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1
Parncutt, Richard. "The Tonic as Triad: Key Profiles as Pitch Salience Profiles of Tonic Triads." Music Perception 28, no. 4 (April 1, 2011): 333–66. http://dx.doi.org/10.1525/mp.2011.28.4.333.
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Major and minor triads emerged in western music in the 13th to 15th centuries. From the 15th to the 17th centuries, they increasingly appeared as final sonorities. In the 17th century, music-theoretical concepts of sonority, root, and inversion emerged. I propose that since then, the primary perceptual reference in tonal music has been the tonic triad sonority (not the tonic tone or chroma) in an experiential (not physical or notational) representation. This thesis is consistent with the correlation between the key profiles of Krumhansl and Kessler (1982; here called chroma stability profiles) and the chroma salience profiles of tonic triads (after Parncutt, 1988). Chroma stability profiles also correlate with chroma prevalence profiles (of notes in the score), suggesting an implication-realization relationship between the chroma prevalence profile of a passage and the chroma salience profile of its tonic triad. Convergent evidence from psychoacoustics, music psychology, the history of composition, and the history of music theory suggests that the chroma salience profile of the tonic triad guided the historical emergence of major-minor tonality and continues to influence its perception today.
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Fu, Xiaojiao. "MUSICAL ACTIVITY OF CHRISTIAN MISSIONARIES AT THE COURT OF THE QING EMPERORS OF THE 17TH–18TH CENTURIES." Scientific and analytical journal Burganov House. The space of culture 19, no. 6 (December 10, 2023): 31–45. http://dx.doi.org/10.36340/2071-6818-2023-19-6-31-45.
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The article raises the problem of the significance of European missionaries’ musical activities at the court of the Qing emperors during the Golden Age and attempts to integrate Western art into palace musical life. A critical review of existing Russian-language sources leads the author to the conclusion that there is a lack of information on the topic of the article as well as some freedom in the interpretation of known historical facts in scientific articles. The author sees the possibility of filling gaps in this area of musicology in a detailed study of documents of the era, primarily diaries, letters, reports and other missionaries’ correspondence. Primary scholarly sources include Father Ripa's Diary, Father Du Halde's Description of the Chinese Empire, compiled from the correspondence of French Jesuits, and Father Amiot's work on the history of Chinese music. The author considers these books to be significant; however, they are not, of course, the only documents that help shed light on the scale and depth of the functioning of European music, theory and practice in the space of Chinese musical culture, which is closed, self-sufficient and by its nature not related to Europe. Works on music theory, created by order of and jointly with the Kangxi Emperor, are proof of a considerable interest in the West. In the palaces, the presence of a large number of European instruments, with which a Western-style ensemble could be formed, as well as attention to European clothing and wigs in which the emperor dressed his musicians, is indicative. In conclusion, the author finds that the musical activities of Christian missionaries produced certain results. On the one hand, organic interaction with European music and its deep understanding did not happen at the end of the 18th century. On the other hand, regardless of the subjective attitude of one or another emperor towards the Jesuits, the idea of introducing musical theoretical ideas and practices of European music-making into everyday life gradually became a reality only owing to their persistent, regular and purposeful promotion. At the same time, a reverse process was underway - the missionaries’ research instinct led to the creation of memoirs and books on the history and acoustics of Chinese music, and contributed to its active promotion in European intellectual circles.
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Guseinova, Zivar M. "The Theoretical Codex of the Mid-17th Century as a Phenomenon of Church-Singing Art." Vestnik of Saint Petersburg University. Arts 11, no. 4 (2021): 589–606. http://dx.doi.org/10.21638/spbu15.2021.402.
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The first musical-theoretical manuals of ancient Russia appeared in the 15th century. They were rather small in volume and contained information that was predominantly educational. The changes that were taking place in the singing system over several centuries were reflected in new types of manuals, conveying the peculiarities of the singing art (znamenny chant) of the time. By the middle of the 17th century, the codices began to occupy a significant place in manuscripts, which contained monuments of Russian liturgical singing. They were large-scale consolidated documents, including a selection of relatively independent musical-theoretical manuals, each of which revealed a separate aspect in the theory of znamenny chant, carried out according to special musical signs — kriuki (hooks). The tradition of handwritten copying of documents contributed to the fact that each type of theoretical manual was simultaneously in many copies that never matched the text with absolute accuracy and always contained discrepancies. The codex, analysed in this article, in the mid-17th century manuscript of V. F. Odoevsky’s Collection No. 1, which is kept in the Russian State Library, is a set of numerous copies of different theoretical manuals that were formatted by that time. These are the notable azbuka (ABC) that explain individual neums; kokizniki and fitniki, expounding upon the principles of formula singing; manuals that reveal the sound-naming system, as well as a meaningful layer of author’s comments that interpret and generalizing material for educational purposes.
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Gehring (book editor), Ulrike, Pieter Weibel (book editor), and Jane Russell Corbett (review author). "Mapping Spaces: Networks of Knowledge in 17th Century Landscape Painting." Renaissance and Reformation 40, no. 4 (January 28, 2018): 211–13. http://dx.doi.org/10.33137/rr.v40i4.29288.
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Panov, Alexei A., and Ivan V. Rosanoff. "An attempt to attribute the authorship of the treatises from the collection “The Modern Musick-Master” (London, 1730)." Contemporary Musicology, no. 1 (2021): 41–56. http://dx.doi.org/10.56620/2587-9731-2021-1-041-056.
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In 1730, a collection of treatises on singing and playing various musical instruments was published in London. It included “A Brief History of Music” and a small musical dictionary. Neither on the title page nor elsewhere in the text do we find information about its author/authors. Today, both reference and encyclopedic literature as well as special scholarly works refer to Peter Prelleur as the author (very rarely the compiler) of the collection. However, when comparing the basic explanations of musical theory and the basic performing principles in each individual treatise, these explanations turn out to be contradictory. The article provides a comparative analysis of the materials in the collection itself and in the works published in England from the middle of the 17th century to 1730. Based on the results of the analysis and the data obtained from modern research, the authors come to the conclusion that all the sections of the collection in question represent a compilation of materials. The materials came from previously published manuals written by English, French and Italian musicians and were then supplemented by theoretical and performance guidelines relevant for those days. In general, the collection is a perfect example of pirate traditions of English book publishers of the 18th century. It is safe to say that “The Modern Musick-Master” was a collective effort and Peter Prelleur was not its only author or compiler.
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Bocharov, Yury S. "Sinfonia and Ouverture in the Baroque Era: Terminological Aspect." Vestnik of Saint Petersburg University. Arts 11, no. 3 (2021): 354–80. http://dx.doi.org/10.21638/spbu15.2021.301.
