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Artykuły w czasopismach na temat "Contrafacten"
Quinlan, Meghan. "Can melodies be signs? Contrafacture and representation in two trouvère songs". Early Music 48, nr 1 (luty 2020): 13–27. http://dx.doi.org/10.1093/em/caz094.
Pełny tekst źródłaPlanagumà-Clarà, Laura. "Cantar “al tono de”: estudio y recreación musical de contrafacta (ca. 1700-ca. 1830)". Cuadernos de Música Iberoamericana 34 (17.09.2021): 353–92. http://dx.doi.org/10.5209/cmib.74680.
Pełny tekst źródłaWulstan, David. "Contrafaction". Musical Times 134, nr 1801 (marzec 1993): 121. http://dx.doi.org/10.2307/1193852.
Pełny tekst źródłaHARTMAN, CHARLES O. "CONTRAFACTUM." Yale Review 95, nr 4 (październik 2007): 21–38. http://dx.doi.org/10.1111/j.1467-9736.2007.00330.x.
Pełny tekst źródłaΠαπαδόπουλος, Ιορδάνης. "Contrafactio". Επιστήμη και Κοινωνία: Επιθεώρηση Πολιτικής και Ηθικής Θεωρίας 20 (10.08.2015): 263. http://dx.doi.org/10.12681/sas.528.
Pełny tekst źródłaMilsom, John. "Caustun's Contrafacta". Journal of the Royal Musical Association 132, nr 1 (2007): 1–31. http://dx.doi.org/10.1093/jrma/fkl015.
Pełny tekst źródłaPUTS, F. "Een geestelijk contrafact". Spiegel der Letteren 34, nr 2 (1.05.1992): 159–68. http://dx.doi.org/10.2143/sdl.34.2.2005599.
Pełny tekst źródłaChizzali, Michael. "Die frühneuzeitliche Kontrafaktur und ihre geschichtswissenschaftlichen Potenziale". Artes 2, nr 2 (18.09.2023): 253–76. http://dx.doi.org/10.30965/27727629-20230011.
Pełny tekst źródłaPujol i Coll, Josep. "Ressonàncies musicals en l’obra de Fontanella". SCRIPTA. Revista Internacional de Literatura i Cultura Medieval i Moderna 11, nr 11 (11.06.2018): 170. http://dx.doi.org/10.7203/scripta.11.12591.
Pełny tekst źródłaLeaver, R. A. "Richard Freedman, Lassus contrafacta". Early Music XXX, nr 1 (1.02.2002): 128–29. http://dx.doi.org/10.1093/em/xxx.1.128.
Pełny tekst źródłaRozprawy doktorskie na temat "Contrafacten"
Quinlan, Meghan. "Contextualising the contrafacta of trouvere song". Thesis, University of Oxford, 2017. https://ora.ox.ac.uk/objects/uuid:de48756e-ed5a-4ffd-8ce2-c44dcc31ab74.
Pełny tekst źródłaHoffmann, Rachel [UNESP]. "Faces e contrafaces da identidade portuguesa em Cardoso Pires". Universidade Estadual Paulista (UNESP), 2012. http://hdl.handle.net/11449/103700.
