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Journal articles on the topic 'Contrafacts'

Author: Grafiati

Published: 4 June 2021

Last updated: 8 February 2022

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1

Hascher-Burger, Ulrike. "Music and Meditation: Songs in Johannes Mauburnus's Rosetum exercitiorum spiritualium." Church History and Religious Culture 88, no. 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

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2

Davies, Drew Edward. "Arranging music for the liturgy: contrafacts and opera sources from New Spain." Early Music 47, no. 2 (2019): 147–60. http://dx.doi.org/10.1093/em/caz020.

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3

Quinlan, Meghan. "Can melodies be signs? Contrafacture and representation in two trouvère songs." Early Music 48, no. 1 (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 w

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4

Milsom, John. "Caustun's Contrafacta." Journal of the Royal Musical Association 132, no. 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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5

HARTMAN, CHARLES O. "CONTRAFACTUM." Yale Review 95, no. 4 (2007): 21–38. http://dx.doi.org/10.1111/j.1467-9736.2007.00330.x.

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6

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

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7

PUTS, F. "Een geestelijk contrafact." Spiegel der Letteren 34, no. 2 (1992): 159–68. http://dx.doi.org/10.2143/sdl.34.2.2005599.

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8

Pujol i Coll, Josep. "Ressonàncies musicals en l’obra de Fontanella." SCRIPTA. Revista Internacional de Literatura i Cultura Medieval i Moderna 11, no. 11 (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,

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9

Leaver, R. A. "Richard Freedman, Lassus contrafacta." Early Music XXX, no. 1 (2002): 128–29. http://dx.doi.org/10.1093/em/xxx.1.128.

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10

Rose, Stephen. "PATRIOTIC PURIFICATION: CLEANSING ITALIAN SECULAR VOCAL MUSIC IN THURINGIA, 1575–1600." Early Music History 35 (September 28, 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 artif

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11

Bahat. "LES CONTRAFACTA HEBREUX DES ROMANZAS JUDEO-ESPAGNOLES." Revista de Musicología 9, no. 1 (1986): 141. http://dx.doi.org/10.2307/20795010.

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12

GOODMAN, GLENDA. "Transatlantic Contrafacta, Musical Formats, and the Creation of Political Culture in Revolutionary America." Journal of the Society for American Music 11, no. 4 (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—rep

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13

Jonášová, Milada. "Contrafacta in Bohemian church music of the 18th century." Musicologica Brunensia 49, no. 2 (2014): 107–26. http://dx.doi.org/10.5817/mb2014-2-8.

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14

Parshall, Peter. "IMAGO CONTRAFACTA: IMAGES AND FACTS IN THE NORTHERN RENAISSANCE." Art History 16, no. 4 (1993): 554–79. http://dx.doi.org/10.1111/j.1467-8365.1993.tb00546.x.

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15

Katheryn Lawson. "Girl Scout Contrafacta and Symbolic Soldiering in the Great War." American Music 35, no. 3 (2017): 375. http://dx.doi.org/10.5406/americanmusic.35.3.0375.

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16

McCarthy, Kerry. "'Brought to Speake English with the Rest': Byrd's Motet Contrafacta." Musical Times 148, no. 1900 (2007): 51. http://dx.doi.org/10.2307/25434477.

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17

Jeż, Tomasz. "Contrafacta of Operatic Arias among the Dominicans of Baroque Silesia." De musica disserenda 11, no. 1-2 (2015): 147–62. http://dx.doi.org/10.3986/dmd11.1-2.09.

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18

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

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19

Waldman, Berta. "Faces e contrafaces: alguns aspectos da Obra de Amós Oz." Revista de Estudos Orientais, no. 6 (February 2, 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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20

Turner, Bruno. "Peñalosa's hymn O lux beata Trinitas—a contrafactum?" Early Music XXIII, no. 3 (1995): 485–86. http://dx.doi.org/10.1093/earlyj/xxiii.3.485.

