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Artículos de revistas sobre el tema "Contrafacten"

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Autor: Grafiati
Publicado: 26 de julio de 2024
Última modificación: 26 de julio de 2024

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1

Quinlan, Meghan. "Can melodies be signs? Contrafacture and representation in two trouvère songs". Early Music 48, n.º 1 (febrero de 2020): 13–27. http://dx.doi.org/10.1093/em/caz094.

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Abstract The trouvère repertory contains over a hundred groups of contrafacta with a variety of parodic, satirical and devotional functions. This article discusses how certain cases of contrafacture can reshape the ways in which we imagine text–music relations. Through two cases—a serventois protesting the policies of King Louis IX of France, modelled on a song by Blondel de Nesle, and a contrafact of a song by the Chastelain de Coucy that comments on its own contrafaction—I argue not only for a medieval interest in melody’s representative potential, but also that this kind of representation was generated in a process similar to that of language—through repeated use in various contexts. Drawing briefly on semiotics, I suggest that these two melodies become ‘signs’ in that they represent or stand in for something else.
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2

Planagumà-Clarà, Laura. "Cantar “al tono de”: estudio y recreación musical de contrafacta (ca. 1700-ca. 1830)". Cuadernos de Música Iberoamericana 34 (17 de septiembre de 2021): 353–92. http://dx.doi.org/10.5209/cmib.74680.

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En este artículo analizamos contrafacta del siglo XVIII y primeras décadas del XIX presentes en cancioneros manuscritos catalanes con el propósito de ofrecer una recreación musical de estos textos de los que no conservamos la música escrita y comprender de qué manera se desarrollaba la técnica del contrafactum en este repertorio. Para ello, hemos seleccionado un corpus de cancioneros que contienen contrafacta y hemos estudiado en profundidad cinco de los tonos más utilizados: Marizápalos, Fantasmas, Amable, Estopa y Baviera. Además de estudiar de qué escenarios musicales proceden estos tonos que acabaron popularizándose, hemos localizado sus melodías. Finalmente, un análisis métrico de los textos y un análisis formal de las melodías nos han permitido analizar la relación músico-textual en cada tono y ofrecer propuestas de correspondencia.
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3

Wulstan, David. "Contrafaction". Musical Times 134, n.º 1801 (marzo de 1993): 121. http://dx.doi.org/10.2307/1193852.

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HARTMAN, CHARLES O. "CONTRAFACTUM." Yale Review 95, n.º 4 (octubre de 2007): 21–38. http://dx.doi.org/10.1111/j.1467-9736.2007.00330.x.

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5

Παπαδόπουλος, Ιορδάνης. "Contrafactio". Επιστήμη και Κοινωνία: Επιθεώρηση Πολιτικής και Ηθικής Θεωρίας 20 (10 de agosto de 2015): 263. http://dx.doi.org/10.12681/sas.528.

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6

Milsom, John. "Caustun's Contrafacta". Journal of the Royal Musical Association 132, n.º 1 (2007): 1–31. http://dx.doi.org/10.1093/jrma/fkl015.

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The received view of the Tudor composer Thomas Caustun is of a minor and relatively uninteresting figure. That view is adjusted, however, by the discovery among his works of contrafacta of music by Nicolas Gombert, Philippe van Wilder, Rogier Pathie and Sebastiano Festa. This article considers the reasons why Caustun made these adaptations, and why they they were published under his name, rather than those of their true composers, in John Day's anthology of Protestant church music, Mornyng and Evenyng Prayer and Communion (London, 1565).
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7

PUTS, F. "Een geestelijk contrafact". Spiegel der Letteren 34, n.º 2 (1 de mayo de 1992): 159–68. http://dx.doi.org/10.2143/sdl.34.2.2005599.

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8

Chizzali, Michael. "Die frühneuzeitliche Kontrafaktur und ihre geschichtswissenschaftlichen Potenziale". Artes 2, n.º 2 (18 de septiembre de 2023): 253–76. http://dx.doi.org/10.30965/27727629-20230011.

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Abstract Recently, there has been a marked increase in the interest in contrafacta among scholars in terms of sources, contexts, and technique, as well as in regard to systematic and terminological approaches. Focusing on the collections of contrafacta published in the second half of the 16th century by Georg Baumann the Elder in Erfurt, the article investigates the relevance underlaying music with new texts can have for historiography. Considering the importance of Italian secular repertory for Baumann’s prints with contrafacta on the one hand, and the wide range of re-texting strategies which – as the contributions of the Lutheran theologian and neo-Latin poet Ludwig Helmbold show – could exceed the pragmatic and pattern-oriented production of contrafacta on the other, the idea and meaning of two concepts prominent in Early Modern History are re-evaluated: Humanism and model-based thinking (the latter, not surprisingly, associated with Fernand Braudel’s famed modèle italien).
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9

Pujol i Coll, Josep. "Ressonàncies musicals en l’obra de Fontanella". SCRIPTA. Revista Internacional de Literatura i Cultura Medieval i Moderna 11, n.º 11 (11 de junio de 2018): 170. http://dx.doi.org/10.7203/scripta.11.12591.

