Journal articles on the topic 'Renaissance polyphony'
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Williamson, Magnus. "Renaissance polyphony." Early Music 33, no. 4 (November 1, 2005): 717–21. http://dx.doi.org/10.1093/em/cah173.
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Fitch, Fabrice. "Sacred Renaissance polyphony." Early Music XXIII, no. 1 (February 1995): 165–66. http://dx.doi.org/10.1093/earlyj/xxiii.1.165.
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Deford, Ruth. "Analysing Renaissance polyphony." Early Music XXVIII, no. 2 (May 2000): 316–18. http://dx.doi.org/10.1093/earlyj/xxviii.2.316.
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Greavu, Elena-Laura, and Roxana Pepelea. "Polyphony in the Choral Creation for Equal Voices Signed by Dan Voiculescu." Studia Universitatis Babeş-Bolyai Musica 66, no. 1 (June 30, 2021): 143–58. http://dx.doi.org/10.24193/subbmusica.2021.1.10.
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"This paper represents a more detailed research of one of the defining stylistic aspects for equal voices choral creation composed by Dan Voiculescu. The composer managed to enrich the children's repertoire with important works, starting from the premise that it must be close to the contemporary musical language. Polyphony, in its various forms, gives this type of repertoire stylistic unity and offers many possibilities for modernizing the choral language. Dan Voiculescu uses poliphony to exploit and materialize it in a multitude of compositional devices. The most used polyphonic process in Voiculescu's choral creation is imitative polyphony. It is materialized in various forms, being connected mainly by the tradition of its application from ancient times (Renaissance, Baroque) to the present day. Keywords: polyphony, Composer Dan Voiculescu, choral music. "
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Москва, Ю. В. "Gregorian Semiology as a Method of Modal Identification in Early and Renaissance Polyphony." Научный вестник Московской консерватории, no. 4(31) (December 21, 2017): 108–21. http://dx.doi.org/10.26176/mosconsv.2017.31.4.04.
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Определение лада в раннем и ренессансном многоголосии принадлежит к самым актуальным и сложным научным проблемам. Раннее многоголосие восходит к григорианскому пению, поэтому исследование модальности в полифонии отталкивает ся от григорианской модальности. Однако григорианские напевы подвержены модификациям (транспозиции, трансмодализации) как сами по себе, так и в условиях модального многоголосия. Поэтому модальность cantus firmus не может служить надежным критерием определения лада в многоголосии. Поскольку лад проявляет ся посредством ритма, автор статьи предлагает новый метод: исследование модальности в раннем многоголосии с помощью григорианской семиологии Эжена Кардина — учения о ритмических и артикуляционных аспектах невменной нотации. В качестве примера приведен модальный анализ мессы Дж. П. да Палестрины «Ecce Sacerdos magnus». The modal identification in the early and Renaissanse polyphony is one of the most important and complicated scientific problems. The early polyphony goes back to Gregorian chant, therefore the study of the polyphonic modality begins with Gregorian modality. However, Gregorian chants mutate (in terms of transposition and transmodalisation) both on their own and as cantus firmus in the modal polyphony. Therefore, Gregorian modality is not a reliable criterion of modal determination in the early polyphony. Because of the connection of modality to rhythm, the author of the article proposes a new method: the investigation of modality in the early polyphony using the Gregorian semiology by Eugène Cardine — the doctrine about rhythmic and articulative aspects of the neumatic notation. As an example there is a modal analysis of G. P. da Palestrina’s mass “Ecce Sacerdos magnus”.
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Meconi, Honey. "Art-Song Reworkings: An Overview." Journal of the Royal Musical Association 119, no. 1 (1994): 1–42. http://dx.doi.org/10.1093/jrma/119.1.1.
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Broadly speaking, we can divide Renaissance polyphony into five groups: works not using any pre-existent material, and pieces based on sacred monophony, secular monophony, sacred polyphony or secular polyphony. This is not the common way to classify Renaissance compositions. The more normal breakdown is by the technique applied to the pre-existent material – cantus firmus, paraphrase, parody – regardless of what that material was. Yet much is to be gained by starting with the original material, and that was, after all, what the composer probably did at least some of the time.
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Meeùs, Nicolas. "Aspects of Modality in Renaissance Polyphony." Musurgia XXVI, no. 2 (2019): 11. http://dx.doi.org/10.3917/musur.192.0011.
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Upham, Finn, and Julie Cumming. "Auditory Streaming Complexity and Renaissance Mass Cycles." Empirical Musicology Review 15, no. 3-4 (June 28, 2021): 202–22. http://dx.doi.org/10.18061/emr.v15i3-4.7980.
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How did Renaissance listeners experience the polyphonic mass ordinary cycle in the soundscape of the church? We hypothesize that the textural differences in complexity between mass movements allowed listeners to track the progress of the service, regardless of intelligibility of the text or sophisticated musical knowledge. Building on the principles of auditory scene analysis, this article introduces the Auditory Streaming Complexity Estimate, a measure to evaluate the blending or separation of each part in polyphony, resulting in a moment-by-moment tally of how many independent streams or sound objects might be heard. When applied to symbolic scores for a corpus of 216 polyphonic mass ordinary cycles composed between c. 1450 and 1600, we show that the Streaming Complexity Estimate captures information distinct from the number of parts in the score or the distribution of voices active through the piece. While composers did not all follow the same relative complexity strategy for mass ordinary movements, there is a robust hierarchy emergent from the corpus as a whole: a shallow V shape with the Credo as the least complex and the Agnus Dei as the most. The streaming complexity of masses also significantly increased over the years represented in this corpus.
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Keyl, Stephen. "Tenorlied, Discantlied, Polyphonic lied: Voices and instruments in German secular polyphony of the Renaissance." Early Music XX, no. 3 (August 1992): 434–46. http://dx.doi.org/10.1093/earlyj/xx.3.434.
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Wickham, Edward. "Realization and Recreation: Texting Issues in Early Renaissance Polyphony." Journal of the Alamire Foundation 3, no. 1 (January 2011): 147–66. http://dx.doi.org/10.1484/j.jaf.1.102197.
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Walkley, C. "Renaissance polyphony. Juan Esquivel: an unknown Spanish master revisited." Early Music 29, no. 1 (February 1, 2001): 76–92. http://dx.doi.org/10.1093/em/29.1.76.
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Geelen, Bram, David Burn, and Bart De Moor. "A Clustering Analysis of Renaissance Polyphony Using State-Space Models." Journal of the Alamire Foundation 13, no. 1 (January 2021): 127–46. http://dx.doi.org/10.1484/j.jaf.5.124209.
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Borgerding, T. "Preachers, Pronunciatio, and Music: Hearing Rhetoric in Renaissance Sacred Polyphony." Musical Quarterly 82, no. 3-4 (January 1, 1998): 586–98. http://dx.doi.org/10.1093/mq/82.3-4.586.
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Borgerding, T. "Preachers, pronunciatio, and music: hearing rhetoric in Renaissance sacred polyphony." Musical Quarterly 82, no. 3 and 4 (September 1, 1998): 586–98. http://dx.doi.org/10.1093/mq/82.3_and_4.586.
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Kerman, J. "Renaissance polyphony. The Byrd edition - in print and on disc." Early Music 29, no. 1 (February 1, 2001): 109–20. http://dx.doi.org/10.1093/em/29.1.109.