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21

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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22

Fasquel, Samuel. "Quevedo y las travesuras del mito." Lectura y Signo, no. 5 (November 21, 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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23

Dobszay, László. "The responsory: Type and modulation." Studia Musicologica 49, no. 1-2 (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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24

CALDWELL, JOHN. "St Ethelbert, King and Martyr: his cult and office in the West of England." Plainsong and Medieval Music 10, no. 1 (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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25

Santos, Fabiana Cabrera Silva, and Sergio Marcus Nogueira Tavares. "Avaliação da/na educação superior: a contraface da qualidade." Educação & Linguagem 24, no. 1 (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. Dest

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26

De Azevedo Turboli, Carolina. "O corpo poético na obra de Ana Paula Tavares e de Ana Cristina César." Revista Mulemba 7, no. 13 (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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27

Alexander, Gavin. "The Elizabethan Lyric as Contrafactum: Robert Sidney's ‘French Tune’ Identified." Music and Letters 84, no. 3 (2003): 378–402. http://dx.doi.org/10.1093/ml/84.3.378.

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28

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, no. 2 (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 c

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29

Meyer, Christian, Orazio Vecchi, and Ruth I. DeFord. "The Four-Voice Canzonettas. With Original Textes and Contrafacta by Valentin Haussmann and Others." Revue de musicologie 80, no. 1 (1994): 150. http://dx.doi.org/10.2307/947318.

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30

McIlvenna, Una. "The Power of Music: the Significance of Contrafactum in Execution Ballads." Past & Present 229, no. 1 (2015): 47–89. http://dx.doi.org/10.1093/pastj/gtv032.

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31

Bradley, Catherine A. "CONTRAFACTA AND TRANSCRIBED MOTETS: VERNACULAR INFLUENCES ON LATIN MOTETS AND CLAUSULAE IN THE FLORENCE MANUSCRIPT." Early Music History 32 (2013): 1–70. http://dx.doi.org/10.1017/s0261127913000016.

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Dated to the 1240s, the Florence manuscript (F: Biblioteca Medicea Laurenziana, Plut. 29.1) is the earliest surviving source to contain a collection of motets. The exclusively Latin-texted motets in F are widely regarded as the oldest layer(s) of pieces in this new genre. This study closely analyses three motets in F, demonstrating that they are Latin contrafacta reworkings of vernacular motets extant only in chronologically later sources. It traces the influences of secular, vernacular refrains in two supposedly liturgical clausulae in F, proposing that these clausulae are textless transcript

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32

Campos, Regina Helena de Freitas, Maria Cristina Soares de Gouvea, and Paula Cristina David Guimarães. "A recepção da obra de Binet e dos testes psicométricos no Brasil: contrafaces de uma história." Revista Brasileira de História da Educação 14, no. 2 (2014): 215–42. http://dx.doi.org/10.4025/rbhe.v14i2.696.

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33

Castioni, Remi, and Guilherme Lins de Magalhães. "O Binômio oficina-escola na “Era” Vargas:." Revista Labor 1, no. 25 (2021): 367–89. http://dx.doi.org/10.29148/labor.v1i25.60234.

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O objetivo do presente artigo é elucidar os porquês da criação de um sistema de formação profissional coordenado pelos empresários durante o regime varguista. Para isso, o método de rastreamento das evidências e suas respectivas relações causais foi usado para evidenciar os fatos e os contrafatos da gênese do SENAI. Com este, é possível também identificar as conjunturas críticas do período analisado que determinaram o caminho dependente das instituições. Por fim, dois grupos disputaram através de diferentes concepções a reforma da formação profissional sob a mesma lógica do binômio oficina-esc

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34

Brugnago, Naira Vicensi, and 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, no. 43 (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 proc

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35

Skinner, David. "‘Deliuer me from my deceytful ennemies’: a Tallis contrafactum in time of war." Early Music 44, no. 2 (2016): 233–50. http://dx.doi.org/10.1093/em/caw044.