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Resum: En referència a la poesia de Francesc Fontanella, l’article assenyala primerament la presència del compositor Joan Cererols com a poeta en català al seu Vexamen, una dada que ha passat inadvertida en els cercles musicològics. Seguidament fa un recompte de les poesies de Fontanella amb vincles musicals, sobretot amb els vilancets. Per últim, recupera algunes melodies que, com a contrafacta, encaixen amb les seves lletres per a cantar. Paraules clau: Francesc Fontanella, segle XVII, música, cançoners, contrafacta. Abstract: Referring to the Francesc Fontanella’s poetry, the article first notes the presence of the composer Joan Cererols as a poet in Catalan at his Vexamen, a fact that has gone unnoticed in musicological circles. Then it links the poetry of Fontanella with musical genres, especially with the villancicos. Finally, it retrieves some melodies that, as contrafacta, fit with his lyrics to sing them. Keywords: Francesc Fontanella, 17th century, music, songbooks, contrafacta.
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10

Leaver, R. A. "Richard Freedman, Lassus contrafacta". Early Music XXX, n.º 1 (1 de febrero de 2002): 128–29. http://dx.doi.org/10.1093/em/xxx.1.128.

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11

Rose, Stephen. "PATRIOTIC PURIFICATION: CLEANSING ITALIAN SECULAR VOCAL MUSIC IN THURINGIA, 1575–1600". Early Music History 35 (28 de septiembre de 2016): 203–60. http://dx.doi.org/10.1017/s0261127916000048.

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In German-speaking lands until the 1580s, Italian secular vocal music was mainly cultivated by a narrow elite of aristocrats and merchants who valued its exclusivity. Yet some German patriots – teachers, clergy and humanists – regarded such foreign imports as emasculating luxuries that would corrupt their national character. This article examines four collections of contrafacta of Italian villanellas and madrigals that were published in Erfurt and have been neglected by modern scholars: the Cantiones suavissimae (1576 and 1580), Primus liber suavissimas praestantissimorum nostrae aetatis artificum Italianorum cantilenas (1587) and Amorum filii Dei decades duae (1598). According to the prefatory material of these anthologies, their editors were motivated by a patriotic agenda of purifying Italian secular song and by a Lutheran belief in the intrinsic holiness of music. This article provides the first comprehensive identification of the originals of the contrafacta, showing that the latest Italian secular repertory travelled as speedily to Thuringian towns as to the better-known publishing centre of Nuremberg. The process of transformation in the contrafacta is discussed, including examples where church officials ruled that the change of text was insufficient to cleanse the tunes of their lascivious connotations.
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12

Planagumà-Calarà, Laura. "Ta, ta, ta, que los gallos no cantan: música i intertextualitat en contrafacta austriacistes durant la guerra de Successió". SCRIPTA. Revista Internacional de Literatura i Cultura Medieval i Moderna 21, n.º 21 (22 de junio de 2023): 55. http://dx.doi.org/10.7203/scripta.21.26452.

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La guerra de Successió va ser un conflicte bèl·lic però també propagandístic. Entre escriptura i oralitat, una de les formes de propagació més efectives de missatges polítics van ser els contrafacta, textos dissenyats per cantar-se amb melodies preexistents. Aquests circulaven en forma de fulls volanders o petits plecs, però en aquests objectes físics només s’hi reproduïen els textos; les tonades amb què es cantaven, àmpliament conegudes, no es copiaven sinó que només se n’indicava el nom amb expressions del tipus «al to de». Si bé en l’època aquests noms de tonades evocaven a tot un context sonor i conceptual, actualment n’hem perdut els referents. En aquest article estudiem set contrafacta que van circular entre 1705 i al voltant de 1706, període àlgid de la propaganda austriacista. Per una banda, estudiem els possibles processos intertextuals donats en aquests contrafacta, implícits per la seva pròpia naturalesa de producte resultant de la reutilització literària i musical. Per l’altra, afrontem la recreació musical d’aquests peces que havien estat pensades per ser cantades. Això ens permetrà obtenir un coneixement profund de cadascuna d’aquestes cançons, el que revela detalls dels mecanismes propagandístics adoptats pel bàndol austriacista del conflicte.
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13

Bahat. "LES CONTRAFACTA HEBREUX DES ROMANZAS JUDEO-ESPAGNOLES". Revista de Musicología 9, n.º 1 (1986): 141. http://dx.doi.org/10.2307/20795010.

