Bibliografias temáticas / Contrafacten

Literatura científica selecionada sobre o tema "Contrafacten"

Autor: Grafiati
Publicado: 26 de julho de 2024
Última modificação: 26 de julho de 2024

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Artigos de revistas sobre o assunto "Contrafacten"

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Quinlan, Meghan. "Can melodies be signs? Contrafacture and representation in two trouvère songs". Early Music 48, n.º 1 (fevereiro 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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Planagumà-Clarà, Laura. "Cantar “al tono de”: estudio y recreación musical de contrafacta (ca. 1700-ca. 1830)". Cuadernos de Música Iberoamericana 34 (17 de setembro 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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Wulstan, David. "Contrafaction". Musical Times 134, n.º 1801 (março de 1993): 121. http://dx.doi.org/10.2307/1193852.

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

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

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Chizzali, Michael. "Die frühneuzeitliche Kontrafaktur und ihre geschichtswissenschaftlichen Potenziale". Artes 2, n.º 2 (18 de setembro 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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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 junho 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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Leaver, R. A. "Richard Freedman, Lassus contrafacta". Early Music XXX, n.º 1 (1 de fevereiro de 2002): 128–29. http://dx.doi.org/10.1093/em/xxx.1.128.

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Teses / dissertações sobre o assunto "Contrafacten"

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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.

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Scholarship on medieval contrafacture has long been engaged in the Kontrafakturjagd, the hunt for songs whose textual and structural similarities suggest they might also share melodies. By making melodies freely exchangeable, this practice has tended to treat the music of medieval song as if it were an empty vessel, overlooking the ways in which contrafacta might construct musical meaning to serve various political, devotional, or aesthetic ends. Rather than making a case for contrafacture among songs whose shared melodies are questionable, this dissertation provides a context rich perspective on certain groups of 'close contrafacta' - songs whose status as contrafacta is already known and supported by strong musical, textual, and contextual evidence. In five case studies, all of which take at least one song from the trouvère repertory, and which represent the most common contrafact genres - political serventois, Marian song, and crusade song - I consider the ways in which their melodies could signify. More specifically, I examine the interrelated layers of the melody's performed sound structures, its cuing of previous texts on the listener, and its integration of old and new contexts. The case studies reveal a culture that cared about melodic association and used it in sophisticated ways. In the first two chapters, which address political contrafacture, the music's textual associations form a background against which the contrafact text reacts ironically, while its melodic origins evoke precise geopolitical loyalties or antagonisms. The third and fourth chapters on Marian song, conversely, point toward efforts to intensify and develop a song's meaning through contrafacture, while the fifth chapter's contrafact text cites its own affective reason for melodic re-use. In all case studies, not only does the music cue text and context synoptically; its performed structures also intensify and subvert textual meanings, showing how music can enrich literary interpretations of medieval song.
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Hoffmann, Rachel [UNESP]. "Faces e contrafaces da identidade portuguesa em Cardoso Pires". Universidade Estadual Paulista (UNESP), 2012. http://hdl.handle.net/11449/103700.

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Made available in DSpace on 2014-06-11T19:32:49Z (GMT). No. of bitstreams: 0 Previous issue date: 2012-02-28Bitstream added on 2014-06-13T20:04:22Z : No. of bitstreams: 1 hoffmann_r_dr_sjrp.pdf: 691200 bytes, checksum: dd7f5bcd2eb70028eb71a9572e705e45 (MD5)
Coordenação 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
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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.

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Orientador: Sônia Helena de Oliveira Raymundo Piteri
Banca: 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
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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.