Pełny tekst źródłaCoordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
A heterogeneidade da obra de José Cardoso Pires, associada à mobilização de determinadas formas narrativas observada em sua obra, levou-nos a seleção de um corpus propositadamente diversificado: um falso guia turístico, Lisboa, livro de bordo: vozes, olhares, memorações (1997); uma “história infantil” às avessas, “Por cima de toda a folha” (1979); uma fábula subvertida, Dinossauro Excelentíssimo (1972); e um romance que não é exatamente um romance, Alexandra Alpha (1987). Acrescente-se que nessas formas narrativas já subvertidas ainda se podem distinguir outras manifestações, como é o caso de histórias em quadrinhos, sermões, parábolas, desenhos, etc, verificando-se uma composição multifacetada que se afasta das convenções e de formas arraigadas. Aliando essa variedade do ponto de vista da forma com a percepção aguçadamente crítica do autor diante da mitificação da história portuguesa, é nosso objetivo constatar que a identidade portuguesa é calcada em crenças, mitos e lendas desmascarados por Cardoso Pires por meio da transgressão a formas narrativas tradicionais e por meio de recursos como a ironia e a paródia, recursos de que se serve o autor para recuperar e, quase simultaneamente, subverter textos legitimadores que focalizam o ser luso, textos que exaltam a nação portuguesa e que tendem a fincar raízes e fixar estruturas esclerosadas, exigindo uma revisão constante
The heterogeneous nature of José Cardoso Pires’s work, associated with the mobilization of certain narrative forms, led us to select a purposely diverse corpus: a fake tour guide, Lisboa, livro de bordo: vozes, olhares, memorações (1997); a “children’s story” backwards, “Por cima de toda a folha” (1979); a subverted fable, Dinossauro Excelentíssimo (1972); and a novel that is not quite one, Alexandra Alpha (1987). In addition, in these already subverted narrative forms, other manifestations can still be distinguished, such as comic books, sermons, parables, drawings, etc., verifying a multifaceted composition that departs from traditional conventions and forms. Combining this narrative form variety and the author’s keenly critical perception in relation to the mystification of Portuguese history, our aim is to consider that the creation of a Portuguese identity, identity based in people beliefs, myths and legends, is unmasked by Cardoso Pires through the transgression of traditional narrative forms, using irony and parody. The author makes use of these resources to recover and almost simultaneously subvert texts that focus on being Luso, which exalt the Portuguese nation, and tend to form roots and fix ossified structures, requiring constant review
Hoffmann, Rachel. "Faces e contrafaces da identidade portuguesa em Cardoso Pires /". São José do Rio Preto : [s.n.], 2012. http://hdl.handle.net/11449/103700.
Pełny tekst źródłaBanca: Orlando Nunes de Amorim
Banca: Sérgio Vicente Motta
Banca: Márcia Valéria Zambonni Gobbi
Banca: Maria Lúcia Wiltshire de Oliveira
Resumo: A heterogeneidade da obra de José Cardoso Pires, associada à mobilização de determinadas formas narrativas observada em sua obra, levou-nos a seleção de um corpus propositadamente diversificado: um falso guia turístico, Lisboa, livro de bordo: vozes, olhares, memorações (1997); uma "história infantil" às avessas, "Por cima de toda a folha" (1979); uma fábula subvertida, Dinossauro Excelentíssimo (1972); e um romance que não é exatamente um romance, Alexandra Alpha (1987). Acrescente-se que nessas formas narrativas já subvertidas ainda se podem distinguir outras manifestações, como é o caso de histórias em quadrinhos, sermões, parábolas, desenhos, etc, verificando-se uma composição multifacetada que se afasta das convenções e de formas arraigadas. Aliando essa variedade do ponto de vista da forma com a percepção aguçadamente crítica do autor diante da mitificação da história portuguesa, é nosso objetivo constatar que a identidade portuguesa é calcada em crenças, mitos e lendas desmascarados por Cardoso Pires por meio da transgressão a formas narrativas tradicionais e por meio de recursos como a ironia e a paródia, recursos de que se serve o autor para recuperar e, quase simultaneamente, subverter textos legitimadores que focalizam o ser luso, textos que exaltam a nação portuguesa e que tendem a fincar raízes e fixar estruturas esclerosadas, exigindo uma revisão constante
Abstract: The heterogeneous nature of José Cardoso Pires's work, associated with the mobilization of certain narrative forms, led us to select a purposely diverse corpus: a fake tour guide, Lisboa, livro de bordo: vozes, olhares, memorações (1997); a "children's story" backwards, "Por cima de toda a folha" (1979); a subverted fable, Dinossauro Excelentíssimo (1972); and a novel that is not quite one, Alexandra Alpha (1987). In addition, in these already subverted narrative forms, other manifestations can still be distinguished, such as comic books, sermons, parables, drawings, etc., verifying a multifaceted composition that departs from traditional conventions and forms. Combining this narrative form variety and the author's keenly critical perception in relation to the mystification of Portuguese history, our aim is to consider that the creation of a Portuguese identity, identity based in people beliefs, myths and legends, is unmasked by Cardoso Pires through the transgression of traditional narrative forms, using irony and parody. The author makes use of these resources to recover and almost simultaneously subvert texts that focus on being Luso, which exalt the Portuguese nation, and tend to form roots and fix ossified structures, requiring constant review
Doutor
Mouchet-Chaumard, Florence. "Portée et fonction du "contrafactum" dans la lyrique occitane médiévale : l'exemple du "sirventes"". Bordeaux 3, 2001. http://www.theses.fr/2001BOR30044.