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14

GOODMAN, GLENDA. "Transatlantic Contrafacta, Musical Formats, and the Creation of Political Culture in Revolutionary America". Journal of the Society for American Music 11, n.º 4 (20 de octubre de 2017): 392–419. http://dx.doi.org/10.1017/s1752196317000359.

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AbstractThis article investigates Revolutionary-era American political culture through contrafacta of the British anthem “God Save the King.” Before, during, and after the Revolution the tune was frequently set with new lyrics that addressed political topics. The formats through which the song circulated (it was disseminated widely in manuscript and print), shaped the meaning and reception of these various contrafacta. Tracking “God Save the King” through the eighteenth century reveals how the United States remained connected to Britain, even when the lyrics—and the goals of the Revolution—repudiated that bond. Song versions also provide a musical map of the fragmenting political landscape of the early Republic. Ultimately, the diversity of the formats and the song versions reveal the ambivalent relationship between postcolonial United States and Britain, as well as the diversity of political culture within the United States.
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15

Rector, Geoff. "Courtly Romance, the Vernacular Psalms, and Generic Contrafaction". Viator 45, n.º 2 (julio de 2014): 117–47. http://dx.doi.org/10.1484/j.viator.1.103915.

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16

Turner, Bruno. "Peñalosa's hymn O lux beata Trinitas—a contrafactum?" Early Music XXIII, n.º 3 (agosto de 1995): 485–86. http://dx.doi.org/10.1093/earlyj/xxiii.3.485.

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17

Castillo Cobos, Felicidad. "La simbología cristiana en la novela pastoril a lo divino: La clara Diana". Analecta Malacitana. Revista de la sección de Filología de la Facultad de Filosofía y Letras 43 (24 de diciembre de 2022): 175–212. http://dx.doi.org/10.24310/analecta.v43i.15942.

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El presente trabajo versa sobre el tratamiento de la simbología en La Clara Diana, contrafactum de la primera novela pastoril castellana Los siete libros de la Diana. Procedemos al análisis alegórico de los elementos pastoriles de los que Ponce se ayuda para entender el proceso catequético que el autor llevó a cabo.
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18

Parshall, Peter. "IMAGO CONTRAFACTA: IMAGES AND FACTS IN THE NORTHERN RENAISSANCE". Art History 16, n.º 4 (diciembre de 1993): 554–79. http://dx.doi.org/10.1111/j.1467-8365.1993.tb00546.x.

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19

Jonášová, Milada. "Contrafacta in Bohemian church music of the 18th century". Musicologica Brunensia 49, n.º 2 (2014): 107–26. http://dx.doi.org/10.5817/mb2014-2-8.

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20

Przybyszewska-Jarmińska, Barbara. "The Polish Contribution to Central European Musical Culture in the Seventeenth Century. The Case of Marcin Mielczewski". Musicological Annual 40, n.º 1-2 (17 de diciembre de 2021): 137–48. http://dx.doi.org/10.4312/mz.40.1-2.137-148.

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The seventeenth-century Commonwealth of Poland and Lithuania, embracing the lands of the Polish Crown (together with the territory of present-day Ukraine) and the Grand Duchy of Lithuania, belonged geographically to both Central and Eastern Europe. It was a multiethnic and multiconfessional state, in which the Latin and Greek cultures were mutually interactive. With regard to the musical culture of the royal court, however, itwas the close ties with Italy that were of the greatest significance. The Polish kings of the Vasa dynasty (above ali Zygmunt III and Władysław IV) maintained music chapels consisting to a considerable extent of Italian musicians, among whom were Luca Marenzio, Giulio Cesare Gabussi, Asprilio Pacelli, Giovanni Francesco Anerio and Tarquinio Merula. Thanks to the Polish patronage, they not only composed newworks, but also trained musicians of various nations belonging to the royal ensembles. Among the composers trained at the Polish court was the Italian Marco Scacchi (d. 1662), chapel-master to Władysław IV, the composer of operas staged in the royal theatre, and also a music theorist – the author of a classification of musical genres which was produced during Scacchi's dispute over music theory with the Gdansk organist Paul Siefert. This dispute contributed to the popularisation across Europe of the works of Scacchi and also of other musicians associated with the court of the Polish Vasas. Extant handwritten sources of Silesian provenance (belonging to the Emil Bohn collection, currently held in the Staatsbibliothek Preussischer Kulturbesitz in Berlin) testify the considerable interest in this region (now within the Polish borders, but in the seventeenth century constituting a dominion of the Empire) in the religious compositions of Marcin Mielczewski (d. 1651), musician to Władysław IV (until 1644) and subsequently, until his death, chapel-master to Karol Ferdinand Vasa, Bishop of Płock and Wrocław. Of Mielczewski's compositional output for the needs of the Roman Catholic Church, copyists from Lutheran circles in Wrocław chose primarily psalms that were universal to the Christian repertory, furnishing those works whose texts chimed with the doctrine of the Augsburg confession with more appropriate texts of German-language contrafacta. However, this method was not always successful in eliminating traces of Catholicism, which remained, for example, in the melodies of works based on pre-compositional material drawn by Mielczewski from Marian songs that were popular in Poland (e.g. the church concerto Audite gentes et exsultate, also preserved in a version with the text of a German-language contrafactum entitled Nun höret alle, based on the song O gloriosa Domina, which in the former Commonwealth was treated as a chivalrous hymn).
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21