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La notion de nouveauté est centrale lorsque l'on parle de musique monodique médiévale : nombreux sont en effet les genres, dans le corpus sacré, à être fondés non sur un renouvellement musical permanent, mais sur un réemploi d'une méthode antérieure ou contemporaine, cette adaptation étant rendue possible par un "compas" identique. Ce procédé , nommé contrafactum, n'est cependant pas limité au seul domaine liturgique, mais se retrouve également dans la monodie profane des XIIe et XIIIe siècles, de manière particulièrement visible chez les trouvères, où il fut d'ailleurs bien étudié. Le cas des troubadours est plus complexe, en raison de l'aporie des sources notées et des "contrafacta" conservées. Seuls trois nous sont parvenus, bien que les traités théoriques de l'époque affirment sans ambigui͏̈té qu'un certain nombre de genres lyriques pouvaient être fondés sur une reprise mélodique. Dans le "sirventes", notamment, l'emploi de la contrafacture aurait été particulièrement fréquente. Partant des "sirventes" copiés dans les chansonniers notés, nous en proposons donc une analyse poético-musical, mais aussi métrique, afin de vérifier la validité des assertions de ces traités.
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Levenstein, 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.

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Wong, 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.

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During the Civil War, musical fluidity led to an outpouring of songs written about the conflict. With every popular song came at least one set of alternate lyrics known as contrafacta. In this thesis, I analyze Northern anthem “The Battle Cry of Freedom,”and Southern anthems “The Bonnie Blue Flag” and “Dixie” and their contrafacta. Through the lens of contrafacta, I analyze how the North and the South understood the terms “liberty” and “freedom.”
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Troyer, Scott R. "Layers of Meaning: Intertextuality in Early Anabaptist Song". University of Cincinnati / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1471254121.

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Lewon, 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.

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In this thesis I investigate transformational practices in the secular music of mid-fifteenth-century German sources. At the heart of the research are case studies of the Lochamer Liederbuch with its two sections - a song and a keyboard collection - and of the newly discovered Wolfenbüttel Lute Tablature. By analysing and comparing the different versions of pieces surviving in these and related sources I explore how they interacted and what the motivations and techniques behind their transformation were. The organist and lute player Conrad Paumann and his 'School' were central driving forces in this process, which led to numerous innovations, particularly in the development of instrumental music and its notation. I then investigate the question of the instrumental accompaniment of monophonic song and how the development of new instruments and techniques influenced and shaped the melody types in the late medieval sources. To do this, I consult the genre of Neidhart songs as an oeuvre of secular song that was cultivated and transmitted in sources from the thirteenth to the fifteenth centuries. The network of interdependencies between repertoires enables an analysis of transformational practices in the songs of Oswald von Wolkenstein, which are influenced by the Neidhart-genre. The analysis comes full circle with reworkings of his melodies in the Lochamer Liederbuch and related sources. The study shows that vocal music and instrumental intabulations influenced each other mutually to create new repertoires and styles. Amongst the most significant insights are the findings around the WolfenbÃ1⁄4ttel Lute Tablature, which open up a field of hitherto unknown instrumental practices and playing techniques, particularly on the plectrum lute. The process of transferring intabulation techniques from the keyboard to other polyphonic instruments leads to the formulation of a coherent, 'pan-instrumental' style of solo intabulation in the fifteenth century.
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Fourie, Francois Paul. "'n Geskiedenis van die kerklied in die Nederduitse Gereformeerde Kerk". Thesis, 2000. http://hdl.handle.net/10500/18047.

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Text in Afrikaans
Die 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)
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Livros sobre o assunto "Contrafacten"

1

J, Roese Neal, e Olson James M. 1953-, eds. What might have been: The social psychology of counterfactual thinking. Mahwah, N.J: Lawrence Erlbaum Associates, 1995.

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2

Cole, Norma. Contrafact. Elmwood, CT: Potes & Poets Press, 1996.

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3

1966-, Mandel David R., Hilton Denis J e Catellani Patrizia, eds. The psychology of counterfactual thinking. New York, NY: Routledge, 2005.

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4

Tischler, Hans. Conductus and contrafacta. Ottawa, Canada: Institute of Mediaeval Music, 2001.

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5

Pavanello, Agnese. Kontrafakturen im Kontext. Basel: Schwabe Verlag, 2020.

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6

Vincenti, Eleonora. Contrafacta: Allusioni, modelli, riscritture da San Girolamo a Pietro Aretino. Alessandria: Edizioni dell'Orso, 2011.

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Gernert, Folke. Parodia y "contrafacta" en la literatura romántica medieval y renacentista: Historia, teoría y textos. San Millán de la Cogolla: Cilengua, 2009.