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Justino, Florença Lúcia Coelho, Patrícia Waltz Schelini, Juliana Sarantopoulos Faccioli, Alex Bacadini França, Denise Casatti, and Emanuelle Dos Passos Foresto. "Pensar sobre o passado: o pensamento contrafactual na depressão e na vitimização." Revista Família, Ciclos de Vida e Saúde no Contexto Social 9, no. 1 (2021): 62. http://dx.doi.org/10.18554/refacs.v9i1.5197.

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Esta é uma pesquisa quantitativa, realizada em 2018 em duas cidades do interior de São Paulo, com o objetivo de caracterizar contrafactos de dois grupos de mulheres. O material utilizado no método foi a Técnica de Avaliação do Pensamento Contrafactual em Adultos, que inclui cinco histórias a serem modificadas pelas participantes. Participaram 18 mulheres com indicativos de depressão e 16 vítimas de violência intrafamiliar. Pensamentos produzidos a partir da primeira questão do material foram classificados como: Contrafactuais Espontâneos, entendidos como elaborações que modificavam o enredo; e

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37

Dröse, Astrid. "Liedpoetik und soziale Praxis." Daphnis 49, no. 1-2 (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

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38

Caminhas, Lorena. "Face e contraface da violência de gênero: diálogos entre telenovelas e contexto nacional." Mana 24, no. 3 (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 antropo

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39

Takao, Makoto Harris. "‘In their own way’: contrafactal practices in Japanese Christian communities during the 16th century." Early Music 47, no. 2 (2019): 183–98. http://dx.doi.org/10.1093/em/caz035.

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Guiscafrè Danús, Jaume. "L’imaginari de la por al segle XIX català: costums, creences, supersticions i llegendes." Estudis de Literatura Oral Popular / Studies in Oral Folk Literature, no. 8 (December 18, 2019): 43. http://dx.doi.org/10.17345/elop201943-56.

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Marià Aguiló, com altres folkloristes del segle XIX, va arreplegar materials escrits i testimonis orals —encara inèdits— sobre creences, supersticions i costums relacionats amb les creences populars, singularment amb la bruixeria i la demonologia. En aquest treball n’aprofit alguns exemples per reflexionar sobre els límits de la rondalla i la llegenda i sobre les relacions complexes que mantenen amb altres gèneres etnopoètics com les supersticions, els costums, els dites o els memorates. Tant aquestes relacions com els diversos graus d’elaboració narrativa que poden tenir les creences populars

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41

ZAZZO, LAWRENCE. "‘TROPPO AUDACE’: AMBITION AND MODERATION IN HANDEL'S BILINGUAL REVIVAL OF L'ALLEGRO, IL PENSEROSO, ED IL MODERATO." Eighteenth Century Music 17, no. 2 (2020): 215–42. http://dx.doi.org/10.1017/s1478570620000251.

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ABSTRACTWinton Dean described Handel's 1740 ode L'Allegro, il Penseroso, ed il Moderato (hwv55), with its pastoral texts by Milton, as ‘perhaps the profoundest tribute Handel ever paid to the land of his adoption’. Yet for the first revival in January 1741, Handel prepared Italian-texted movements for this quintessentially ‘English’ ode in order to accommodate his star castrato that season, Giovanni Battista Andreoni. With the help of Paolo Rolli, a librettist long associated with Handel and a respected translator of Milton, Handel reset four English-texted arias and one accompagnato with Ital

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42

Chater, James. "Poetry in the Service of Music: The Case of Giovambattista Strozzi the Younger (1551–1634)." Journal of Musicology 29, no. 4 (2012): 328–84. http://dx.doi.org/10.1525/jm.2012.29.4.328.