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This article focuses on the use of sinfonia and ouverture as terms in the Baroque era. Its relevance is due to the fact that an objective picture of the Baroque musical culture is impossible without studying authentic terminology, including terms used as names of musical works or their sections. Since there have been no special musicological publications on this topic, information obtained as a result of the study can expand the traditional ideas about what the terms sinfonia and ouverture meant in the 17th and the first half of the 18th century. Sheet music and manuscripts as well as articles from the largest European dictionaries of that time indicate that the terms had different meanings. They were used not only in orchestral, but also in solo and ensemble music and even vocal compositions could be regarded as symphonies. Moreover, musical compositions or their sections, called sinfonias and overtures were intended not only for theatrical and concert practice, but also for performance at court and in even at church. According to the author, the terms sinfonia and ouverture in the Baroque era, in contrast to modern practice, were used as genre names only in regard to so-called Neapolitan opera symphonies and French overtures. Thus, these terms were generally used much more diversely than it follows from those traditional perceptions on which the modern theory of musical genres is largely based.
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Pavlova, Svetlana A. "High Art Of Russian Pop Music In The Song Mono-Opera Reflection." Scientific and analytical journal Burganov House. The space of culture 20, no. 3 (June 30, 2024): 120–29. http://dx.doi.org/10.36340/2071-6818-2024-20-3-120-12.
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Russian song, also known as mass or Soviet song, occupies a central place in the culture of the 20'th century. In the history of music, the phenomenon of a genre as a symbol of an era is known. For example, when mentioning a French motet of the 13'th century, every musician thinks of certain ideas of musical form and means of expression that determined the movement of European musical thought for several centuries. Or, when an Italian madrigal of the 16'th century is heard, a musical laboratory immediately opens up to our ears, a laboratory in which colourful patterns of major and minor modes, the sound of keys, and even the theory of affects of modern times, which appeared in opera, were formed. Also, German polypho-ny of the 17t'h century, Neapolitan opera and Viennese symphony of the 18'th century, Russian opera and romance of the 19'th century, etc., are distinguished by epochal characteristics. Song as a genre of the era has also flashed across the horizon of centuries. The century close to our time, the 20'th century, an extremely difficult period for our Fatherland, was marked by the strong position of this genre. Russia has not experienced such a frequency of shocks over a short period of time in its observable history. The last century brought our state to the brink of extinction three times: during the First World War and the revolution at the beginning of the century, during the Second World War in the middle of the century, during the destruction of the USSR and in the 1990's at the end of the era. One gets the impression that the tragic reality was compensated by the desire for a transparent “mass” culture, expressed in the language of song. In such a situ- ation, how can one not see the possibility of entertainment and distraction in a song? However, Russian pop music of the 20'th century took a different path. Taking up the banner of the great Russian musical culture, it ans-wered the main ideological questions of the era.
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Rgwan Abdalhameed Shuash, Researcher, and Rese Rana Ali Mhoodar. "Gender and Authority in Caryl Churchill’s Vinegar Tom (1976)." لارك 2, no. 50 (June 30, 2023): 1011–992. http://dx.doi.org/10.31185/lark.vol2.iss50.3201.
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This article gives a feminist examination of Caryl Churchill’s Vinegar Tom (1976). This play is in reality, Churchill’s feminist lens through which the playwright offers an account of interactions of gender and authority via the 17th-century witchcraft trials in England from a distinctly feminist standpoint. It is – as a research article – a freshly developed consideration of that age that might build a different sort of history to the authorized male-made. In a significant way, part from this article, is to assess Churchill’s in terms of form and substance. The dramatist personifies revolutionary ideas presented in a fresh and original way. She majorly concentrates on the female-subjective status via her dramatic depiction and also builds a new women’s portrayal through the eyes of women instead of men. Janelle Reinelt (1989)’s feminist theory and the problem of performance is adopted to set a focus on two major concepts, namely gender and class. The subject of Vinegar Tom deals with extremely sensitive themes such, subjugation of women within a masculine society, rights, gender formation, women identity and sexual orientations. Such controversial issues are depicted via the employment of several inventive instruments and approaches. The majority of Churchill’s use of theatrical elements consists of doubling, monologues, music, and songs. Taking everything into consideration, this article searches in Churchill’s Vinegar Tom dramatically, theatrically, and historically. Using a variety of theatrical approaches to historical reconstruction, it portrays Churchill as a self-identified socialist feminist.
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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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De Koninck, Tine. "Natascha Veldhorst, Sounding prose. Music in the 17th-century Dutch Novel." Early Modern Low Countries 6, no. 1 (June 29, 2022): 158–60. http://dx.doi.org/10.51750/emlc12178.
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Kim, Kyoung do, and Mi seon Kwon. "A Study on the Fishing of Ulleungdo and Dokdo by Jeju Haenyeo." Institute of Korean Cultural Studies Yeungnam University 84 (August 31, 2023): 385–429. http://dx.doi.org/10.15186/ikc.2023.8.31.13.
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Due to the damages caused by Japan's underwater fishing industry, the fishing grounds of Jeju Island were devastated. Starting from 1895, Jeju Haenyeo (women divers) began migrating to locations such as Busan and Ulsan for fishing. During the period of Japanese colonial rule, their fishing activities extended to regions including China, Japan, and other areas. After Korea's liberation, the Haenyeo continued their fishing endeavors around Ulleungdo and Dokdo, with those fishing around Dokdo contributing to strengthening effective control over the island. It is necessary to examine the fishing practices of Jeju Haenyeo in Ulleungdo and Dokdo, as the management systems of these fishing grounds experienced significant changes before and after the Japanese colonial period.
After Korea's liberation, Ulleungdo fishermen actively utilized the fishing grounds to diversify their catches like squid, mackerel, and Alaska pollock. They also worked to increase their income through the cooperative use of village fishing grounds. However, concerning Dokdo, it had been a territory actively sought by Japan for colonization since the 17th century, leading to ongoing intrusions and military interventions even after liberation. The situation around Dokdo began to stabilize after the establishment of the Korean Dokdo Coast Guard unit, enabling Ulleungdo fishermen to utilize the island more securely. Particularly, over about 23 years of Dokdo fishing ground development and residency efforts led by Choi Jong-Deok, fishing practices on Dokdo started to exhibit differences from those in Ulleungdo, a distinction that was also reflected in the activities of the Haenyeo.
These changes in the management systems of Ulleungdo and Dokdo fishing grounds had an impact on the fishing practices of Jeju Haenyeo. Specialization in fishing techniques led to the evolution of fishing methods and alterations in fishing gear. These changes even influenced the terms of employment contracts for the Haenyeo. Ultimately, the cooperative village fishing practices of Jeju Haenyeo complemented the economic endeavors of both Ulleungdo fishermen and Jeju Haenyeo, contributing to income generation for both groups. Moreover, the utilization of Dokdo fishing grounds also contributed to strengthening South Korea's territorial sovereignty through effective governance.
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Smirnova, Tat’yana V. "The Pavan in English Music of the 16th–17th Centuries." Vestnik of Saint Petersburg University. Arts 13, no. 2 (2023): 222–42. http://dx.doi.org/10.21638/spbu15.2023.201.