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De Bonis, Maurício, and Fábio Scucuglia. "Teledescante nº1: polyphony in time of plague." Revista Vórtex 9, no. 2 (December 10, 2021): 1–43. http://dx.doi.org/10.33871/23179937.2021.9.2.5.
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This report contemplates an instrumental composition as a project for audiovisual production in social isolation, during the Covid-19 pandemic. Based on the problematization of the impact of the pandemic in music making, solutions were sought that were not only viable as an artistic result but that could also be projected in a purposeful and prospective way in times of humanitarian crisis, of dismal symmetry between capitalist neoliberalism and programmed neglect in public health policies. After a description of the research on the use of art in past pandemics as a guiding principle in the choice of materials, the audiovisual production is detailed. The piece was written in April 2020 as a result of the analysis of a Renaissance motet, which, in turn, was conceived as a tribute to a composer who had perished from the plague and as a palliative against the disease.
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Moody, Ivan. "Palestrina in Serbia." Musicological Annual 56, no. 1 (June 30, 2020): 79–99. http://dx.doi.org/10.4312/mz.56.1.79-99.
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Kosta P. Manojlović was a highly significant figure in the development of Serbian choral music and musical education. His studies abroad brought him into contact with repertoires of Western “early music” that had a profound impact on his work. This article discusses his adaptations of Renaissance polyphony found in the archive of the First Belgrade Choral Society.
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Humphreys, D. "Renaissance polyphony. A study in emulation: Philip van Wilder's En despit des envyeulx." Early Music 29, no. 1 (February 1, 2001): 93–108. http://dx.doi.org/10.1093/em/29.1.93.
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Jiménez, Juan Ruiz. "‘THE SOUNDS OF THE HOLLOW MOUNTAIN’: MUSICAL TRADITION AND INNOVATION IN SEVILLE CATHEDRAL IN THE EARLY RENAISSANCE." Early Music History 29 (July 21, 2010): 189–239. http://dx.doi.org/10.1017/s0261127910000094.
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With the restoration of the Seville diocese in 1248, its organisation followed the model established by other Castilian cathedral chapters. Seville Cathedral's symbolic importance and the wealth created by its endowments resulted in a flourishing development of worship, in which music played a key role. The ritual space in the Mozarabic cathedral was radically transformed with the construction of the Gothic building over a period of almost a hundred years, from 1434 to 1517. In tandem with this architectural programme, the cathedral's musical resources also underwent transformation, being adapted according to changing aesthetic considerations, liturgical modifications and new spatial and acoustical demands. The city of Seville periodically welcomed the court, with the monarch and the royal household residing for extended sojourns in the Alcázar, which was renovated by Pedro I in the fourteenth century. These royal visits favoured musical exchange with the royal chapels, especially during the reign of Ferdinand and Isabel. Seville became the paradigm for the consolidation and standardisation witnessed during the fifteenth century throughout the ecclesiastical institutions of Castile and Aragon. The direct consequence of this reforming impulse was an exponential increase in the number of composers active in this environment, and the amount of polyphonic repertory created through church patronage in both the institutional and private spheres, as well as the increase in the use of that polyphony in liturgical and devotional ceremony.
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Fiorentino, Giuseppe. "‘Cantar por uso’ and ‘cantar fabordón’: the ‘unlearned’ tradition of oral polyphony in Renaissance Spain (and beyond)." Early Music 43, no. 1 (January 21, 2015): 23–35. http://dx.doi.org/10.1093/em/cau145.
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Gomeniuk, Svitlana. "Features of Cadences in Vocal and Choral Music of the Seventeenth Century (on the Example of Giovanni Palestrina’s Motets)." Scientific herald of Tchaikovsky National Music Academy of Ukraine, no. 132 (November 29, 2021): 182–97. http://dx.doi.org/10.31318/2522-4190.2021.132.250002.
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The relevance of the study. The traditional idea of a cadence as a primarily harmonic phenomenon does not completely correspond to some musical styles, including Renaissance and early Baroque. Revealing the polyphonic essence of cadences in vocal works of the Renaissance, which is the aim of the article, allows deeper understanding peculiarities of musical thinking of that period.
Scientific novelty. The historical approach to the analysis of cadences is quite common in foreign musicological works; this approach is still new for Ukrainian musicology. The research material is also new: the cycle of motets by G. Palestrina on the text of “Song of Songs” was unfairly ignored by Ukrainian and foreign scholars. Thus, the study is relevant both in relation to the method and in relation to the musical material involved in its approbation.
The purpose of the article is to show the specifics of cadences in the style of a strict counterpoint using the motets from the cycle “Canticum Canticorum” by G. Palestrina, to reveal the role of cadences in the modal and compositional processes of a Renaissance work.
Research methods. The study systematizes the data obtained as a result of the analysis of the cadences of G. Palestrina’s motets, thus, the main research method is inductive.
The main results and conclusions of the study. Cadences in vocal polyphony of the Renaissance have a polymelodic nature, which is realized by combining typical melodic turns (clausulae) in different voices. The clausulae order in the voices and their completeness degree are effective criteria for the classification of cadences (e. g. the classification by E. Rotem). Cadences in which the main clausulae are presented in full (i. e. contain ultima and penultima) are strong. Cadences in which one or more clausulae are incomplete are weak. The role of strong and weak cadences in the composition is different: strong cadences are placed at the nodal points of the piece, they have a dividing function; weak cadences are placed in the middle of the text line and they have a connecting function. Strong cadences are the norm, while weak ones violate the norm, revealing the author’s ingenuity. There are a few ways to weaken the cadence: replacing the ultima with a pause or a different sound, distributing the clausula between several voices, extending the melodic line of one of the cadence voices, etc. Weak cadences significantly outnumber strong cadences. In the Dorian motets from the cycle “Song of Songs” by G. Palestrina weak cadences play an important role in the formation of the mode within the sound scale, as well as in revealing the meaning of the verbal text.
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Brand, Benjamin. "A Medieval Scholasticus and Renaissance Choirmaster: A Portrait of John Hothby at Lucca*." Renaissance Quarterly 63, no. 3 (2010): 754–806. http://dx.doi.org/10.1086/656928.
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AbstractJohn Hothby's career as cathedral choirmaster at Lucca is one of the longest, best documented, and most exceptional of any Northern musician active in fifteenth-century Italy. As director of the cathedral school and choir, this Englishman embodied two models of music master: a scholastic trained in the old Trivium and Quadrivium, and a professional maestro di cappella. Fulfilling this double role was but one way in which Hothby differed from his fellow oltremontani by ingratiating himself with his Lucchese patrons, colleagues, and citizens at large. Another was the integration into his curriculum of older pedagogies of local and regional origin, ones designed to appeal to his Italian students. The most important example of such appropriation were the laude that formed a basis for his students’ exercises in two-voice mensural counterpoint. The latter appear in I-Lc, Enti religiosi soppressi, 3086, one of only two examples of student work to survive from before 1500. These newly discovered exercises thus illuminate not only Hothby's career, but also a hitherto obscure stage of learning by which aspiring singers progressed from strict, note-against-note discant to complex, florid polyphony.