De Azevedo Turboli, Carolina. "O corpo poético na obra de Ana Paula Tavares e de Ana Cristina César". Revista Mulemba 7, n.º 13 (30 de diciembre de 2015): 41–53. http://dx.doi.org/10.35520/mulemba.2015.v7n13a5035.

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Este artigo visa iluminar a poética de duas vozes femininas -- uma angolana, outra brasileira -- sob o prisma do corpo poético e sua contraface como corpo feminino. Desta forma, serão estudados os elementos que propiciam o ato de fala que transforma o poema em corpo, bem como as questões transversais à voz feminina na poesia e seus contextos sócio-históricos.
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22

Alexander, Gavin. "The Elizabethan Lyric as Contrafactum: Robert Sidney's ‘French Tune’ Identified". Music and Letters 84, n.º 3 (1 de agosto de 2003): 378–402. http://dx.doi.org/10.1093/ml/84.3.378.

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23

Santos, Fabiana Cabrera Silva y Sergio Marcus Nogueira Tavares. "Avaliação da/na educação superior: a contraface da qualidade". Educação & Linguagem 24, n.º 1 (18 de agosto de 2021): 305–19. http://dx.doi.org/10.15603/2176-1043/el.v24n1p305-319.

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Este artigo se propõe a refletir sobre a avaliação da educação superior que constrói novas semânticas e propõe novas relações para pensar sua qualidade, a partir das reformas da educação superior da década de 1990. Para tal, põe em debate os processos avaliativos engendrados nos discursos neoliberais emergentes pelos reformistas da educação. Evidencia-se que o debate sobre o tema precisa avançar para além do “quanto” (ênfase no quantitativo) e perseguir o “por quê”(ênfase no qualitativo), que apresenta novas narrativas e sugere práxis que enaltecem os processos e não apenas os resultados. Desta forma, o texto objetiva elucidar o potencial pedagógico e institucional da avaliação – interna e externa – no ensino superior quando compreendida como componente do ato educativo.
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24

McCarthy, Kerry. "'Brought to Speake English with the Rest': Byrd's Motet Contrafacta". Musical Times 148, n.º 1900 (1 de octubre de 2007): 51. http://dx.doi.org/10.2307/25434477.

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25

Waldman, Berta. "Faces e contrafaces: alguns aspectos da Obra de Amós Oz". Revista de Estudos Orientais, n.º 6 (2 de febrero de 2016): 263–75. http://dx.doi.org/10.11606/issn.2763-650x.i6p263-275.

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Este ensaio alinhava o cruzamento de aspectos políticos na obra literária de Amós Oz. Questões antes reprimidas pela geração de escritores vinculada à fundação do Estado de Israel vêm à tona na literatura de Oz. Meu intuito foi ressaltar o lugar de destaque que essa literatura dedica à presença e à voz do “outro.”
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26

Vatteroni, Sergio. "Le décasyllabe dans quelques contrafacta galégo-portugais de modèles occitans". Revue des langues romanes, Tome CXXII N°1 (1 de junio de 2018): 211–33. http://dx.doi.org/10.4000/rlr.628.

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27

Jeż, Tomasz. "Contrafacta of Operatic Arias among the Dominicans of Baroque Silesia". De musica disserenda 11, n.º 1-2 (junio de 2015): 147–62. http://dx.doi.org/10.3986/dmd11.1-2.09.

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28

Katheryn Lawson. "Girl Scout Contrafacta and Symbolic Soldiering in the Great War". American Music 35, n.º 3 (2017): 375. http://dx.doi.org/10.5406/americanmusic.35.3.0375.

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29

Ekaterina Alekseevna, Mylnikova. "Melodic contrafact as a significant component of composition in jazz music of the 1930–1960 years". Vestnik of Saint Petersburg State University of Culture, n.º 2 (55) (2023): 84–87. http://dx.doi.org/10.30725/2619-0303-2023-2-84-87.