Pełny tekst źródłaLevenstein, Anna Shaari. "Songs for the First Hebrew Play Tsahut bedihuta dekidushin by Leone de’ Sommi (1527-1592)". Case Western Reserve University School of Graduate Studies / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=case1138299788.
Pełny tekst źródłaWong, Melia. "“The air seems to infatuate the ear”: Confederate Anthems, Union Battle Cries, and their Respective Contrafacta". Scholarship @ Claremont, 2019. https://scholarship.claremont.edu/cmc_theses/2128.
Pełny tekst źródłaTroyer, Scott R. "Layers of Meaning: Intertextuality in Early Anabaptist Song". University of Cincinnati / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1471254121.
Pełny tekst źródłaLewon, Marc. "Transformational practices in fifteenth-century German music". Thesis, University of Oxford, 2017. http://ora.ox.ac.uk/objects/uuid:2a11c52f-52e5-4702-bab6-574d86f1f8bc.
Pełny tekst źródłaFourie, Francois Paul. "'n Geskiedenis van die kerklied in die Nederduitse Gereformeerde Kerk". Thesis, 2000. http://hdl.handle.net/10500/18047.
Pełny tekst źródłaDie lied en musiekinstrumente speel 'n baie belangrike rol in die Bybel. Die Moseslied (Eks 15) word in die Psalms aangehaal en kulmineer in die 11 nuwe 11 lied van Openbaring - die lied van die "nuwe" hemel en die 11 nuwe 11 aarde wat verlostes saam sal sing. Die brandende vraag wat "reg" of hoegenaamd standpunt ingeneem moet perspektief (die Woord van God) "verkeerd" is en of daar word, word uit 'n Bybelse beantwoord, gegrond op die beginsel van die Reformasie: ecclessia reformata semper reformandum. Die geskiedenis van die lied van die vroee kerk tot by die Ref ormasie word kursories behandel. Die lied wat in die geskiedenis uit die mond van die gelowige, die lidmaat gehaal is en aan die priesters oorgelaat is, word deur Luther weer teruggeplaas in die mond van die gelowige. Dit blyk dat Calvyn, tsv die Ref ormasie slagspreuk, in sommige aspekte van sy beskouing van die kerklied, steeds 'n Roomse standpunt bly handhaaf en net tot by die vroee kerk "gereformeer" het. Slegs sgn "heilige" liedere, direk uit die Bybel, musiek sender instrumentale begeleiding, kon gebruik word. Saam met ons voorsate, wat van oa Nederland gekom het, het ons liederebundels gekom. Van Riebeeck het met die Datheense Psalter (die amptelike Nederlandse kerklied) wat later deur die 1805- "Evangelische Gezangen" aangevul is, geland. Agv die "cuius regio eius religio"-beginsel het die Hollandse kerklied voorkeur bo Lutherse ea kerkliedere gekry. Die 1805-"Evangelische Gezangen", alhoewel dit hartlik verwelkom is, het gelei tot misnoee in Colesberg en later in Rustenburg, wat op sy beurt gelei het tot kerkskeuring. Die "Evangelische Gezangen" was ook, naas die Bybel en die Psalmboek die metgesel van die Trekkers, kommandolede (Anglo-Boereoorlog) en die krygsgevangenes in die konsentrasie- en krygsgevangenekampe. In die kampe was daar baie tyd vir die sing en skep van gewyde liedere. Nie-goedgekeurde bundels en die vertaling van die Bybel in Afrikaans (1933) het aanleiding gegee dat liederebundels hersien moes word. Die 1937 (Totius-beryming), die 1944 Gesangboek, die 76/78-Psalmboek en die 1978 Gesangboek was die resultaat. 