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Muir, Thomas. "‘Old Wine in New Bottles’: Renaissance Polyphony in the English Catholic Church during the Nineteenth and Early Twentieth Centuries." Nineteenth-Century Music Review 4, no. 1 (June 2007): 81–101. http://dx.doi.org/10.1017/s1479409800000070.
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In the early nineteenth century there were three main styles of music performed in the English Catholic Church. First, there was plainchant, mainly that copied by John Francis Wade in the previous century and then refracted through arrangements by Samuel Webbe the elder, Samuel Wesley and Vincent Novello. Second, there was a native and, for its day, a fairly up-to-date style associated again with the two Webbes, Wesley and Novello. Third, there were Continental imports, especially grand masses, composed by Viennese Classical masters such as Mozart and Haydn, or Hummel and Weber. All three styles were developed and remained popular throughout the nineteenth century; but increasingly they were challenged by a revived interest in Renaissance-style polyphony, especially music composed between 1551 and 1650. This paper examines that development looking at, first, the general factors that encouraged it; second, the main stages in its revival; and third, the extent and effects of its influence and achievement.
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Savchenko, G. S. "Constants and Innovations in the Orchestral Writing of I. Stravinsky’s Ballet “Agon”." Culture of Ukraine, no. 71 (April 2, 2021): 118–24. http://dx.doi.org/10.31516/2410-5325.071.15.
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The aim of this paper is to identify the specifics of orchestral writing in the later works of I. Stravinsky on the example of the ballet “Agon” (1953–1957).
Significance of the topic. From 1953 begins the late (serial) period of I. Stravinsky’s work. Due to stylistic “modulation”, the study of orchestral writing in later works at the intersection of constant principles (multifigure, combinativity and plasticity) and innovations found out by us is relevant.
Research methodology. I. Stravinsky’s late style is studied in various aspects. A topical issue is the composer’s interpretation of serial technique (Glivinsky, 1995; Rogers, 2004; Straus, 1999; Smyth, 2000). N. Kardash (2010) offers a multidisciplinary textological approach in the studying of recent opera and ballet. Renaissance dance forms are studied in “Agon” by M. Richardson (2003). Characteristics of later works are contained in the section of the monograph of M. Druskin (2009). V. Zaderatsky’s monograph (1980) is devoted to the polyphonic thinking of the composer.
Historical, comparative, functional, systematic research methods are used in the work.
Results. I. Stravinsky’s original orchestral writing was formed in his early works (1908–1910). They gradually formed the principles of multifigure, combinativity (Savchenko, 2019; Savchenko, 2020) and plasticity, found out by us, as universal principles of the composer’s orchestral writing.
In the ballet “Agon” the composer applied a serial technique that determines the key role of polyphonic techniques of work with thematic invention, respectively, the dominance of horizontal thinking. At the same time in the creative comprehension and elaboration of techniques of serial technique the composer relies on the methods developed in his works (“formular” thematic invention, motives rotation technique, counterpoint combination of them) (Druskin, 2009, p. 226–227), motive-variant work (Savenko, 2001). Accordingly, ballet acts can be divided into two groups: with horizontal or horizontal/vertical priority in the organization of the orchestral texture.
Where the priority is horizontal, we highlight the following variants of the composition of the orchestral texture: 1) monophony (unison) or splitting of unison 2) texture based on the counterpoint interaction of short lines (sometimes — sound points); 3) on the basis of contrasting polyphony; 4) on the basis of imitation polyphony.
Conclusions. 1) In the orchestral writing of acts with horizontal/vertical priority, the constant principles of multifigure, combinativity and plasticity remain dominant; 2) Where the horizontal is a priority, innovative principles of organization of the orchestral texture prevail; constant principles are revealed covertly or in a modified form; 3) At the level of a ballet composition as a whole, the alternation of different types of organization of the orchestral texture is formed, in which different ideas about time and space are embodied; thoughtful timbre strategy and handling of different types of orchestral texture give rise to the original timbre-texture structure of the work.
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Álvarez Jurado, Manuela. "La obra poética de Marie de Romieu. ¿Traducción o imitación?" Futhark. Revista de Investigación y Cultura, no. 6 (2011): 7–23. http://dx.doi.org/10.12795/futhark.2011.i06.01.
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The poetic work of Marie Romieu proves such an intricate maze of intertextual relations, that we are bound to find in her poems the traces left by her many readings of Classical, Italian and medieval French texts in addition to those of some contemporary authors. This sort of polyphony meets the poetess’ attempt to rescue those texts from the readers’ memory so that they can still linger throughout the ages to come. By the use of a comparative analysis of several stanzas translated by Marie Romieu and her corresponding original texts we may draw the conclusion that Marie Romieu tries to imitate rather than translate them, and alongside with J. du Bellay she considers translation as a kind of re-writing process, that is, a creative act wherefrom a new poetic work originates different from the source text where the ‘I’ of the translator has replaced that of the author with the purpose of adapting the work of a new cultural reality, in this case the French Renaissance.
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Сербул, Н. Б. "Textbook in Polyphony by Anatoly P. Milka: Achievements and Prospects of the Petersburg School." OPERA MUSICOLOGICA, no. 5 (December 31, 2020): 160–67. http://dx.doi.org/10.26156/om.2020.12.5.010.
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В рецензии отражены важнейшие аспекты сложного и многогранного труда автора. Систематизируется понятийный аппарат, в частности, обсуждаются проблемы терминологии в области обратимого контрапункта. Предпринята попытка рассмотреть и объяснить позицию автора по этому вопросу в контексте истории формирования других точек зрения. Анализируются инновации в области методики преподавания полифонии, особенности сочетания исторического и технологического подходов к изучению предмета, новизна и практическая актуальность научных положений. Отмечаются инновационные разработки автора в области теории малых и больших имитационных форм. Универсальность и последовательность применения этой теории придает цельность и логическую стройность всему труду автора. Особое внимание привлекается к приемам, способствующим детальному освоению и реконструкции в учебных работах стиля ренессансной полифонии. Подробно рассматриваются новые формулировки правил метроритмической организации, типы работы над мелодией строгого письма, предложенные автором учебника. Отмечается важность рецензируемого издания как этапа развития петербургской музыковедческой школы, обобщения ее научных достижений и методических разработок. Выявляется ряд направлений, объединяющих исследования А. П. Милки с ведущими отечественными научными школами. The review specifies the most important aspects of the complex and multifaceted work of the author, systematizing and discussing the conceptual apparatus, in particular, the problems of terminology in the field of reversible counterpoint. An attempt is made to consider and explain the author's position on this issue in the context of the history of formation of other points of view. The author analyzes innovations in the field of polyphony teaching methods, the peculiarities of the combination of historical and technological approaches in the study of the subject, the novelty and practical relevance of scientific provisions. The author's innovative developments in the field of the theory of small and large imitation forms are noted. The versatility and consistency of the application of this theory gives integrity and logical harmony to the entire work of the author. Particular attention is drawn to techniques that contribute to the detailed development and reconstruction of the Renaissance polyphony style in educational works. The new formulations of the rules of metro-rhythmic organization, new types of work on the melody of strict writing, proposed by the author of the textbook, are considered in detail. The importance of the peer-reviewed publication is noted as a new stage in the development of the St. Petersburg school of music, as a generalization of its scientific achievements and methodological developments. A number of areas are identified that connect the research of Anatoly P. Milka with the leading Russian scientific schools.