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One of the most important components determining the level of professional competence of a modern musician specializing in jazz performance is the possession of the basic laws of improvisational art based on knowledge and understanding of the laws of traditional harmonic constructions and stylistic features of composition in jazz music of the 1930–1960. Understanding the historical context of the emergence of harmonic models in the sections of form, recognition and skillful use of stylistic elements of musical language, its means of expression, is an integral part of the professionalism of a qualified performer and teacher. The typology and systematization of the main types of harmonic schemes of jazz works of the midtwentieth century helps the optimal practical and theoretical development of technological principles and various creative methods aimed at the further development of the harmonic thinking of the performer. The object of this study is one of the most important methods of jazz composition of the 1930–1960 years – melodic contrafact.
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30

Hascher-Burger, Ulrike. "Music and Meditation: Songs in Johannes Mauburnus's Rosetum exercitiorum spiritualium". Church History and Religious Culture 88, n.º 3 (2008): 347–69. http://dx.doi.org/10.1163/187124108x426538.

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AbstractThe Rosetum exercitiorum spiritualium et sacrarum meditationum of Johannes Mauburnus is considered the most extensive and influential treatise on meditation in the circles of the late Devotio Moderna. It was printed in five editions from the late fifteenth to the early seventeenth century. Besides instructions for numerous meditations of varying length, this treatise contains seven religious songs which were intended to stir up the emotions and facilitate the correct disposition for meditation. These songs were created as contrafacts, meaning that the newly composed texts were sung to well-known melodies of liturgical hymns and religious songs. In song rubrics, Mauburnus gives precise instructions about their function as an aid to summoning the motivation for the great number of spiritual exercises that had to be accomplished by the adherents of the Devotio Moderna every day. A unique feature of the Rosetum is the combination of a concrete meditation with a corresponding written song. These songs have not yet been examined systematically. The texts were edited by Guido Maria Dreves in Analecta hymnica on the basis of the edition printed in Paris in 1510. The melodies have not yet been reconstructed. In this article, the seven contrafacts are studied for the first time from the point of view of their structure and function, and their melodies are reconstructed on the basis of liturgical sources associated with the Devotio Moderna.
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31

McIlvenna, Una. "The Power of Music: the Significance of Contrafactum in Execution Ballads". Past & Present 229, n.º 1 (28 de octubre de 2015): 47–89. http://dx.doi.org/10.1093/pastj/gtv032.

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32

Kruger, Daleen. "“Mein Gmut ist mir verwirret”: contrafactum-practice in the Liedboek van die Kerk (“Afrikaans Hymn book of the Church”)". Koers - Bulletin for Christian Scholarship 81, n.º 2 (31 de octubre de 2016): 61–79. http://dx.doi.org/10.19108/koers.81.2.2252.

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The contrafactum-practice which utilises secular melodies and/or texts as sources in the creation of sacred hymns, is an age-old tradition. This practice generated amongst others a few Protestant hymns (particularly in the German Reformed context), which are viewed today as important hymns in the hymn corpus. One example would be the hymn for lent, “Herzlich tut mich verlangen”. In several historic sources the use of secular melodies in church hymns is motivated: the fact that the melodies are already well-known amongst the congregation would make it easy to learn the new texts. Sources also confirm that this practice makes the songs more accessible for the youth. This article explores the development of selected hymns from the Liedboek van die Kerk (2001) (“Afrikaans Hymn book of the Church”) to determine their secular roots and describe how they developed into sacred hymns. It is pointed out that the utilisation of the melodies as settings for different sacred texts, illustrates their quality and flexibility and is instrumental in their acceptance as hymn tunes. It is also argued that historic distance between the secular source and the church hymn contributes to the weakening of the original secular association. The ongoing debate on the secular versus the sacred is also touched upon, and finally the renewed interest in contrafacta in the late 20th and early 21st century is discussed. Die kontrafaktuurpraktyk, waar sekulêre melodieë en/of tekste as bronne gebruik word in die skep van geestelike tekste en/of melodieë, kom al eeue lank in kerkliedere voor. Hierdie werkswyse het onder andere ʼn aantal Protestantse liedere opgelewer (veral in Duitse Reformatoriese verband), wat deesdae as groot liedere van die kerkliedskat geag word. Een voorbeeld is die lydenslied “Herzlich tut mich verlangen”. In verskeie historiese bronne word die gebruik van sekulêre melodieë by kerkliedtekste gemotiveer: die melodieë was reeds bekend en daarom kon die nuwe liedtekste makliker aangeleer word. Die toeganklikheid vir die jeug staan ook voorop. Hierdie artikel ondersoek enkele liedere in die Liedboek van die Kerk (2001) ten einde vas te stel wat die sekulêre wortels daarvan was. Voorts word aangetoon hoe die liedere as geestelike liedere ontwikkel het. Daar word verwys na die hergebruik van sekere melodieë by ʼn verskeidenheid tekste, wat dui op die aanpasbaarheid van die kontrafakmelodieë en die mate waarin dit inslag gevind het as kerkliedmelodieë. Verder word daar geredeneer dat historiese afstand tussen die sekulêre bron en die kontrafak daartoe bygedra het dat so ʼn lied sy sekulêre assosiasies mettertyd verloor het. In hierdie artikel kom die voortdurende debat waarin die geestelike teenoor die sekulêre musiek staan ten opsigte van gebruik in die erediens ook ter sprake. Die hernude belangstelling in en skepping van kontrafakte vanaf die laaste dekades van die 20ste eeu word ook ten slotte onder die soeklig geplaas.
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33

Pinto, David. "Pious Pleasures in Early Stuart London". Royal Musical Association Research Chronicle 41 (2008): 1–24. http://dx.doi.org/10.1080/14723808.2008.10541019.