'n Dualistiese standpunt, dat sekere liedere geskik is vir kerkgebruik en ander slegs vir buite-kerkgebruik (die 1984- Jeugsangbundel) het aanleiding gegee tot die publikasie van SOM en Jeugsangbundel 2, 1993. Huidig gebruik talle gemeentes 'eie' bundels tsv sinodale besluite dat slegs SOM en JSB2 naas die Psalm- en Gesangboek gebruik mag word. Die verskyning van die Proefsangbundel 1998 (IKSA) lei 'n nuwe fase van die kerklied in SA in as die Ned Herv Kerk ook begin om "nuwe" liedere op die proef te stel. Vos, Strydom, Huisamen, Konig, Kloppers, ea het in resente jare evaluerings oor die kerklied gedoen. Die "ou", die "nuwe" en die kontemporere kerklied (veral met verwysing na die NG Kerk) m6et almal plek kry in die musiekskat van die 21ste eeu.
The hymn and musical instruments play a cardinal role in the Bible. The Song of Moses (Ex 15) is used in Psalms and in Revelation 15:3. The question with regards to what is acceptable and unacceptable and whether it is at all imperative to take a defendant stance, is clarified from a Biblical point of view. It is based on the Reformation-principle: ecclesia reformata semper reformandum. The History of the 'Song' Hymn in the early church up to the Reformation is shortly mentioned. The "songs" (Hymns) of the believer were in the course of history transferred to the priests and were only in the Reformation once again bestowed on the believer by Luther. It would appear that Calvin, despite the slogans of the Reformation continued to postulate a Catholic point of view with regard to the Hymns and that the Reformation was restricted to the early church. Only socalled holy songs, direct from the Bible and songs without instruments/accompaniment could be usedo The collection of 'songs' (Hymns) of the Dutch Reformed Church is an inheritance from the Netherlands. It was Van Riebeeck who brought in the ''Datheense Psalter'' . Later, the 1805 - "Evangelishe Gezangen" were added to it. Owing to the cuius regio eius religio-principle, the Dutch Church Hymn was given preverance. Although heartily welcomed, the "1805-Evangelische Gezangen" lead to a split in the Church. The "Evangelische Gezangen" (Hymns), and the Psalmbook were used by the 'Trekkers' , the 'Kommando' s' , (Anglo Boer war) and in the Consentration and prisoners of war camps. In the camps was ample time for singing and composing new sacred songs. 'Non-approved' song books and the translation of the Bible in Afrikaans (1933) gave rise to the birth of various Hymn and Psalter books. Youth Praise and Worship books were also published. The Dutch Reformed Church opinion that certain songs in the formal Church inappropriate and should gatherings. struggles with the dualistic are suitable for worshipping service while other are only be used at informal
Theology
D.Th. (Theology)
Książki na temat "Contrafacten"
J, Roese Neal, i Olson James M. 1953-, red. What might have been: The social psychology of counterfactual thinking. Mahwah, N.J: Lawrence Erlbaum Associates, 1995.
Znajdź pełny tekst źródłaCole, Norma. Contrafact. Elmwood, CT: Potes & Poets Press, 1996.