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Франтова, Т. В. "Imitation: Simple, Stretto, Canonical (On the Difficulties of Absolute Differentiation in the Polyphony of Strict Style)." OPERA MUSICOLOGICA, no. 5 (December 31, 2020): 26–39. http://dx.doi.org/10.26156/om.2020.12.5.002.
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Статья посвящена проблемам изучения теории и практики имитационной техники в полифонии строгого письма. Три типа имитации — простая, стреттная, каноническая — постоянно фигурируют в современной музыкально-теоретической литературе. Трактовки сути простой и канонической имитации в разных источниках совпадают, хотя формулировки в деталях разнятся. При этом значительны расхождения в понимании стретты. По традиции, заложенной учениями XVIII века, в теоретическом музыкознании стретту рассматривают в контексте формы фуги. Одновременно ряд исследователей считает возможным использовать понятие стретты по отношению к имитационному многоголосию Ренессанса. При этом термин употребляется в разных значениях. Материал исследования — начальные имитационные секции четырех-шестиголосных мотетов Палестрины без c. f. Тематическая организация рассматривается с учетом тексто-музыкальной формы мотета, в соответствии с которой функцию темы выполняет тексто-музыкальная строка, построенная на относительно стабильном соединении текстовой строки и развернутого мелодического soggetto. Ее неоднократные повторения позволяют обнаружить сходства и различия канонов и стретт в строгостильном многоголосии. The article is devoted to the problems of studying the theory and practice of imitation technique in polyphonic music of strict writing. Three types of imitation — simple, stretto and canonical — appear as relevant in modern musical theoretical literature. An analysis of the existing concepts showed that the interpretations of the essence of simple and canonical imitation in different sources coincide, although the formulations in details, as a rule, differ. Against this background, significant differences in the understanding of stretto (narrow, tight) imitation are especially noticeable. Many authors, foreign and domestic, starting from the teachings of the 18th century, consider the stretto in the context of the fugue form. At the same time, a number of researchers of the 20th century (domestic and foreign) have formed a different position. They believe that it is possible to expand the musical and historical boundaries of the use of the concept of stretto, its use in relation to the imitative polyphony of the Renaissance. The authors talk about the stretto in at least three different cases: the effect of a compressed temporary introduction of imitation voices (S. Skrebkov, T. Dubravskaya), narrow introduction of voices with their subsequent non-imitation promotion (N. Simakova), the tight entry of the rispost before the end of the theme in the propost, which does not fit into the canon (K. Eppessen, S. Skrebkov). The analysis of the musical material showed that the broadly understood stretto (the conciseness of the timing of the introduction of voices) is very typical of the polyphony of strict writing and manifests itself in many and different methods. The musical material of the study was the one-theme initial imitation sections of the four-six-part Palestrina motets, the compositional foundation of which lacks cantus firmus. The thematic organization was considered taking into account the genre of the motet, which belongs to the class of text-musical forms. In accordance with the nature of the genre, the function of the theme in the imitation section is performed by a text-musical line built on a relatively stable connection of a text line and an expanded melodic soggetto.
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Nowack, N. "“Machine Sound” and Microtonal Music." Art & Culture Studies, no. 4 (December 2021): 278–97. http://dx.doi.org/10.51678/2226-0072-2021-3-278-297.
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In the essay devoted to the invention of “machine” (or electromechanical) sound, one tries to rethink the familiar word combination “machine and artificial”. The latter one is not a word game. By the user-friendly separation of an octave into 12 uniform tone steps, the modern tonal system of the western hemisphere is therefore artificial by definition. In contrast to that, the vocal polyphony of the Renaissance is based on an increased usage of acoustically pure or natural intervals. Early attempts to extend instrumental compositions with the benefits of just intonation failed. An unexpected support for microtonal structures within instrumental music came from machines. Primarily by the dynamophone, one of the first electromechanical instruments, developed close to the beginning of the 20th century. Beside its primary task — the additive synthesis — its inventor Thaddeus Cahill aimed for a union of sound art and the laws of acoustics. Therefore, this instrument had the sheer amount of 36 keys per octave. From the point of view of representatives of the musical avant-garde, the control over pitch that came with the mastery of sound synthesis allowed the use of new tonal systems.
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Stenclik, Eric. "Christian Tears; Pagan Smiles: Hart Crane’s “Lachrymae Christi”." Religion and the Arts 18, no. 3 (2014): 349–72. http://dx.doi.org/10.1163/15685292-01803003.
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When American poet Hart Crane declares in a letter, “I felt the two worlds. And at once,” he speaks bluntly of the governing tension of his poetry: the knocking of Harold Hart Crane’s finite language against the hard, transparent ceiling beyond which he senses the divine. Crane’s first collection, White Buildings, often shows signs of visionary frustration. But in “Lachrymae Christi,” the most difficult poem in White Buildings, Crane’s vision dilates to immense possibilities of union between the material and the spirit worlds, between what is time-bound and what is timeless. This poem, both its poetic effect and its spiritual purpose, can be most sympathetically read as mystical. Because the tonal movement toward rapture in “Lachrymae Christi” resonates against the poetry and theology of Renaissance mystics such as St. John of the Cross, we can situate the poem in the context of ancient patterns of western mysticism in order to reclaim what has long been seen as an opaque and elusive poem. “Lachrymae Christi” rewards this reading of its mystical poetics with line after line of quivering wordplay, startlingly fresh religious allusion, and subtle thematic polyphony as it interweaves Christian and pagan traditions of regeneration.
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Kovalchuk, Natalia, Olga Zosim, Liudmyla Ovsiankina, Irina Lomachinska, and Oksana Rykhlitska. "Features of Sacred Music in the Context of the Ukrainian Baroque." Religions 13, no. 2 (January 18, 2022): 88. http://dx.doi.org/10.3390/rel13020088.
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The main goal of this article is the research of different genres of spiritual music in the Ukrainian baroque era. This music is decisive for an understanding of Ukrainian culture. In order to achieve this, research following methods was used: comparative-historical, sociocultural, structural, genre-stylistic. Baroque appears as an intermediate between the Renaissance and Age of Enlightenment. Features of the broader character of the Ukrainian civilization explain its cruising between different cultures, correlating between Western culture and Eastern Orthodox culture. The cultural dimension of Ukraine was crossed by different religions: Orthodox, Catholic, Greek-Catholic, and different paths of Protestantism. This fact specified a music of this age. Two basic directions feature specific of spiritual singing of the Ukrainian baroque: partsong (“High baroque”) and spiritual song (“Middle baroque”). Partsong is represented by liturgical and paraliturgical (concerts) genres. This direction was unique because it was a synthesis of Eastern-Christian and Western-Christian tradition (mostly by Catholic musical tradition as multi-chorus composition, musical rhetoric). At the same time, partsong of the orthodox tradition was formed by liturgical tradition. A large influence on the Greek-Catholic church was a catholic music tradition, in which polyphony is not performed “acapella”, but with instrumental accompaniment. Spiritual song was more linked with the catholic tradition and less with the protestant one. It did not have any canonical orthodox genres, but was borrowed by text–music forms formed in Europe in the Age of late Renaissance and early Baroque period. Greek-Catholic tradition was more linked with catholic one. Therefore, this music had a sacred character, becoming a genre of liturgical music. Palimpsest in its confessional dimension became a distinctive feature of the Ukrainian Baroque and created a unique face of the Ukrainian liturgical music.