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The article is devoted to recreation of the genre Pavan evolution in English music of the 16th–17th centuries. The research involved diverse sources such as early treatises, musical and practical manuals, old-printed musical editions and modern anthologies of the English music of the 16th–17th centuries that allowed to review the Pavan as a vivid representative of the genre system of 16th–17th centuries English instrumental music, to locate the main centers of its expansion (the Tudors and Stuarts Royal Courts, the Houses of English authoritative stripes and Inns of Court) and to concretize some idea about its functional and communicative features, to determine a range of English Pavan authors from William Byrd and Alfonso Ferrabosco the elder (who were silent trendsetters in the musical and artistic tastes at the English Court in the second half of the 16th century) to Henry Purcell (who became a leader in the development of English music in the last quarter of the 17th century marked by vanishing of national late Renaissance and early Baroque traditions in the chamber instrumental music-making). In the article there were defined the vectors for new treatment of dance genre, have been developing its composition from anonymous to author’s one with clearly recognizable individual style of writing. It emphasizes the systematics of the variety of surviving Pavans with different titles, which reflects the compositional-technological or figurative-emotional features of dance pieces. Apart from the others the “named” Pavans and the pieces related to them and created in traditions ‘In memoriam’ were examined. The results of scientific research could be used for the further development of the musical style questions and compositional method of English composers of the 16th–17th centuries related to the mutual cultural and historical tradition.
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FADER, DON. "The Honnêête homme as Music Critic: Taste, Rhetoric, and Politesse in the 17th-Century French Reception of Italian Music." Journal of Musicology 20, no. 1 (January 1, 2003): 3–44. http://dx.doi.org/10.1525/jm.2003.20.1.3.
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ABSTRACT The French concept of Taste (goûût) has largely been viewed from an 18th-century tradition of aesthetics in which philosophers attempted to incorporate it into a rationalized systematic theory of musical expression. Its original 17th-century usage, however, was derived from the principles of classical rhetoric and noble etiquette, or politesse. Following the tenets of Cicero communicated by humanist writers, these principles require the ideal gentleman (the honnêête homme) to adapt his knowledge and talents (agrééments) to the requirements of good society just as an orator carefully chooses the appropriate rhetorical figures to convince and move his hearers. According to the principles of rhetoric, any overuse of figures (or agrééments) vitiates their very effectiveness by drawing attention to their artificiality. Thus the 17th-century understanding of taste required the concealment of labor, knowledge, and ““artifice”” behind an effortlessly ““natural”” and pleasing courtly facade. This concept of taste became influential in courtly contexts of amateur music-making in the early part of the century, when it was incarnated by Pierre de Nyert, whose manner of singing was hailed as the model of ““politesse du chant.”” The principles of politesse played a significant role in the controversy over Italian music, whose perceived overuse of ““learned”” musical figures (dissonance, chromaticism, and other techniques) was viewed as a bourgeois flaunting of musical talent and rhetorical artifice.
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Burganova, Maria A. "LETTER FROM THE EDITOR." Scientific and analytical journal Burganov House. The space of culture 18, no. 1 (March 10, 2022): 6–9. http://dx.doi.org/10.36340/2071-6818-2022-18-1-6-9.
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Dear readers, We are pleased to present to you Issue 1. 2022, of the scientific and analytical journal Burganov House. The Space of Culture. Upon the recommendation of the Expert Council of the Higher Attestation Commission, the journal is included in the List of Leading Peer-reviewed Scientific Journals and Publications in which the main scientific results of theses for the academic degrees of doctor and candidate of science must be published. The journal publishes scientific articles by leading specialists in various humanitarian fields, doctoral students, and graduate students. Research areas concern topical problems in multiple areas of culture, art, philology, and linguistics. This versatility of the review reveals the main specificity of the journal, which represents the current state of the cultural space. The issue opens with the article "Al Noor Island - a Place Where Art and Culture Meet Nature" by J. Smolenkova. It is devoted to modern architecture and touches upon the philosophy of architecture ecology as a new concept of contemporary construction. On the example of a unique project implemented on the island of Al Noor in the UAE, the author considers examples of pavilions and sculptural installations, united by the theme of new aesthetics and humanistic mutual influence of nature and architecture as new realities of modern society. In her article "Glasstress: a Transparent Border Between Mimicry and Mimesis", M. Burganova analyses the modern artistic process that began in the middle of the 20th century as part of the craft + art concept using the example of "Glasstress. Window to the Future” exhibition, held in the State Hermitage Museum in St. Petersburg. The Stalinist Empire style, a unique phenomenon in the architecture of the Soviet period, is analysed by V. Slepukhin in the article "Soviet Architecture of the 1930-1950s". The author determines its place among such architectural styles and trends as Art Nouveau, Rationalism and Constructivism and gives a detailed description. In the article “Palladian Architecture of Denmark in the 17th-18th Centuries”, O. Tsvetkova considers the evolution of architecture in Denmark in the 17th-18th centuries, explores the influence of French classicism and Dutch Palladianism on national manifestations of style. On the example of specific buildings, the chronology of the classical architectural tradition development is traced. The creative continuity of architectural dynasties is studied in the context of the pan-European architectural trends of the time; the history of the Danish architecture development is traced. I. Pavlova continues the theme of dialogues in art in the article “The Role of the ‘English’ Theme in One of the Episodes of L. Tolstoy’s Novel, Anna Karenina". The author expresses the opinion that the development of the "English" theme in the episodes of the races and preparations for them serves to dispell false values, the ephemeral virtues of Tolstoy's contemporary society, pride and arrogance. The author believes that the main role of the "English" theme lies in the development and implementation of the moralistic setting of the novel, the expansion of the content space of the work and depiction of the dramatic image of the era. In the article "V. Borovikovsky’s Sketch ‘God the Father Contemplating Dead Christ’ As a Synthesis of Western European and Orthodox Traditions”, V. Makhonina considers iconographic interpretations of the plot and conducts a stylistic analysis of the work. The article "The Concept - Text - Interpretation Triad in Piano Music of the Second Half of the 20th - 21st Centuries" by O. Krasnogorova is devoted to the problems of the performing arts of modern times in the context of the general system of humanitarian thinking. The concept of interpretation from the standpoint of conceptual metaphors and research in the field of musical semiology are considered by the author. In the article, the broad interpretation of a musical text goes beyond the actual musical text into the area of ??signs, metaphors and metonyms. In the article "Instrumental Performance on Wind and Percussion Instruments in the Context of Traditional Rituals Accompanying Work in China", Huang Shuai analyses traditional Chinese wind and percussion instruments; he considers such issues as instrumental combinations and musicians. The author applies the historical research method, source study and musicological analysis of audio and video materials. The publication is addressed to professionals specialising in the theory and practice of the fine arts and philology and all those interested in the arts and culture.
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Akimov, Sergey S. "The 17th Century Dutch Art in E.I.Rotenberg’s Studies." Vestnik of Saint Petersburg University. Arts 13, no. 3 (2023): 413–31. http://dx.doi.org/10.21638/spbu15.2023.302.