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Christ Church, Oxford, Mus 739–43, 750–3 and 1074–7 are interconnected manuscript vocal partbooks of contrafacta from London of the 1620s that employ Puritan texts. The chief compiler was John Browne, Clerk of the Parliaments (1608–91) whose instrumental music has been much discussed. His family background gives clues for identifying another copyist in these sets as his guardian uncle, and for giving them a context in an era with little other documentation for musical family piety of radical sorts.
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34

Fasquel, Samuel. "Quevedo y las travesuras del mito". Lectura y Signo, n.º 5 (21 de noviembre de 2010): 129. http://dx.doi.org/10.18002/lys.v0i5.3542.

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La parodia de los diversos cauces de la lírica clásica y renacentista figura entre los procedimientos que produjeron los más granados frutos de la poesía burlesca. La coexistencia de las versiones graves y de sus contrafacta burlescos es ya de por sí significativa de la eficacia poética que se reconocía a unos grandes mitos cuyo sentido moral o alegórico se había procurado explicar. En el presente trabajo se estudia cómo el locutor burlesco quevediano se mofa de tales explicaciones y les sustituye una interpretación traviesa del mito
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35

Caldwell, Mary Channen. "Conductus, Sequence, Refrain". Journal of Musicology 39, n.º 2 (2022): 133–78. http://dx.doi.org/10.1525/jm.2022.39.2.133.

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Latin conducti do not typically come to mind when considering the medieval practice of French refrain citation; intertextual refrains were conventionally interpolated into French songs, narratives, and the upper voices of motets. Yet three conducti copied in late thirteenth-century northern French manuscripts intervene in this traditional narrative by engaging compositionally with French refrains: Veni sancte spiritus spes in GB-Lbl Egerton 274 (known as LoB or Trouvère F), and Marie preconio and Superne matris gaudia in F-Pn lat. 15131 (the St. Victor Miscellany). Previously identified as contrafacts of French refrain songs, Veni sancte spiritus spes shares its melody with a widely cited French refrain, while Marie preconio and Superne matris gaudia are rubricated with French refrains and scribal cues that suggest a musical relationship with French refrains. However, the poems of these conducti exhibit significant relationships not with French refrains but with homonymous and widely sung liturgical sequences. These conducti are not simply contrafacts but reflect a compositional negotiation between variously borrowed and new elements, resulting in Latin songs implicated within citational networks of liturgical chant and French refrains. Significantly, the repeated refrain serves in each song as the site for intertextual and intermusical processes, with borrowed material from French refrains and Latin sequences shaping the music and poetry of the new refrain-form conducti. Considered together, these conducti shed light on understudied Latin contexts for practices of multilingual intertextuality and intermusicality in late thirteenth-century France.
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36

Dobszay, László. "The responsory: Type and modulation". Studia Musicologica 49, n.º 1-2 (1 de marzo de 2008): 3–33. http://dx.doi.org/10.1556/smus.49.2008.1-2.1.

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The responsory — a genre originated in early period of Gregorian chant, but also increasing in number until the end of the Middle Ages — is expected as transmitted in a rather stable melodic shape. The paper lists and analyses, however, 27 items with more than one melody and with variants in a wide scope of modes. In addition, 15 tunes are listed that has been adapted as contrafacta (and not as a model-melody) to new texts. These latter include not only parts of saints’ offices but also items belonging to the temporale part of the office.
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37

CALDWELL, JOHN. "St Ethelbert, King and Martyr: his cult and office in the West of England". Plainsong and Medieval Music 10, n.º 1 (abril de 2001): 39–46. http://dx.doi.org/10.1017/s0961137101000043.

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The music for the Office of St Ethelbert, king and martyr, survives uniquely in the thirteenth-century Hereford Noted Breviary. While some of the chants are contrafacta, others appear to be unique to this office and even in some cases to be influenced by the content of their texts, which are based on the vita of the sainted king by Gerald of Wales. The form in which the office was performed depended on its position in relation to the Easter Cycle (the feast fell on 20 May), and this in turn raises issues for the editing of such offices in modern times.
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38

Davies, Drew Edward. "Arranging music for the liturgy: contrafacts and opera sources from New Spain". Early Music 47, n.º 2 (mayo de 2019): 147–60. http://dx.doi.org/10.1093/em/caz020.