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Vellekoop, Kees, E. Schreurs, and B. Bouckaert. "Anthologie van muziekfragmenten uit de Lage Landen (Middeleeuwen-Renaissance). Polyfonie, monodie en leisteenfragmenten in facsimile / An Anthology of Music Fragments from the Low Countries (Middle Ages-Renaissance). Polyphony, Monophony and Slate Fragments in Facsimile." Tijdschrift van de Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis 48, no. 2 (1998): 166. http://dx.doi.org/10.2307/939212.
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Cugelj, Tin. "Serafino Razzi’s Storia di Raugia, or, How Renaissance Dubrovnik (Might Not Have?) Heard Polyphony in February 1588: Towards a Liturgical Reconstruction of the Feast of Saint Blaise." Arti musices 51, no. 2 (2020): 221–65. http://dx.doi.org/10.21857/y7v64t01jy.
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Smirnova, Tatiana V. "On the History of Early Musical Groups: Instrumental Consorts in England at the Turn of the 16th—17th Centuries." Observatory of Culture 16, no. 5 (December 4, 2019): 494–503. http://dx.doi.org/10.25281/2072-3156-2019-16-5-494-503.
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Appealing to the stated topic is relevant because of the desire to concretize the knowledge of little-known in Russian musicology instrumental consorts (musical groups), as well as to expand the existing understanding of the court culture of Renaissance England and its musical and sound appearance. The main center of English consorts development was the Royal court of the Tudors — Henry VIII and his daughter Elizabeth I. Their heyday was at the peak of the “Golden Age” of English culture. Based on the results of scientific research by Western scientists and visual and verbal sources available for study, the article outlines the milestones in the history of the main types of instrumental consort in England — the whole consort, consisting of instruments of the same family, and the broken consort, today often identified with the mixed consort, which connects heterogeneous instruments. The article notes that the early history of the recorder consort in England was closely connected with creative activities of the family of Venetian musicians Bassano. Extremely popular in musical circles of England, the consort of viol was originally formed thanks to Flemish and, somewhat later, Italian musicians. As for the mixed consort, which united performers of the viols da gamba and da braccio, lute, bandore, cistre and recorder, it started to be called “English” because of the stable combination of certain musical instruments. Analysis of consort music anthologies of the 16th—17th centuries made it possible to identify individual genre and musical-style reference points in musical groups’ repertoire, in which musicians improved the principles of instrumental polyphony and the stile concertante, topical in the Modern Period.
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Gale, Michael. "Jas, Eric. 2018. Piety and Polyphony in Sixteenth-Century Holland: The Choirbooks of St Peter’s Church, Leiden. Studies in Medieval and Renaissance Music, 18. Woodbridge: The Boydell Press." Current Musicology 107 (January 27, 2021): 163–70. http://dx.doi.org/10.52214/cm.v107i.7235.
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Zanovello, Giovanni. "David J. Burn and Stefan Gasch, eds. Heinrich Isaac and Polyphony for the Proper of the Mass in the Late Middle Ages and Renaissance. Centre d’études supérieures de la Renaissance; Collection “Épitome musical.” Turnhout: Brepols, 2011. 438 pp. €80. ISBN: 978–2–503–54249–2." Renaissance Quarterly 66, no. 3 (2013): 1057–59. http://dx.doi.org/10.1086/673654.
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RUMBOLD, IAN. "Eric Jas, Piety and Polyphony in Sixteenth-Century Holland: The Choirbooks of St Peter's Church, Leiden, Studies in Medieval and Renaissance Music 18. Woodbridge: Boydell Press, 2018. xvi + 416 pp. £60. ISBN 978 1 78327 326 3." Plainsong and Medieval Music 29, no. 1 (April 2020): 89–92. http://dx.doi.org/10.1017/s0961137120000029.
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Ting, Liu. "Aesthetic principles of interpretation of early arias in the vocalist’s concert repertoire: air de cour." Aspects of Historical Musicology 27, no. 27 (December 27, 2022): 73–96. http://dx.doi.org/10.34064/khnum2-27.05.
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Statement of the problem. Nowadays, there has been a high demand for historically informed performance, including in the educational process. However, a young performer often faces not only technical problems, but also a lack of understanding of the performance style. So, the relevance of the topic of the article is caused by urgent needs of modern concert and stage practice related to historically oriented performance as well as by the task of modern music education to introduce the Baroque styles into the educational process of vocal performers. The article offers the experience of musicological reception of the early aria genre using the example of the French “air de cour” as the personification of European Baroque aesthetics. The genre, which is little known to both Ukrainian and Chinese vocalists, is considered from the standpoint of a cognitive approach, which involves a combination of practical singing technology with the understanding of the aesthetic guidelines of the baroque vocal style as an original phenomenon. One of the manifestations of it is the “sung dance” (singing in ballet) as the embodiment of artistic synthesis rooted in the musical and theatrical practice of France during the time of Louis XIV with its luxurious court performances, a bright component of which were “airs de cour”. To reveal the chosen topic it was necessary to study scientific literature in such areas as the issues of performing early vocal music (Boiarenko, 2015), the history and modernity of vocal art (Shuliar, 2014; Hnyd, 1997; Landru-Chandès, 2017); peculiarities of the air de cour genre, which are highlighted with varying degrees of detailing in different perspectives in the works of European and American scholars: 1) in publications on the synthetic opera and ballet genres in the time and at the court of Louis XIV, in particular ballet-de-cour (Needham, 1997; Christout, 1998; Verchaly, 1957; Harris-Warwick, 1992; Cowart, 2008); 2) special studies (Durosoir, 1991; Khattabi, 2013; Brooks, 2001); 3) monographs on Baroque music (Bukofzer, 1947); 4) reference articles by authoritative musicologists (Baron, 2001, the editors of Encyclopaedia Britannica and others). A study that would focus on the aesthetic principles of the modern vocal interpretation of air de cour as a sample of the early aria genre has not been found. Research results. Air de cour, the origins of which are connected with the secular urban song (voix-de-ville) in arrangements for voice and lute and lute transcriptions of polyphonic vocal works of the Renaissance, was popular in France, and later, in Europe at the end of the 16th and 17th centuries. As part of the popular synthetic theatrical spectacle – ballet-de-cour, which combined dance, music, poetry, visual and acting arts and flourished at the court of Louis XIV as an active means of sacralizing the king’s person, “air de cour” even in its name (which gradually replaced “voix-de-villes”) alludes to the social transformations of the French Baroque era with its courtly preferences. With the transition to an aristocratic environment, the link of the genre with its folk roots (squareness, metricity, melodic unpretentiousness) weakens, giving way to the refined declamation style of musique mesurée; the strophic repetitions of the melody with a new text are decorated by the singers with unique ornamentation (broderies), which is significantly different from the Italian. The poetic word and music complement the art of dance since air de cour has also adapted to ballet numbers, providing great opportunities for various forms of interaction between singing and dancing and interpretation on the basis of versioning – the variable technique of combinations, which were constantly updated. Vocal numbers in ballets were used to create various musical imagery characteristics. When choosing singers, the author of the music had to rely on such criteria as the range and timbre of the voice. As leaders, the creators of airs de cour used high voices. This is explained by the secular direction of the genre, its gradual separation from the polyphonic traditions of the past era: the highest voice in the polyphony, superius, is clearly distinguished as the leading one in order to convey the meaning of the poetic declamation, to clearly hear the words, turning the polyphonic texture into a predominantly chordal one with the soprano as the leading voice. Hence, the modern performing reproduction of air de cour, as well as the early aria in general, requires a certain orientation in the characteristics of the expressive possibilities of this particular singing voice; for this purpose, the article provides a corresponding classification of sopranos. So, despite the small vocal range and the external simplicity of the air de cour form, the vocalist faces difficult tasks, from deep penetration into the content of the poetic text and reproduction of the free declamatory performance style to virtuoso mastery of the technique of ornamental singing and a special “instrumental” singing manner inherited from Renaissance polyphonic “equality” of vocal and instrumental voices. Conclusions. What are the aesthetic principles of vocal music of the European Baroque period that a vocalist should take into account when performing it? First of all, it is an organic synthesis of music, poetry and choreography. The connection of singing with dance plasticity is inherent in many early vocal works. Hence the requirement not only to pay attention to the culture ofrecitation, pronunciation of a poetic text, understanding of key words-images, which precedes any performance interpretation of a vocal work, but also to study the aesthetic influences of various arts inherent in this or that work of Baroque culture. Air de cour differs from the German church or Italian opera aria as other national manifestations of the psychotype of a European person precisely in its dance and movement plasticity. Therefore, the genre of the early aria requires the modern interpreter to understand the socio-historical and aesthetic conditions of its origin and existence and to rely on the systemic unity (polymodality) of vocal stylistics. The prospect of research. There are plenty of types of vocal and dance plasticity in early arias; among them, rhythmic formulas and dance patterns of sicilianas, pavanes, and tarantellas prevail; movement rhythm (passacaglia). And they received further rapid development in the romantic opera of the 19th century. This material constitutes a separate “niche” and is an artistic phenomenon that is practically unstudied in terms of historical and stylistic integrity, continuity in various national cultures, and relevance for modern music and theatre art.