Znajdź pełny tekst źródła1966-, Mandel David R., Hilton Denis J i Catellani Patrizia, red. The psychology of counterfactual thinking. New York, NY: Routledge, 2005.
Znajdź pełny tekst źródłaTischler, Hans. Conductus and contrafacta. Ottawa, Canada: Institute of Mediaeval Music, 2001.
Znajdź pełny tekst źródłaPavanello, Agnese. Kontrafakturen im Kontext. Basel: Schwabe Verlag, 2020.
Znajdź pełny tekst źródłaContrafacta: Allusioni, modelli, riscritture da San Girolamo a Pietro Aretino. Alessandria: Edizioni dell'Orso, 2011.
Znajdź pełny tekst źródłaGernert, Folke. Parodia y "contrafacta" en la literatura romántica medieval y renacentista: Historia, teoría y textos. San Millán de la Cogolla: Cilengua, 2009.
Znajdź pełny tekst źródłaConvegno interuniversitario di studi (32nd 2004 Bressanone, Italy). Contrafactum: Copia, imitazione, falso : atti del XXXII Convegno interuniversitario, Bressanone-Brixen, 8-11 luglio 2004. Padova: Esedra, 2008.
Znajdź pełny tekst źródłaRoese, Neal J., i James M. Olson. What Might Have Been: The Social Psychology of Counterfactual Thinking. Taylor & Francis Group, 2014.
Znajdź pełny tekst źródłaRoese, Neal J., i James M. Olson. What Might Have Been: The Social Psychology of Counterfactual Thinking. Taylor & Francis Group, 2014.
Znajdź pełny tekst źródłaCzęści książek na temat "Contrafacten"
Georis, Christophe. "Contrafactum et oraison mystique". W Poésie latine à haute voix (1500-1700), 159–86. Turnhout: Brepols Publishers, 2013. http://dx.doi.org/10.1484/m.latin-eb.4.00145.
Pełny tekst źródłaChaillou-Amadieu, Christelle, i Anne-Zoé Rillon-Marne. "Emprunter et creér : quelques réflexions sur le contrafactum". W Culture et société médiévales, 91–110. Turnhout: Brepols Publishers, 2016. http://dx.doi.org/10.1484/m.csm-eb.5.108661.
Pełny tekst źródłaSchedl, Barbara. "Die innerstädtische Sakraltopographie auf der Meldemanschen „contrafactur“ von 1529/30". W Die Osmanen vor Wien, 287–98. Wien: Böhlau Verlag, 2020. http://dx.doi.org/10.7767/9783205210542.287.
Pełny tekst źródłaDobrov, Gregory W. "Figures of Play, Part 2". W Figures of Play, 33–54. Oxford University PressNew York, NY, 2000. http://dx.doi.org/10.1093/oso/9780195116588.003.0003.
Pełny tekst źródłaMartin, Henry. "Summary and Assessment". W Charlie Parker, Composer, 277–316. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190923389.003.0011.
Pełny tekst źródła"contrafaction, n." W Oxford English Dictionary. Wyd. 3. Oxford University Press, 2023. http://dx.doi.org/10.1093/oed/3264733757.
Pełny tekst źródła"contrafactum, n." W Oxford English Dictionary. Wyd. 3. Oxford University Press, 2023. http://dx.doi.org/10.1093/oed/8368870596.
Pełny tekst źródła"contrafact, v." W Oxford English Dictionary. Wyd. 3. Oxford University Press, 2023. http://dx.doi.org/10.1093/oed/1500870028.
Pełny tekst źródła"Contrafacts from the British Isles". W The Persistence of Voice: Instrumental Music and Romantic Orality, 225–43. BRILL, 2017. http://dx.doi.org/10.1163/9789004343368_013.
Pełny tekst źródłaQuinlan, Meghan. "When Courtly Song Invades History". W Gender and Voice in Medieval French Literature and Song, 93–120. University Press of Florida, 2021. http://dx.doi.org/10.5744/florida/9780813069036.003.0005.
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