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39

Skinner, David. "‘Deliuer me from my deceytful ennemies’: a Tallis contrafactum in time of war". Early Music 44, n.º 2 (mayo de 2016): 233–50. http://dx.doi.org/10.1093/em/caw044.

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40

Giron Sheridan, Luciana. "¿Contrafactum, parodia, arreglo? Caracterizando una tradición italiana desde sus manifestaciones en Córdoba, Argentina". Resonancias: Revista de investigación musical 28, n.º 54 (junio de 2024): 55–89. http://dx.doi.org/10.7764/res.2024.54.4.

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En el Domine ad adjuvandum me en Do mayor de Innocente Carcano, italiano radicado en Córdoba desde 1849-1850, el compositor agrega partes vocales a un texto musical preexistente que le brinda estructura y actúa como hilo conductor: la Sonatina para piano Op. 36 n°1 de Muzio Clementi. Las operaciones intertextuales que realiza Carcano no se enmarcan en los conceptos tratados por la principal bibliografía disponible, entre ellos el contrafactum, la parodia y la transformación aditiva. Sin embargo, esta técnica aparece en obras de Monteverdi, Corrette a partir de Vivaldi y un anónimo de Chiquitos desde Zipoli, de cuya descripción analítica comparativa emerge un núcleo de regularidades en el uso de música preexistente. En el presente artículo realizo un montaje analítico para sistematizar la técnica conectando obras provenientes de contextos de producción dispersos y busco un término adecuado para denominarla, para proponer la categoría analítica “parodia aditiva”. De esta manera el Domine de Carcano, un unicum perteneciente al Archivo Histórico Musical del Convento San Jorge de la Orden Franciscana de Córdoba, da cuenta de una práctica particularmente vinculada con la tradición de música religiosa italiana y sitúa esta práctica en relación con Córdoba.
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41

Vardi, Jonathan. "Music in the Dīwān of Samuel ha-Nagid". Medieval Encounters 29, n.º 4 (26 de junio de 2023): 358–90. http://dx.doi.org/10.1163/15700674-12340169.

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Abstract The dīwān (book of poems) of the eleventh-century polymath and Hebrew poet of Granada, Samuel ha-Nagid, contains unexpected musical aspects. This article reveals a formerly unknown comment by the poet’s son, which indicates that the shorter poems of the book were all set to music and performed in the poet’s court. The article discusses the implications of this discovery and its importance for understanding both ha-Nagid’s poetry and the musical practices of al-Andalus. Unique literary phenomena such as poem-cycles and “twin poems” that share similar structure are examined through their relations to the early Andalusian nawba (suite) and to the practice of composing contrafacta respectively.
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42

Brugnago, Naira Vicensi y André Augusto de Almeida Alves. "Preencher os vazios: sociedade e estrutura fundiária na constituição do espaço urbano de Cascavel - da "Encruzilhada" à década de 1960". Pós. Revista do Programa de Pós-Graduação em Arquitetura e Urbanismo da FAUUSP 24, n.º 43 (31 de agosto de 2017): 36. http://dx.doi.org/10.11606/issn.2317-2762.v24i43p36-55.

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Contraface daquelas que se tornam as metrópoles industriais do país, Cascavel, situada no oeste do estado do Paraná, é produto da modernização brasileira pós-1930. Partindo do debate sobre “vazios” territoriais e urbanos, o artigo retraça seu processo de ocupação e urbanização. Situa-o no entrecruzamento de episódios históricos, projetos políticos, dinâmicas econômicas, atuação de agentes públicos e privados; seu rebatimento na estrutura fundiária e na cidade, em uma sucessão de momentos e fatos que dialogam com a experiência local e nacional e revelam-se necessários ao entendimento deste processo que é o desenvolvimento do espaço.
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43

Dröse, Astrid. "Liedpoetik und soziale Praxis". Daphnis 49, n.º 1-2 (30 de marzo de 2021): 188–211. http://dx.doi.org/10.1163/18796583-12340009.

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Abstract This article is dedicated to the Leipzig Ovid translator and song poet Johann Georg Schoch. It focusses on Schoch’s major work Neu-erbaueter Poetischer Lust- u[nd] Blumen-Garten (1660). The article analyses the poetics and social references of this collection. The author argues that the bucolic, erotic, and sociable songs are linked by intertextual references to works by other Leipzig authors such as Paul Fleming and Gottfried Finckelthaus. Schoch’s contrafactum of an ode by his student friend David Schirmer (“Immer hin/ fahr immer hin”) shows that the songs function as a keepsake of remembrance and identify both authors as members of a local group. They also provide insights into the social practice of student sociability.
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44

Camurça, Marcelo, Joana Bahia y Camilla Fogaça Aguiar. "Relações interétnicas, luta contra intolerância religiosa e produção de candidaturas no campo político: eleições municipais de São Gonçalo (RJ) de 2020". Religião & Sociedade 41, n.º 3 (diciembre de 2021): 75–98. http://dx.doi.org/10.1590/0100-85872021v41n3cap03.

