Alevis and Sunnis, which originally did not base on religious differences but on the socio-political power struggle between the Ottoman Empire and the Safavids/Kızılbaş. First, the historical development of this conflict and the spread of anti-Safavid/Kızılbaş propaganda in the 16th century will be highlighted. Second, it will be illustrated how the Kızılbaş were 'rediscovered' by Westerners in the late 19th century. Then, the development of anti-Alevi discrimination and resentment in the 20th century will be described. Finally, Turkey's official line in regard to the Alevis' religious status and the Alevis' aggressive response to this will be shown.

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Golenishcheva, Ekaterina E., and Olga I. Kulapina. "From the History of 19th Century Russian Folk Music Studies: from Empirical Study to Theory." Music Scholarship / Problemy Muzykal'noj Nauki, no. 1 (March 2016): 90–96. http://dx.doi.org/10.17674/1997-0854.2016.1.090-096.

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Girón-Negrón, Luis M. "“Your Dove-Eyes Among Your Hairlocks:” Language and Authority in Fray Luis De León's Respuesta Que Desde Su Prisón da a sus Émulos*." Renaissance Quarterly 54, no. 4-Part1 (2001): 1197–250. http://dx.doi.org/10.2307/1261971.

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This essay examines a 16th-century classic of Spanish humanist apologetics: the extant portion of fray Luis de Ledn 's defense of his Spanish translation of the Song of Songs against the Inquisition. The analysis highlights a Christian hebraist's contribution to contemporary debates on the applicability of humanist philology to biblical scholarship. An English translation of fray Luis’ famous respuesta accompanies the article.

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