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The contribution of Evsei Rotenberg to the studies in history of the 17th century Dutch art is analyzed in this article. Investigations in Dutch art of the Golden Age were one of the main lines in scientific interests of Evsei Rotenberg, great specialist in classical West-European art, during all his activity. He also wrote about Italian Renaissance, especially Michelangelo and Titian, and about the most important esthetic and creative problems and tendencies of the 17th century art, the greatest masters of this epoch. The paper highlights his evolution as a researcher from point of view subjects and methodology of studies, analyzes the conceptual ideas explaining the specificity of the Dutch art, shows their place in Russian scientific tradition and their significance for the further development of art historian science. His professional formation was held under guidance of Prof. B.R.Vipper in Moscow University and in post-graduate course. Rotenberg’s PhD dissertation (1956) was devoted to realistic bases of Dutch art of the period of flourishing (Rembrandt and masters of genre painting). He is the author of works about Rembrandt and Vermeer, the monograph about development of the Dutch art including architecture, sculpture and decorative crafts. His most fundamental investigations — “West-European 17th Century Art” and “West-European 17th Century Painting. Thematic Principles” — were published in 1971 and 1989. Rotenberg analyzed Dutch school in aspects of style and non-style line and relationships between mythological and non-mythological creative conceptions in art of this epoch.
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Stein, Beverly. "Carissimi's Tonal System and the Function of Transposition in the Expansion of Tonality." Journal of Musicology 19, no. 2 (2002): 264–305. http://dx.doi.org/10.1525/jm.2002.19.2.264.
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The question of 17th-century tonality has intrigued scholars for years: how to make sense of a repertoire in which modal concepts appear to coexist with elements of common-practice tonality. Although the system of modes and that of modern tonality are different constructions, the aspect of functional tonality that allows for the presence of major and minor keys at all 12 levels of transposition developed in part from an extension of a technique carried over from modal practice, that of transposition of mode. Nowhere is this process of tonal expansion based on the concept of transposition of mode as clear or as well structured as in the music of Giacomo Carissimi (1605-1674), the Roman composer of oratorios, cantatas, and motets whose output spans the central 40 years of the 17th century. A close examination of Carissimi's music provides us with a snapshot of the expansion of tonality via transposition and, in addition, offers important suggestions for understanding the tonal practices of contemporaries such as Monteverdi and Cavalli. In Carissimi's music, four basic tonalities are still clearly distinguishable, recognizable through unique and predictable cadence patterns. They appear at transposition levels ranging from the three-flat to the three-sharp systems, with the one-flat system conspicuous in its absence. As shown, the core of eight central keys demonstrates key pairing in a way that models the traditional authentic-plagal relationship of modes. An overview of Carissimi's tonal system demonstrates how the ap- parent coexistence of functional tonality and much older concepts of mode and hexachord can be understood to be part of a rational and organized system. This study explores Carissimi's tonal scheme through an examination of his cantatas, the repertoire displaying the widest tonal range. Based on characteristic cadence frequencies, opening transpositions, and previously unrecognized standard cadence patterns, it is possible to determine the nature of the four primary tonalities and their relationships to one another. These cadence patterns also appear as organizing principles in works of several other 17th-century composers and suggest future avenues of research. The final section summarizes the conservative and progressive features of Carissimi's tonal system, relates his practice to discussion of transposition in two popular treatises of the time, Giovanni Maria Bononcini's Musica prattico and Lorenzo Penna's Li primi albori musicali, and compares Carissimi's practice to the system of church keys (based on common transpositions of the psalm tones) prevalent in the 17th century. A study of Carissimi's cantatas thus reveals the existence of a truly distinct 17th-century tonal practice which functions on its own terms at the same time as it exhibits concepts derived from traditional modal and hexachordal theory, as well as contemporary practices of psalmody and small-scale functional tonality.
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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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Сорокина, Т. Б. "Freethinking of the 17th Century: Edward Herbert’s Philosophy." Диалог со временем, no. 79(79) (August 20, 2022): 47–56. http://dx.doi.org/10.21267/aquilo.2022.79.79.002.
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В работе характеризуются взгляды Эдварда Герберта – английского философа, политика и общественного деятеля первой половины XVII в. Автор анализирует основные положения философской системы Э. Герберта, отмечая логическую связь между теорией познания и философией религии. Показано, что гносеологический объективизм Герберта явился основанием для его деистических идей, главной из которых стала идея «естественной религии». Автор считает заслугой Герберта попытку обосновать объективные основы и критерии познания, соединить его когнитивные и ценностные начала, подчеркнуть системное взаимодействие всех элементов. In the work are characterized by philosophical views of Edward Herbert – English philosopher, politician and public figure of the first half of the 17th century. The author of the article analyzes the basic provisions of the philosophical system of E. Herbert, noting the logical connection between the theory of cognition and the philosophy of religion. It is shown that Herbert's epistemological objectivism was the basis for his deistic ideas, the main of which was the idea of "natural religion". The author considers Herbert's merit to try to substantiate objective basics and criteria of cognition, to combine his cognitive and value principles, to emphasize the systemic interaction of all elements.
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Žarskienė, Rūta. "The Sound of Trumpet will Stir the World and Raise the Dead: Prayers Accompanied by Brass Instruments in the Folk Piety Tradition." Tautosakos darbai 55 (June 25, 2018): 177–97. http://dx.doi.org/10.51554/td.2018.28504.
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The article focuses on a phenomenon that has so far evaded scholarly attention and research. Apparently, in Samogitia, where brass instruments still play at traditional Catholic or even Lutheran funerals and death anniversaries, participate in the Easter morning processions and the Catholic Church feasts (Lith. atlaidai), yet another practice of folk piety involving brass instruments is thriving: i.e. prayers at the graveside in summer time, during Catholic Church feasts and All Souls’ Day (more frequently still, All Saints’ Day). During her fieldwork of 2013–2017 in various parts of Mažeikiai and Skuodas districts, the author of the article gathered material on this folk piety practice in religious feasts of Saint Mary Magdalene, Saint Roch, and Saint Anne etc. taking place in Grūstė, Ylakiai, Židikai, Vaičaičiai and elsewhere. These feasts take place in cemeteries, while the Mass, their main sacral highlight, is performed in the cemetery chapel or in a nearby church. People gather to the feasts in order to visit the graves of their diseased and meet with their relatives, inviting brass musicians to perform the ritual at the graveside. The ritual comprises several parts: intention, the sign of the cross in the beginning and at the end, prayers (the Lord’s Prayer, the Hail Mary, and “Eternal Rest”), a stanza from a popular traditional religious hymn, which is both sung and played, the prayer “Eternal Rest”, which is both sung and played antiphonally this time, and traditional Catholic greeting (“Honor be to Jesus Christ”). These parts make up a slightly varying “scenario”, which usually takes 3 to 3,5 minutes to perform. The structure of ensembles (from 2 to 4 musicians), their age (from 12 to 83 years old), the actual instruments (trumpets, tuba, tenor, baritone, saxophone, etc.), and style of performance also vary. The self-educated musicians of the elder generation usually play in the traditional way, i.e. loudly, slowly and inaccurately. The younger generation representatives, usually having acquired some professional music education, have adopted more esthetic style of performance, using reduced volume and “intermediate” fragments to fill in the pauses. In 2017, the tendency was noted of forgoing prayers and including several stanzas of a particularly popular modern hymn instead of one. This would indicate an attempt at changing the tradition in order to adapt to the popular culture, or even belonging to it. In search for roots of this custom of folk piety, the author of the article employs the historical sources from the 17th–18th centuries. According to her analysis, the main point of the ritual – the prayer “Eternal Rest” – was actively used not only in the rituals of the 19th–20th century, but also as early as the Baroque period, while its origins may reach back to the medieval teachings on purgatory. The last line of this prayer (“May they rest in peace. Amen”) was used as a quiver prayer. The arrow as symbol was highly favored in Baroque heraldic, poetry, panegyrics; it used to be compared not only to prayer, but also to the loud and powerful sound of the brass instruments. The brass instruments acted as a concurrent accompaniment of both religious and secular festivals of the time, playing an important role both in the Roman Catholic and in the Evangelical Lutheran traditions. While seeking to clarify the reasons for trumpets being played at cemeteries and the meaning of this ritual, it appeared that in the Catholic Samogitia there still survives a belief in the trumpet accompanied prayer to have the power of alleviating the suffering of souls in the purgatory. People inviting the brass musicians to play at the graveside even in the modern times believe that such prayer goes straight to heaven and easily reaches the God.