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Veldhorst, Natascha. "PHARMACY FOR THE BODY AND SOUL: DUTCH SONGBOOKS IN THE SEVENTEENTH CENTURY." Early Music History 27 (October 2008): 217–86. http://dx.doi.org/10.1017/s0261127908000326.
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Mention sixteenth- and seventeenth-century Dutch vocal music and the knowledgeable music lover usually thinks immediately of the brilliant polyphonic creations of famous Flemish masters like Josquin des Prez, Adrian Willaert and Orlande de Lassus. And they did indeed write compositions that still appeal to the imagination. Take Josquin’s polyphonic, chirping El Grillo, a relatively simple but effective piece that can entice even the most a-musical twenty-first-century student into the world of the Renaissance. Those familiar with the Baroque will recall Jan Pietersz Sweelinck, the organist of the Oude Kerk in Amsterdam and a composer of bewitching instrumental and vocal music, including his four books of polyphonic Pseaumes de David (1604–21) to the texts of Clément Marot and Theodore Bèze, which are still being performed regularly. Perhaps, too, the French, Latin and Italian arias by Constantijn Huygens from his Pathodia sacra et profana (1647). But it is then that the singing seems to stop in the Low Countries. The names of the composers, at least, are barely known beyond our borders.
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Cave, Terence. "Polygraphie et polyphonie : écritures plurielles, de la Renaissance à l'époque classique." Littératures classiques 49, no. 1 (2003): 385–400. http://dx.doi.org/10.3406/licla.2003.1968.
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Kirkman, Andrew. "The Invention of the Cyclic Mass." Journal of the American Musicological Society 54, no. 1 (2001): 1–47. http://dx.doi.org/10.1525/jams.2001.54.1.1.
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Abstract This article explores the origins of the notion of the polyphonic mass as an epoch-making early embodiment of the principle of musical unity and as the quintessence of the Renaissance “masterwork.” Finding no evidence for this status in the fifteenth and early sixteenth centuries, it uses surviving written materials to inquire how the mass might have been perceived by its original users. Taking this inquiry as its point of departure, the study details how the modern status of the mass evolved gradually in the course of the “rediscovery” of early music from the late eighteenth century to the early twentieth. That status arose in response to prevailing ideologies in Western European thought from the Enlightenment through Hegel, reaching its apogee (influenced by Hegel and Jacob Burckhardt) in the Geschichte der Musik of August Wilhelm Ambros. Ambros was the first music historian to place aesthetic value on music of the generation of Du Fay, and the first to broach the notion of a musical Renaissance. Although he did not actually propose a Renaissance beginning in the fifteenth century, he was construed to have done so by later writers. The subsequent location of the beginnings of a musical “Renaissance” in the early fifteenth century, and the association of the early “cyclic” mass with it, provided the linchpin in the creation of the level of prestige and historical importance enjoyed by the mass in modern music-historical writing.
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Medic, Milena. "From pain to pleasure: The troping of elegy in the renaissance Italian madrigal." Muzikologija, no. 22 (2017): 151–75. http://dx.doi.org/10.2298/muz1722151m.
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In the Renaissance period, melancholia emerged as a dramatic cultural phenomenon among the intellectual and artistic elites, with a locus in elegy it gave form to the Renaissance poetics of loss, pain and shedding of tears, expressing essentially the fantasy about death as a prerequisite for revival. The possibilities of confronting the threats of death were being found in its very nature whose inherent ambiguity was determined by the principles of Thanatos and Eros. The creative act of the troping of elegy proved to be an effective literary and musical strategy for the transcendence of death including the procedures of homeopathization, pastoralization, heroization and erotization of elegy. The elegiac tropic transcendence of death found its most complex expression in the madrigal which in turn added to its basic polyphonic procedure the opposing stylistic elements of the pastoral genres (canzonettas and villanellas) or heroic solo or choral recitations and it consequently acquired a hybrid form in the last decades of the 16th century, and thereby proved to be a cultural trope itself. The aim of this article is to examine the musical implications of the tropic strategies of facing death within Francesco Petrarch?s, Torquato Tasso?s, and Battista Gurini?s poetic models of the art of loving death, using the remarkable examples of the Italian madrigal practice of the late Renaissance.
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Cuenca Rodríguez, María Elena. "A Spanish composite Rex Virginum Mass and the Beata Virgine Maria Mass tradition in Europe." Early Music 47, no. 3 (August 2019): 291–305. http://dx.doi.org/10.1093/em/caz047.
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Abstract Concepts of ‘centre’ and ‘periphery’ in Renaissance music studies have sometimes been the cause of oversights concerning points of contact and cultural exchange between the musical ‘mainstream’—represented by the northern European and Italian circles—and the Spanish kingdoms. Musicians from the Iberian Peninsula—among them, Francisco de Peñalosa—were well aware of musical developments in the Franco-Netherlandish polyphonic tradition, and incorporated some of these into their Mass composition throughout the 16th century. This article presents a case study of the Rex Virginum composite Mass, with sections by Pedro de Escobar, Francisco de Peñalosa, Pedro Hernández [de Castilleja] and Alonso Pérez de Alba. This Mass is directly connected with the popularity of votive Beata Virgine Maria Masses composed by Franco-Netherlandish and later Spanish composers. In order to shed more light on the significance of this work, the different musical styles of each composer involved in its creation are examined, and the Mass compared with other Beata Virgine Maria models. Through this analysis, the distinct musical contribution of this Mass in the context of European Renaissance music, and its influence on later generations of Spanish composers—especially Francisco Guerrero—are examined.