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Resumo: Este artigo analisa como o campo das religiões de matriz africana evoca o discurso racial como narrativa público-política em resposta a atos de intolerância religiosa, destacando o período das eleições municipais de 2020 na região de São Gonçalo (RJ). Como contraface desse processo, examinaremos também como o discurso racial é empregado pelos grupos evangélicos no dia a dia de suas igrejas, articulado com sua ação expansionista e missionária de forma geral e em São Gonçalo. Como suporte teórico para empreendermos a análise das relações entre racialidade, identidade e política, baseamo-nos no conceito de interseccionalidades, categoria que alude à multiplicidade de diferenciações.
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45

Sarpong, F. A. Sarpong. "The place of music in missions work in Ghana: with reference to the church of Pentecost". Pentecost Journal of Theology and Mission 3 (31 de diciembre de 2019): 101–11. http://dx.doi.org/10.62868/pjtm.v3i1.125.

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This article gives a brief narrative of the role that music has played and continues to play in the churches in Ghana with particular reference to the Church of Pentecost. It begins by acknowledging that the COP as an indigenous Ghanaian church sees music as an integral part of its missions in Ghana and beyond. It then examines the musical tradition of the churches in Ghana, and examines four models of musical types in Ghanaian churches, namely, Contrafactum, Eclectic, Creative Essays of Afro-Identity and Spontaneous types. The rest of the paper focuses on the Spontaneous Type of music as the Church of Pentecost’s preference in worship and in its missional activities. It concludes with a brief comment on the importance of the Psalms in church music.
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46

Butchart, David. "A VISION OF THE NEW JERUSALEM: THE TEXT OF STRIGGIO’S ECCE BEATAM LUCEM". Early Music History 41 (octubre de 2022): 143–80. http://dx.doi.org/10.1017/s0261127923000037.

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Striggio’s forty-part motet Ecce beatam lucem survives in a unique manuscript source, dated 1587, in the Ratsschulbibliothek in Zwickau. Its text, first published in 1595, formed part of a Pindaric ode written by the neo-Latin poet and Calvinist Paul Schede Melissus (1539–1602). A closer consideration of Melissus’ biography indicates that he probably wrote it after 1575, long after the wedding festivities with which the motet has habitually been associated (Florence, 1565; Munich, 1568). Its subject matter – a Calvinist vision of the New Jerusalem – also makes it an unlikely wedding text and inappropriate for Catholic festivities. Rather, it was probably used as the text of a contrafactum, for an as yet unidentified occasion, with which Striggio himself had little or no connection.
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47

Takao, Makoto Harris. "‘In their own way’: contrafactal practices in Japanese Christian communities during the 16th century". Early Music 47, n.º 2 (29 de abril de 2019): 183–98. http://dx.doi.org/10.1093/em/caz035.

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48

Park, Sara. "The Church Hymn Thine be the Glory and Study on the Use of Contrafactum". Bible & Theology 106 (25 de abril de 2023): 125–45. http://dx.doi.org/10.17156/bt.106.05.

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49

Caminhas, Lorena. "Face e contraface da violência de gênero: diálogos entre telenovelas e contexto nacional". Mana 24, n.º 3 (diciembre de 2018): 33–62. http://dx.doi.org/10.1590/1678-49442018v24n3p033.

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Resumo Embasado no argumento de que a violência é constitutiva das relações de gênero no Brasil (Saffioti 1994), o presente artigo retoma as estatísticas sobre agressões contra mulheres (demonstrando a persistente presença desse fenômeno) e a crescente importância da temática em telenovelas brasileiras dos últimos 18 anos para questionar quais imagens e imaginários acerca dessas violações circulam no cotidiano do país. Ao se construir a partir do diálogo entre conjuntura e representações do melodrama televisivo, este texto se associa a uma abordagem sociocultural da mídia de inspiração antropológica, desdobrando-se em uma reflexão que aponta marcos de inteligibilidade que definem quais mulheres podem (e em muitos casos devem) apanhar. A relativização e a naturalização de diversas formas de desrespeitos e injúrias encontram-se tanto no interior das narrativas ficcionais quanto no contexto nacional.
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50

Meyer, Christian, Orazio Vecchi y Ruth I. DeFord. "The Four-Voice Canzonettas. With Original Textes and Contrafacta by Valentin Haussmann and Others". Revue de musicologie 80, n.º 1 (1994): 150. http://dx.doi.org/10.2307/947318.

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