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Cho, Byounghak, Sung Hoon Jeh, and Kisun Kim. "17th-Century Manchu (Qing) records as sources of Mongolian history*." Acta Orientalia Academiae Scientiarum Hungaricae 68, no. 4 (December 2015): 415–23. http://dx.doi.org/10.1556/062.2015.68.4.3.
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Chambert-Loir, Henri. "Islamic Law in 17th Century Aceh." Archipel, no. 94 (December 6, 2017): 51–96. http://dx.doi.org/10.4000/archipel.444.
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Kruglova, Elena V. "EXPRESSIVE AND DESCRIPTIVE FUNCTIONS OF ORNAMENTATION IN THE 17TH CENTURY VOCAL MUSIC." Scientific and analytical journal Burganov House. The space of culture 19, no. 6 (December 10, 2023): 129–40. http://dx.doi.org/10.36340/2071-6818-2023-19-6-129-140.
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he demand for Baroque music on the concert stage sets high requirements for singers in terms of the performance style. At present, the issues of reproducing vocal ornamentation in ancient arias are the primary tasks. Given the lack of knowledge and skills of baroque improvisation among Russian singers, the ornamentation used often represents, in fact, only a technical aspect that the soloists are diligently trying to cope with. At the same time, ornaments often sound "empty", not expressive, not corresponding to the main purpose which is to emphasise affect. According to the instructions of the 17th century masters, the main purpose of performing music was to show the passions of the human soul. The singers’ fundamental task was to maximise the impact on the listener’s feelings and to awake affects in them through an intoned word. As a vivid expressive means, ornamentation contributed to the emphasis of certain words in the general context. Moreover, according to the instructions of teachers from the past, singers needed to convey one or another affect with the appropriate intonation of the voice. The artistic function of ornaments came down to increasing the level of performance expressiveness. Various ornamentation (melismas and passages) had to be used purely to enhance the musical statement. The proposed article is aimed at solving actual problems in the field of Baroque performance, problems related to the correct interpretation and performance of vocal ornaments in 17th century works. The historicism principle is the methodological basis of the work. Using the methods of analysis and synthesis, as well as the cultural and historical method of research, the author managed to recreate the historical significance of the ornament in connection with the opera traditions of the 17th century. The author's position is that for a singer, it is important to understand the figurative and expressive functions of any type of ornamentation (melismas, passages) as one of the main means of expression, contributing to revealing the composition affect, which presents scientific novelty and is the main conclusion of the article. The content and conclusions of the article will be useful to musicians, singers performing 17th century compositions for their stylistically correct interpretation, as well as in training courses on the history of vocal performance and stylistics at Performing Arts departments of music colleges and university faculties.
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Escudé, Nuria, and Fabrizio Acanfora. "Music and Medicine in Spain: History and New Developments of a Growing Discipline." Music and Medicine 10, no. 1 (January 25, 2018): 45. http://dx.doi.org/10.47513/mmd.v10i1.600.
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The strong link between music and medicine has been documented in Spain since the 17th century, showing that the therapeutic effects of music have been known for centuries. The development of music therapy as a scientific, independent discipline on the Iberian Peninsula begins in the 1960s due to the pioneering work of Serafina Poch. Since then, the interest in music and medicine both by specialists and public has constantly increased. Nowadays, music therapy is taught in public universities and private institutions, and a growing number of health care and educational centers is implementing music therapy projects each year, producing also an increase in the research on the subject. A sore point, which we hope can be resolved soon, is that music therapy in Spain has not yet been recognized with an official title and as an independent profession, leading to fragmentation of the field and leaving the door open to professional intrusion. Keywords: music therapy, music medicine, Spain.
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Grempler, Martina. "Deutsche Nationalidole in der italienischen Oper des 19. Jahrhunderts." Studia Musicologica 52, no. 1-4 (March 1, 2011): 351–61. http://dx.doi.org/10.1556/smus.52.2011.1-4.25.
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Freedom fighters and national heroes frequently appeared on the operatic stage of the 19th century. Rossini used the story of Wilhem Tell, Verdi composed an opera about Jeanne D’Arc, the national heroine of France, and in La battaglia di Legnano Emperor Barbarossa figures as the incarnation of the menace for the Italians’ longing for freedom, exerted through centuries by the sovereigns of German-speaking countries. The article deals with Italian operas about personalities of German history who had special importance in the national discourse of their own country. In particular it focuses on the historical characters of Arminius and Charlemagne, already present on the operatic stage in the 17th century. Their representation underwent essential modifications in the age of the Risorgimento.
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Panov, Alexei A., and Ivan V. Rosanoff. "Performing Ornaments in English Harpsichord Music. Part II." Vestnik of Saint Petersburg University. Arts 12, no. 1 (2022): 4–32. http://dx.doi.org/10.21638/spbu15.2022.101.
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This article continues a series of publications on problems pertaining to performing ornaments on keyboard musical instruments in England of the 17th–18th centuries according to historical documents of that time. The authors consider the history of the publication of the ornamentation table with thirteen embellishments compiled by Charles Coleman and published in the treatises The Division-Violist by Christopher Simpson (1659) and A Brief Introduction to the Skill of Musick by John Playford (1660). Among other matters, various aspects in the Rules of Graces worded by Henry Purcell (A Choice Collection of Lessons for the Harpsichord or Spinnet, 1696) are discussed. In particular, in the table published by Simpson, special attention is paid to a comprehensive review of the realization of such ornaments as “[The] Backfall shaked” and “[The] Shaked Beat”. In “Rules of Graces” contained in Purcell’s A Choice Collection, the authors turned to the ornaments called “[The] beat” and “a plain note & shake”, as well as to the following well-known instruction formulated by the famous musician: “observe that you allway’s shake from the note above and beat from ye note or half note below, according to the key you play in <…>”. In the course of the research, numerous errors and inaccuracies were discovered and noted in the scientific and reference-encyclopedic literature of the 20th century concerning the interpretation of ornaments in England in the second half of the 17th century and in the content of English musical treatises of that time.