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N. Moll, Kevin. "Streaming Music into Renaissance Studies: The Case of L’homme armé." Explorations in Renaissance Culture 43, no. 2 (December 9, 2017): 109–39. http://dx.doi.org/10.1163/23526963-04302001.
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College-level courses devoted to Renaissance culture typically put a premium on incorporating primary sources and artifacts of a literary, art-historical, and historical nature. Yet the monuments of contemporaneous music continue to be marginalized as instructional resources, even though they are fully as worthy both from an aesthetic and from a historical standpoint. This study attempts to address that problem by invoking the tradition of early polyphonic masses on L’homme armé – a secular tune used as a unifying melody (cantus firmus) throughout settings of the five-movement liturgical cycle. Beginning by explaining the origins and significance of the putative monophonic tune, the paper then details how a series of composers utilized the song in interestingly varied ways in various mass settings. Subsequently it sketches out a context for mysticism in the liturgical-musical tradition of L’homme armé, and points to some compelling parallels with the contemporaneous art of panel painting, specifically as represented in the works of Rogier van der Weyden.
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Grebneva, I. "”The image” of the violin in the creative work of A. Corelli (on the example of the concerto grosso genre)." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 49, no. 49 (September 15, 2018): 115–27. http://dx.doi.org/10.34064/khnum2-49.08.
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Statement of the problem. The violin style of A. Corelli, a composer-violinist who laid the foundation for the development of the violin art in Europe, represents a special “image of the instrument” that entered the professional-academic arena during the Baroque era. The research of A. Corelli’s violin style belongs to the field of organology, which is dedicated to the integrated study of instruments as the “organs” of musicians’ thinking. The close relationship, connection of the individual who is playing music with his/her instrument is not only one of the little developed theoretical problems, but also the basis of the practice for performing music, as well as learning this art. Analysis of recent publications on the topic. The available sources on the creative work of A. Corelli (written by K. Kuznetsov, I. Yampolsky, L. Ginzburg, N. Harnoncourt) contain either general information or individual observations on the image of the violin in the Baroque era. It is necessary to point out the significance of the general theory of the violin style (E. Nazaikinsky, V. Medushevsky, V. Kholopova, Y. Bentya) for the development of scientific ideas about the "image of the violin". The purpose of the article is to identify the special features of the “image” of the violin in the style of A. Corelli on the material of Concerti grossi op.6. The presentation of the main material. At the time of the creation of Concerts op.6 by A. Corelli, in Italy there was a violin school, which was distinguished by an exceptional variety of playing techniques. It was here that the historical process of replacing the viol with the violin was finally completed. The violin becomes the leading instrument in the instrumental genres of the 17th century music – suite, trio-sonata, solo sonata, and by the end of the century – concerto grosso. The path of movement to A. Corelli’s universal, generalized-reduced violin style ran along the line “ensemble feature – concert feature – solo feature”. The creation of the academic style of the violin playing logic is the merit of the Bologna school. The main thrust of the violin style of Bologna masters (Torelli, Antonia, Bassani, Vitali, and later Corelli and Vivaldi) is the combination of “church” and “chamber” models of the violin playing. For instrumental sound in an ensemble or orchestra, a “canon” and certain limitations in the technique of the playing are necessary, allowing establishing the balance of the parts of instruments and instrumental groups. The “invention” (inventio) in the violin playing, characteristic of the Italian school of the first half of the 17th century, was aimed at identifying the whole complex of the possible techniques of playing this instrument. The violin plating logic in Concertі grossi by A. Corelli is subordinated to the combination of two artistic and aesthetic tasks arising from two styles of concert making – the “church” one and the “chamber” one. Hence the choice of the appropriate techniques for playing. The “church” style, despite its democratization inherent in the Italian violin school, acquired the functions of a public concert for a mass audience and was distinguished by greater severity and regulation of the complex of the violin playing techniques. This stemmed from the genre style (“concert in the church”), where polyphonic presentation prevailed in the fast parts, the “tempo” names of the parts were used, and the organ in the numbered bass part was used. The “chamber” style opened up wider possibilities for the violin and the creation of an expressive technical complex associated with the genre (“dance” parts), replacing the organ in basso continuo with the harpsichord (cembalo), other stringed and plucked instruments (lute, theorbo), low string-and-bow instruments (gamba, cello, double bass), which gave a mono-articulate character to the general sounding. Playing shades of "lively speech" on the violin is a characteristic feature of A. Corelli’s violin style, reflected in the instrumental-playing complex through phrasing, attention to details and to micro-intonation. Conclusions. In describing the historical and artistic situation, in the context of which the style of the “great citizen of Bologna” was formed, its innovations have been outlined. The signs of the turning epoch have been indicated – they are the transition from the Renaissance polyphony and the “church” style to the secular homophony, with the instruments of the violin family singled out as the main ones. The particular attention has been paid to the principles of the violin intonation in the form of a speech playing (sprechendes Spiel) and dance motor skills, which together formed the semantics of A. Corelli’s violin style in the genres of concerto grosso, trio sonatas, solo sonata with bass. The main features of A. Corelli’s violin style, which became determinant for compositional decisions in the field of thematic, texture, and harmony, have been revealed.
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Grebneva, I. "”The image” of the violin in the creative work of A. Corelli (on the example of the concerto grosso genre)." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 49, no. 49 (September 15, 2018): 115–27. http://dx.doi.org/10.34064/khnum1-49.08.