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Convegno 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.

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9

Roese, Neal J., e James M. Olson. What Might Have Been: The Social Psychology of Counterfactual Thinking. Taylor & Francis Group, 2014.

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Roese, Neal J., e James M. Olson. What Might Have Been: The Social Psychology of Counterfactual Thinking. Taylor & Francis Group, 2014.

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Capítulos de livros sobre o assunto "Contrafacten"

1

Georis, Christophe. "Contrafactum et oraison mystique". In Poésie latine à haute voix (1500-1700), 159–86. Turnhout: Brepols Publishers, 2013. http://dx.doi.org/10.1484/m.latin-eb.4.00145.

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Chaillou-Amadieu, Christelle, e Anne-Zoé Rillon-Marne. "Emprunter et creér : quelques réflexions sur le contrafactum". In Culture et société médiévales, 91–110. Turnhout: Brepols Publishers, 2016. http://dx.doi.org/10.1484/m.csm-eb.5.108661.

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Schedl, Barbara. "Die innerstädtische Sakraltopographie auf der Meldemanschen „contrafactur“ von 1529/30". In Die Osmanen vor Wien, 287–98. Wien: Böhlau Verlag, 2020. http://dx.doi.org/10.7767/9783205210542.287.

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Dobrov, Gregory W. "Figures of Play, Part 2". In Figures of Play, 33–54. Oxford University PressNew York, NY, 2000. http://dx.doi.org/10.1093/oso/9780195116588.003.0003.

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Abstract Aristophanes’ Akharnians, the earliest extant Greek comedy, is a natural point of departure chronologically and technically for a presentation of the third metafictional mode briefly outlined in chapter 2. This comedy has recently received considerable scholarly attention, much of which has b een directed at the contrafact-the “improvisation” of a new stage play from tragedy that is transposed into a comic key. Euripides and his Telephos are integral to the design of Akharnians in a sophisticated sequence that serves well as a paradigm for other contrafacts whose technique may appear, superficially at least, quite different.
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Martin, Henry. "Summary and Assessment". In Charlie Parker, Composer, 277–316. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190923389.003.0011.

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Chapter 10 pulls together information from the analytical chapters and provides a summary via a series of tables. These tables include the Parker contrafacts based on “Honeysuckle Rose” and rhythm changes; Parker’s works enumerated by category, key, contrafact, and primary line; Parker’s attitude toward revisions and adaptations; what tunes Parker liked to call on the bandstand; and what works might be excluded from a list of Parker compositions, if a more traditional understanding of composition is assumed. The chapter concludes with discussions of Parker’s tendencies toward quotation and self-quotation, his interest in twentieth-century concert music (an ambition he was unable to fulfill), and his overall compositional legacy.
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"contrafaction, n." In Oxford English Dictionary. 3a ed. Oxford University Press, 2023. http://dx.doi.org/10.1093/oed/3264733757.

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"contrafactum, n." In Oxford English Dictionary. 3a ed. Oxford University Press, 2023. http://dx.doi.org/10.1093/oed/8368870596.

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"contrafact, v." In Oxford English Dictionary. 3a ed. Oxford University Press, 2023. http://dx.doi.org/10.1093/oed/1500870028.

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"Contrafacts from the British Isles". In The Persistence of Voice: Instrumental Music and Romantic Orality, 225–43. BRILL, 2017. http://dx.doi.org/10.1163/9789004343368_013.

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Quinlan, Meghan. "When Courtly Song Invades History". In 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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This chapter examines a thirteenth-century political song (serventois) by Hue de la Ferté that adopts the verbal and melodic voice of a trouvère love song, through contrafacture, to defame Blanche de Castille (1188-1252), the mother of King Louis IX and regent of France. The love song, by the Chastelain de Couci, addresses a courtly lady of deceptive appearances and uncompromising power, and this conventional image is cannily re-literalized in Hue’s representation of Blanche. Through musical, textual, and historical analysis, the chapter considers the courtly melody as a site of gendered associations which are exploited by the contrafact maker to normalize the misogyny of the contrafact text, but which also seem to belie an anxiety over a foreign woman in power.
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