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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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Lingold, Mary Caton. "In search of Mr Baptiste: on early Caribbean music, race, and a colonial composer." Early Music 49, no. 1 (February 1, 2021): 49–66. http://dx.doi.org/10.1093/em/caab002.
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Abstract Mr Baptiste was a musician living in late 17th-century Jamaica who composed music portraying African traditions as they were performed by enslaved musicians on the island. This article argues that Baptiste was probably a free person of colour and perhaps one of the earliest-known Black American composers to have published Western notation. His music was printed in Hans Sloane’s 1707 travelogue and natural history of Jamaica. The article also addresses broader issues concerning the underrepresentation of marginalized performers in colonial music histories, with special attention to musical life in the early modern Caribbean.
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Pastukhov, Oleksandr. "Bassoon in the 16–17 centuries: the issues of the bassoon practice development." Aspects of Historical Musicology 19, no. 19 (February 7, 2020): 139–50. http://dx.doi.org/10.34064/khnum2-19.08.
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Background. The article deals with the interaction of the constructive evolution of the instrument and the development of bassoon performing of the 16–17 centuries. The aesthetics of that time was associated with the search for new expressive means, realization of which could be ensured by new instruments with rich and expressive sound. One of such instruments is bassoon; it was during the Baroque era when the bassoon took its shape and the sound image we know today. Thanks to technical evolution, the instrument acquired new artistic capabilities and new sound quality. A new repertoire was formed; bassoon became the part of such instrumental genres as sonata and concerto, it was firmly fixed in the score of the symphony orchestra. In music science, there are a number of studies devoted to wind instruments, the most significant of which are researches by G. Abadzhyan, V. Apatskiy L. Belenov, V. Berezin, V. Bohdanov, N. Volkov, V. Gromchenko, Yu. Dolzhikov, V. Kachmarchyk, V. Lebedev, V. Popov, I. Pushechnikov, Yu. Usov, and A. Kiziliayev. There are works, which focus on the bassoon, its history, expressive and technical capabilities (G. Abadzhyan, V. Apatskiy, V. Bubnovich, N. Karaulovsky, S. Levin, V. Leonov, V. Popov, V. Starko, Anthony Baines). It is worth noting the rather important and comprehensive work by V. Apatskiy “Bassoon from A to Z”. There are numerous scientific publications of international woodwind performers associations, such as the International Double Reed Society, the Australian double reed community, the British double reed community, the Japan bassoon society, the Finnish double reed community. The purpose of the article is to reveal the specifics of the relationship between the structural improvements of the bassoon and the performance on the bassoon in the period of 16–17 centuries. Achieving this goal will help to perform tasks such as a historical overview of the development of the bassoon in the Baroque era and identify the relationship between constructive changes, artistic possibilities, repertoire potential (including the genre palette of the instrument) and composer work for the bassoon of this period. The presented article is a material used in the candidate’s dissertation, which is devoted to a wide range of issues of performance on the bassoon from the origins to the present. Methodology. The main research methods are historical, organological and performing. The historical method is associated with the characterization of the historical conditions of origin and development of the bassoon; the organological method is necessary to establish the connection between the constructive changes of the instrument with the new quality of its sound; the performing method helps to reveal new tendencies in bassoon performance of the 16–17 centuries from the new repertoire to the functional purpose of the instrument. Research results. Around the middle of the 17th century, fundamental changes occurred in the construction of the bassoon. They were caused by the need to regulate the overall tuning system of the instrument in such a way that it could participate in joint music-making with other instruments, as well as by the desire to make the instrument more portable. At the turn of the 16–17 centuries, in the process of bassoon chromatization as the result of complication of composer creativity, fundamental changes were made in the design of the instrument: new “chromatic” holes and valves, as well as fork fingering appeared. It was all connected with the formation of certain musical and aesthetic needs and developed along with them. So, the evolution of the bassoon 16–17 centuries led to such qualitative changes in the sound of the instrument as: softness of the tone, pitch control, expansion of the working range, great power of sound, ease of playing the instrument. The above-mentioned factors entailed fundamental changes in the composers’ attitude towards the instrument. The bassoon enters a more complex functional level in the works of various music genres (interlude to the comedy “La Pellegrina” by Girolamo Bargalia, “Sacrae symphoniae” by Giovanni Gabrieli, “Messa a 4 voci et Salmi” by C. Monteverdi, “Fantasy for basso continuo” by Bartolome deSelma-i-Salaverde, sonata “Lamonica” by PhilipFriedrich Bodekher, nine sonatas for solo bassoon and basso continuo by Giovanni Antonio Bertoli, sonata for two bassoons by Philipp Friedrich Buchner, opera “Il pomo d’oro” by Antonio Cesti, singspiel “Seelewig” by Sigmund Theophil Staden). The role of Antonio Vivaldi in the formation of the concerto, including concerto for bassoon, is difficult to overestimate, and thirty-nine Vivaldi’s concertos for bassoon are evidence of that. The creative work of Antonio Vivaldi affected Johann Sebastian Bach, who wrote bassoon parts in his works of different genres. George Philippe Telemann, Bach’s contemporary, is known for a large number of pieces with bassoon parts. Conclusions. Constructive changes resulted in the arrival of the bassoon to a new timbre, figurative-intonational, genre, and performance level. Meanwhile, there is a linear rather than reciprocal relationship between the above-mentioned levels. On the one hand, there is a direct dependence in the evolution of bassoon performance: new constructive features – technical capabilities of the instrument – more individual timbre character – new expressive possibilities – solo parts – solo pieces. On the other hand, all this creates new requirements both for the performer and for the instrument, which brings the situation back to the need for further search. The results of this research can be used in further studies devoted to the history and theory of bassoon performance in the historical, organological and genre-stylistic directions.
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Wiersma, Lisa. "‘Colouring’ — Material Depiction in Flemish and Dutch Baroque Art Theory." Art and Perception 8, no. 3-4 (October 28, 2020): 243–65. http://dx.doi.org/10.1163/22134913-bja10005.