Full textAbstract:
Statement of the problem. The violin style of A. Corelli, a composer-violinist who laid the foundation for the development of the violin art in Europe, represents a special “image of the instrument” that entered the professional-academic arena during the Baroque era. The research of A. Corelli’s violin style belongs to the field of organology, which is dedicated to the integrated study of instruments as the “organs” of musicians’ thinking. The close relationship, connection of the individual who is playing music with his/her instrument is not only one of the little developed theoretical problems, but also the basis of the practice for performing music, as well as learning this art. Analysis of recent publications on the topic. The available sources on the creative work of A. Corelli (written by K. Kuznetsov, I. Yampolsky, L. Ginzburg, N. Harnoncourt) contain either general information or individual observations on the image of the violin in the Baroque era. It is necessary to point out the significance of the general theory of the violin style (E. Nazaikinsky, V. Medushevsky, V. Kholopova, Y. Bentya) for the development of scientific ideas about the "image of the violin". The purpose of the article is to identify the special features of the “image” of the violin in the style of A. Corelli on the material of Concerti grossi op.6. The presentation of the main material. At the time of the creation of Concerts op.6 by A. Corelli, in Italy there was a violin school, which was distinguished by an exceptional variety of playing techniques. It was here that the historical process of replacing the viol with the violin was finally completed. The violin becomes the leading instrument in the instrumental genres of the 17th century music – suite, trio-sonata, solo sonata, and by the end of the century – concerto grosso. The path of movement to A. Corelli’s universal, generalized-reduced violin style ran along the line “ensemble feature – concert feature – solo feature”. The creation of the academic style of the violin playing logic is the merit of the Bologna school. The main thrust of the violin style of Bologna masters (Torelli, Antonia, Bassani, Vitali, and later Corelli and Vivaldi) is the combination of “church” and “chamber” models of the violin playing. For instrumental sound in an ensemble or orchestra, a “canon” and certain limitations in the technique of the playing are necessary, allowing establishing the balance of the parts of instruments and instrumental groups. The “invention” (inventio) in the violin playing, characteristic of the Italian school of the first half of the 17th century, was aimed at identifying the whole complex of the possible techniques of playing this instrument. The violin plating logic in Concertі grossi by A. Corelli is subordinated to the combination of two artistic and aesthetic tasks arising from two styles of concert making – the “church” one and the “chamber” one. Hence the choice of the appropriate techniques for playing. The “church” style, despite its democratization inherent in the Italian violin school, acquired the functions of a public concert for a mass audience and was distinguished by greater severity and regulation of the complex of the violin playing techniques. This stemmed from the genre style (“concert in the church”), where polyphonic presentation prevailed in the fast parts, the “tempo” names of the parts were used, and the organ in the numbered bass part was used. The “chamber” style opened up wider possibilities for the violin and the creation of an expressive technical complex associated with the genre (“dance” parts), replacing the organ in basso continuo with the harpsichord (cembalo), other stringed and plucked instruments (lute, theorbo), low string-and-bow instruments (gamba, cello, double bass), which gave a mono-articulate character to the general sounding. Playing shades of "lively speech" on the violin is a characteristic feature of A. Corelli’s violin style, reflected in the instrumental-playing complex through phrasing, attention to details and to micro-intonation. Conclusions. In describing the historical and artistic situation, in the context of which the style of the “great citizen of Bologna” was formed, its innovations have been outlined. The signs of the turning epoch have been indicated – they are the transition from the Renaissance polyphony and the “church” style to the secular homophony, with the instruments of the violin family singled out as the main ones. The particular attention has been paid to the principles of the violin intonation in the form of a speech playing (sprechendes Spiel) and dance motor skills, which together formed the semantics of A. Corelli’s violin style in the genres of concerto grosso, trio sonatas, solo sonata with bass. The main features of A. Corelli’s violin style, which became determinant for compositional decisions in the field of thematic, texture, and harmony, have been revealed.
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Babunych, Ulia. "Historical background, philosophical and aesthetic platform and ideological principles of Ukrainian modernism." Bulletin of Lviv National Academy of Arts, no. 39 (2019): 38–52. http://dx.doi.org/10.37131/22524-0943-2019-39-03.
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Ukrainian culture from the second half of the nineteenth century. developed with such main features - the transformation of a purely cultural movement into a national liberation movement, the formation of similar features in the cultural-process processes with the European laws. At the end of the nineteenth century. associates of Ukrainian culture, the main task of their position is the solution of a number of political and socio-economic issues. The process of national-cultural revival has gained strength since the 1880's in both parts of Ukraine and at the beginning of the 20th century. already yields concrete results. In Lviv there are active centers of cultural development. Similar processes have been taking place in the other part of Ukraine, activated by the idea of the revival of the Ukrainian national style. At this time, the intellectuals are much more cohesive, trying spiritually and politically self-determination. These moments were extremely important, for at that time, eastern and western parts of Ukraine, notwithstanding certain ideological points of contact, were not only politically delineated, but also mentally, culturally and spiritually. In Ukraine, the end of the nineteenth and early twentieth centuries. is characterized by changes in the cultural situation, which are marked by modern (modern) influences from the European West in the field of culture, philosophy, and creativity. The national renaissance acquires a qualitatively new meaning, characterized by the creation of distinctive national forms in all branches of artistic culture. For Ukrainian modernism, the inherent dependence on the geocultural features, the attachment of its representatives to their environment. At the same time, we observe differences in the genre specificity of modernism in the western and eastern Ukrainian territories, due to the influence of Russian or European art. The geographical location of Ukraine between the two parts of the world - Europe and Asia - led to the creation of a unique version of modernism in our territories (tied to national origins, folk folk sources, historical cultural heritage). Stylistic inspirations from different sources flocked to Ukraine, creating polyphony of its modernist art. The contradictory nature of the transitional period has been reflected in the formation of ideological settings of the art of the first third of the twentieth century. Modernism in Ukraine is characterized by an organic combination of the latest philosophical and aesthetic theories and traditional features of local culture. Philosophy played an important role in shaping the foundations of the "new" art and its artistic practice, giving an alternative way for a better understanding of it in the context of the metamorphosis of social consciousness. At the end of the XIX - in the first third of the twentieth century. especially the theories of intuitionism, existentialism, irrationalism, and so on. The theoretical works of Ukrainian artists of the first third of the 20th century, often with a philosophical and aesthetic basis, serve as a significant contribution in the context of the formation of not only a national version of modernism, but also a pan-European one. As a basis for artistic creation, modernists choose a symbolic-allegorical beginning, often serving as both generally accepted and purely national archetypes. If we sum up the process of national-cultural revival in Ukraine in the late nineteenth and early twentieth centuries, it should be noted that the national movement stimulated the political, social, economic, cultural, and scientific progress of society. Among the values of the intelligentsia was chosen intelligence of Western ideas, including ideas of modern Western philosophy and culture. Worldview principles of modernism in Ukrainian art include interpretation of the historical national and world creative heritage, the use of symbols and archetypes, mythology of creativity, rethinking the achievements of folk art and folklore traditions. Such directions of search determine the conceptual content of the Ukrainian art of this period and the main ideas of creativity of representatives of modernism.
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Štefancová, Dagmar. "The Cantional of Ondřej Kopydlanský of Sedlčany in a New Context." Musicalia 14, no. 1-2 (2022): 56–95. http://dx.doi.org/10.37520/muscz.2022.002.
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The cantional of Ondřej Kopydlanský of Sedlčany (NM-ČMH AZ 34) is one of the polyphonic artefacts of Czech Renaissance music with a complete set of the vocal parts. The study of archival materials, comparisons with similar cantionals, and discoveries made during the source’s restoring in 2007 have led to new conclusions with a revision of the source’s dating and new information about the circumstances of its creation. The manuscript probably dates from the 1610s from a small town in central Bohemia. It preserved not only period arrangements of sacred songs, but also the practical use of older repertoire in an interesting manner. This gives us a clearer picture of Ondřej Kopydlanský’s standing as a cantor and scribe associated with the activities of Sedlčany’s confraternity of literati and as the “editor” of the cantional.
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Schmidt-Beste, Thomas. "Private or Institutional—Small or Big? Towards a Typology of Polyphonic Sources of Renaissance Music." Journal of the Alamire Foundation 1, no. 1 (January 2009): 13–26. http://dx.doi.org/10.1484/j.jaf.1.100437.
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Terrio, Robert. "Renaissance Masses, 1440-1520: An Online Repertorium of Polyphonic Masses Composed in Europe in 1440-1520 (review)." Notes 62, no. 4 (2006): 1026–27. http://dx.doi.org/10.1353/not.2006.0077.
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Hulková, Marta. "Polyphonic church music in the territory of present-day Slovakia in the Renaissance and early Baroque period." Musicologica Olomucensia 34, no. 1 (December 14, 2022): 120–45. http://dx.doi.org/10.5507/mo.2022.005.
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