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Seventeenth-century painters were masters at painting objects and beings that seem tangible. Most elaborate was painting translucent materials like skins and pulp: human flesh and grapes, for instance, require various surface effects and suggest the presence of mass below the upper layers. Thus, the viewer is more or less convinced that a volume or object is present in an illusionary space. In Dutch, the word ‘stofuitdrukking’ is used: expression or indication of material, perhaps better understood as rendering of material. In English, ‘material depiction’ probably captures this painterly means best: it includes rendering of surface effects, while revealing the underlying substance, and it implies that weight and mass are suggested. Simple strokes of paint add up to materials and things that are convincingly percieved. At first glance, material depiction hardly seems a topic in early-modern art theory, yet 17th-century painters are virtually unequalled as regards this elaborate skill. Therefore, 17th-century written sources were studied to define how these might discuss material depiction, if not distinctly. This study concerns one of many questions regarding the incredible convincingness of 17th-century material depiction: besides wondering why the illusions work (Di Cicco et al., this issue) and how these were achieved (Wiersma, in press), the question should be asked why this convincingness was sought after. Was it mere display of ability and skill? And how was material depiction perceived, valued and enjoyed? First, contemporary terminology is determined: the seemingly generic term ‘colouring’ signified the application of convincing material depiction especially — which is not as self-evident as it sounds. Second, and extensively, the reader will find that convincing or appealing material depiction was considered a reference to religion and natural philosophy.
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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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Kowal, Marianna. "Tabulatura z historią. O mało znanym XVII-wiecznym rękopisie z Biblioteki Uniwersyteckiej w Poznaniu." Kwartalnik Młodych Muzykologów UJ, no. 51 (4) (2021): 5–57. http://dx.doi.org/10.4467/23537094kmmuj.21.007.18102.
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Tablature with History: About a Little-known Seventeenth-century Music Manuscript from the University Library in Poznań Research on French lute music is currently a rather rarely discussed topic among Polish musicologists. The reason for this is probably the fact that most manuscripts with lute tablatures have already been described and the repertoire is quite wellknown. However, it turns out that Polish libraries still store little-known manuscripts, which are interesting not only because of the music, but also because of the non-musical material they contain. The copy of 17th-century French lute music stored by the University Library in Poznań, where apart from music, there are also non-musical elements showing its fascinating history, is an example of this. The article presents the preliminary results of the research into the structure, content, provenance and dating of this manuscript. In the first part, the author focuses on the physical features of the tablature source, and then she characterises its musical and non-musical content. The work is also accompanied by photographs of the manuscript and tables presenting its structure and repertoire concordances.
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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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Abu-Manneh, Butrus. "TRANSFORMATIONS OF THE NAQSHBANDIYYA, 17TH-20TH CENTURY: INTRODUCTION." Die Welt des Islams 43, no. 3 (2003): 303–8. http://dx.doi.org/10.1163/157006003322682627.
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Vagle, Wenche. "Rhetoric as a methodological basis for 17th-century linguistics." Historiographia Linguistica 17, no. 3 (January 1, 1990): 293–308. http://dx.doi.org/10.1075/hl.17.3.03vag.
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Summary The purpose of this paper is to throw light on the role of rhetoric as a methodological basis for 17th-century linguistics through a Danish case study. After a presentation of the Danish grammarian Peder Syv (16311702) and the main ideas of his text Nogle Betenkninger om det Cimbriske Sprog (Some Reflections on the Cimbric Language), of 1663, a brief characterization of the rhetorical tradition is given with special emphasis on invention and its topical method of inquiry. Through an analysis of the argumentation in Syv’s text it is found that the author employs topic inquiry as his fundamental method of investigation, and that his line of argument relies on rhetorical evidence of all three kinds: ethos, pathos, and logos. In conclusion, it is suggested that the sociological theory of rationalization offers an explanation as to why we as modern readers have difficulties appreciating the rhetorical method.
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Jokubaitis, Linas. "The Transformation of Scientific Political Philosophy into a Speculative Philosophy of History." Problemos 97 (April 21, 2020): 24–35. http://dx.doi.org/10.15388/problemos.97.2.
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The paper presents an analysis of the three stages of the development of political philosophy since the 17th century. The rise of modern political theory was marked by attempts to develop a philosophy along the lines of natural sciences. These attempts lead to the development of highly speculative and abstract doctrines; political philosophy ceased being a practical discipline. The paper argues that an important aspect of the traditionalist political thought of the 18th century was an attempt to reestablish the link between theory and practice. In the 19th century, the interest in history was supplemented with new premises about the historical process. Political philosophy, which strived to become scientific, became highly dependent on the premises of various philosophies of history.
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Hansen, Jette Barnholdt. "From Invention to Interpretation: The Prologues of the First Court Operas Where Oral and Written Cultures Meet." Journal of Musicology 20, no. 4 (2003): 556–96. http://dx.doi.org/10.1525/jm.2003.20.4.556.
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The dynamic progression from orality to literacy is embodied in the notation of the prologues to the first court operas. This transition is influenced by the proliferation of printed scores at the beginning of the 17th century and has profound rhetorical consequences for vocal performance. In the first prologues, where the written arie are formulaic, the singer is the creator and authority; s/he controls the musical performance and makes the connection between words and music by means of variation, ornamentation, and improvisation as part of a persuasive dialogue with listeners. In the later prologues, however, the composer rather than the singer is in control of the discourse. Because of a new and more elaborate way of writing out the prologues, where all stanzas are set to music, the singer is now turned into an interpreter of the composer's rhetorical realization of the words, a realization fixed in the score by musical notation and capable of being brought to life in performance. The prologue can profitably be discussed as a genre in the context of the oral tradition of the late Renaissance, and is illuminated by a number of 16th- and 17th-century Italian sources dealing with lyric poetry, linguistic theory, vocal performance, sound, and listening. In this regard, the edition of Jacopo Peri's Euridice by Howard Mayer Brown (1981) is open to criticism, because all stanzas of the prologue are written out, which is not in accordance with Peri's original score (Florence, 1600). The editorial realization of the strophes, therefore, seems to run contrary to the principles of orality according to which the prologue was originally composed.
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Werle, Dirk. "Lebenszeit und Weltzeit in epischen Versdichtungen der frühen Neuzeit." Daphnis 49, no. 4 (October 12, 2021): 641–54. http://dx.doi.org/10.1163/18796583-12340034.
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Abstract This article starts from Achim Landwehr’s thesis that the present is an invention of the 17th century, and that this is reflected not least in developments in contemporary narrative literature. It analyzes the narrative representation of the relationship between life-time and world-time (Lebenszeit und Weltzeit) in the epic poem Achilles Germanorvm, published anonymously in 1632, in which the contemporary events of the Thirty Years War are interpreted allegorically in the light of the Trojan War. It is shown that the present in the epic is not emphatically asserted as present, but presented as part of a model of time operating with the factors of repetition, recurrence, and mythical meaningfulness. World-time (Weltzeit) appears in the epic as structured by repetition and recurrence, and the role of the single individual is also embedded in this model. Landwehr’s account, however, needs to be corrected to the effect that, contrary to what he insinuates, such interpretations of the present did exist at all in the genre of epic verse in the 17th century and that the epic genre had not at all become outmoded at that period. They are highly relevant for understanding a history of the telling of time in the 17th century.
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Tretyakova, Marina. "Russian Travelers 17th Centuries about the Ceremony of Marriage of the Adriatic." ISTORIYA 13, no. 1 (111) (2022): 0. http://dx.doi.org/10.18254/s207987840018931-3.
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The article considers the ceremonial of the Doge’s betrothal to the Adriatic sea through the prism of its perception by Russian travelers of the end of the 17th century. In the Republic of Venice there were a considerable number of ceremonies, which were held annually on the occasion of victories and various festivals. Among them, a special place was occupied by the rite of betrothal of the Doge to the sea (with the Adriatic) (Marriage of the Adriatic). Its origins rite of passage is leading with deep absent. Almost all Russian travelers who visited Venice at the end of the 17th century, paid attention to this ceremony. In their travel notes stolnik P. A. Tolstoy and an unknown author write about the date of the ceremony, its history, the details of the protocol of its ceremonial, the value for the Venetian state. The splendor and colorfulness of its holding attracted the special attention of Russian travelers. In their opinion, the central place in this ceremony was occupied by the figure of the venetian doge. In addition, they emphasized its state character. But the venetian vessels that took part in the ceremony, and above all, the ceremonial galley of the venetian doge Bucintoro, attracted the special attention of russian travelers. The interest of the stolnik P. A. Tolstoy and unknown author called private ships of the venetians, who accompanied the doge of Venice in the maritime procession. The author of the article comes to the conclusion that the rite of betrothal of the venetian doge to the Adriatic caused some interest among russian travelers of the 17th century, but to a greater extent their admiration was associated with architectural masterpieces, religious shrines, music, gardens and fountains. Perhaps this was due to the fact that in the Moscow state there were no similar ceremonies. In any case, the russian travelers of the 17th century, namely stolnik P. A. Tolstoy and an unknown author in their travel notes recorded this ritual, leaving the memory of this to posterity.
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Hüllen, Werner. "Johann Joachim Becher (1635–1682), a little known opponent of Comenius’ Theory of Language and Language Learning." Historiographia Linguistica 23, no. 1-2 (January 1, 1996): 73–88. http://dx.doi.org/10.1075/hl.23.1-2.04hul.
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Summary Concerning the methods of language teaching, Johann Joachim Becher (1635–1682), one of the encyclopedic philosophers of the 17th century, stood in opposition to Jan Amos Comenius (1592–1670), the pedagogue of Europewide influence. He published Methodus didactica (1668) and Novum organon (1672), the latter being a universal nomenclator as they were popular in the 17th century. This nomenclator is organised according to Aristotelian categories which Becher saw expressed in word-classes. It assembles groups of synonyms in Latin and German under headwords which were taken as the simple notions, i.e., the building-blocks, of the human mind. Becher demanded didactic principles to be developed out of these linguistic assumptions. Whereas Comenius shaped his teaching methods according to the situational learning abilities of the individual, Becher regarded them as being dominated by the structures of language seen as structures of the mind, thus foreshadowing Cartesian thinking.
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Kardel, Troels. "Willis and steno on muscles: Rediscovery of a 17th‐century biological theory*." Journal of the History of the Neurosciences 5, no. 2 (June 1996): 100–107. http://dx.doi.org/10.1080/09647049609525657.
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Jakovljevic, Branislav. "Wooster Baroque." TDR/The Drama Review 54, no. 3 (September 2010): 87–122. http://dx.doi.org/10.1162/dram_a_00006.
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In the decade following 9/11, the Wooster Group staged three landmark 17th-century plays, Phaedra, Hamlet, and La Didone. This turn to baroque theatre is both a comment on American culture of the first decade of the 21st century and a significant departure in the history of the group itself.
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Rescia, Laura. "Joseph Harris, Hidden Agendas: Cross-Dressing in 17th- Century France." Studi Francesi, no. 148 (XLX | I) (April 1, 2006): 147–48. http://dx.doi.org/10.4000/studifrancesi.30176.
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Sulistiono, Budi. "THE HISTORY OF TRADE OF THE NUSANTARA IN THE 17th CENTURY." Khazanah: Jurnal Sejarah dan Kebudayaan Islam 11, no. 2 (December 16, 2021): 157–70. http://dx.doi.org/10.15548/khazanah.v11i2.656.
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The increasingly significant influence of Islam in the Archipelago was marked by the establishment of a number of sultanates. It is time for the existence of the sultanate to be interpreted as evidence of political power. The track of Islam in the Archipelago, political power was achieved after great successes in building ECONOMIC POWER, EDUCATION, CULTURAL-INTELLECTUAL NETWORKS. Therefore, the track of Islam in the Archipelago, is not an event that is considered strange. Until the 17th century AD, there were even a number of sultanates on the islands of Java, Kalimantan, Sulawesi, Maluku. The spread of the existence of a number of these sultanates in a relay as evidence of the results of the exemplary performances of a number of sultanates that had existed before. May we all never forget the existence of the Sultanate of Jeumpa (± 776 AD-880 AD), Peureulak (standing ± 840 AD), Samudera Pasai (± 1267 AD), Demak (1468 AD), Aceh Darussalam (1496 AD), Ternate (Maluku). ) rulers converted to Islam in 1460, Cirebon (founded 1479 AD), Banten (1526 AD), Banjar (founded 1520 AD). From the coast of Aceh-Malacca-Sumatra, Islam then spread in various directions east to areas on the north coast of Java such as Surabaya, Gresik, Tuban, then continued eastward to areas of Kalimantan, Sulawesi, Ternate and Tidore in the Maluku islands, Papua, Nusa Tenggara, Bali. The approach used in this paper is a historical approach by utilizing study materials from historical literature. In compiling historical facts, guided by logical arrangement of frameworks in chronological order. The conclusion is that, thanks to the wealth and social forces empowered by Muslim communities in various places in the Archipelago, they can play political roles in political entities as evidenced by the birth of a number of Sultanates. This historical fact, at least strengthens Anthony Reid's theory, that the maritime economy is an indicator of maritime trade that unites trade routes with the formation of port cities as international trade routes.
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Tindemans, Klaas. "The Politics of the Poetics: Aristotle and Drama Theory in 17th Century France." Foundations of Science 13, no. 3-4 (July 10, 2008): 325–36. http://dx.doi.org/10.1007/s10699-008-9131-1.
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Seifert, L. C. "Hidden Agendas: Cross-Dressing in 17th-Century France." French Studies 62, no. 4 (October 1, 2008): 474–75. http://dx.doi.org/10.1093/fs/knn077.
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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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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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Pittock, Murray G. H. "John Law's Theory of Money and its roots in Scottish culture." Proceedings of the Society of Antiquaries of Scotland 133 (November 30, 2004): 391–403. http://dx.doi.org/10.9750/psas.133.391.403.
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This paper seeks to place the well-known lineaments of Law’s System in France within the context not only of his earlier writings on the Scottish economy but also in the dimension of his lived experience as a 17th-century Scot, the son of a goldsmith-banker, and a man acutely conscious both of the history of his country’s unstable monetary policy, and also of the final crisis into which it was lurching in his own day.
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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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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.