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Giovambattista (G. B.) Strozzi the Younger (1551–1634) occupied an important place in the literary life of Florence during the period when the Medici were consolidating their absolute rule over Tuscany. As a founder member and host of the Accademia degli Alterati he stands at the center of a web of poets and academicians who strove to bring about a closer cooperation between music, literature, and theater. Strozzi is of interest to music historians for his work in three overlapping areas. First, he provided the texts for intermedi, maschere, and other music performed in Florence from 1579 unti

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43

STEINER, KATHERINE KENNEDY. "Composing St Columba, Hope of the Scots." Plainsong and Medieval Music 27, no. 1 (2018): 41–61. http://dx.doi.org/10.1017/s0961137118000037.

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ABSTRACTThe singular Office of St Columba in the Inchcolm Antiphoner, a unique relic celebrated for its distinct Scottish chant, was composed in the late thirteenth century amidst a battle for the claim of Scotland's patron saint. Previous studies of the office have suggested that unique chants reflect a pre-Norman tradition of Celtic chant. This article demonstrates that the office was not only composed much later, and severely edited in the fifteenth century, but also almost entirely composed of contrafacta. Some of these engage directly with the cult of St Andrew, the other saint with a maj

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44

Wagner, Undine. "From dramma per musica to church music practice – sacred Latin contrafacta of Italian opera arias in Moravian monasteries and churches." Musicologica Brunensia 49, no. 2 (2014): 139–67. http://dx.doi.org/10.5817/mb2014-2-10.

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45

Dias, Maurício Santana. "Primo e ‘eu’: uma montagem de risco." Literatura e Sociedade 25, no. 32 (2020): 17–35. http://dx.doi.org/10.11606/issn.2237-1184.v0i32p17-35.

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Questão central em toda a obra de Primo Levi, o trabalho humano é o que simultaneamente nos constitui como seres sociais e o que, no antropoceno, pode nos destruir ou reinventar. Definindo-se como um escritor que trabalha com “a montagem das palavras assim como o químico trabalha na montagem de moléculas”, é por meio dessa experiência que ele busca tanto lançar luz sobre a “zona cinzenta” do Lager e seus desdobramentos quanto atravessá-los por meio de uma imaginação vertiginosa, que é a contraface do “estudo sereno” com que examinou a experiência pessoal e coletiva de Auschwitz – em suas palav

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Ivo, Anete B. L. "O paradigma do desenvolvimento: do mito fundador ao novo desenvolvimento." Caderno CRH 25, no. 65 (2012): 187–210. http://dx.doi.org/10.1590/s0103-49792012000200002.

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Este artigo busca historicizar contextos que reorientaram a noção de desenvolvimento, no Brasil, desde os anos 30-80, passando pelo ajuste neoliberal dos anos 90, até inflexões atuais que indagam se o novo intervencionismo massivo e estratégico do Estado em políticas sociais para os mais pobres aponta para um novo modelo de desenvolvimento. A análise apresenta inflexões do modelo cepalino de 50-60 e tenta priorizar dimensões sociais na mediação das contradições entre a economia, a política e o institucional. O fio condutor toma dois vetores analíticos: o tema do conflito (redistributivo) e o d

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Toledo, Paulo Bio. "Sobre Stabat Mater." Sala Preta 20, no. 1 (2020): 198–219. http://dx.doi.org/10.11606/issn.2238-3867.v20i1p198-219.

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O artigo é um exercício crítico sobre o espetáculo Stabat Mater, criado por Janaína Leite e uma equipe de colaboradoras, em 2019. A montagem se transformou, muito rapidamente, em uma espécie de marco teatral na cidade de São Paulo. Postulados como a “emergência do real”, a implicação da própria artista na substância da obra, mais a busca de uma zona de limiar, na qual se tensionasse a fronteira entre arte e vida, causam espanto e fascínio, porém é provável que também apresentem, como contraface, doses elevadas de idealismo e mistificação. São formulações estéticas fascinantes que reorientam a

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His, Isabelle. ""Sous lesquels ont este mises des paroles morales": Un cas de contrafactum de psaumes entre 1598 et 1618." Revue de musicologie 85, no. 2 (1999): 189. http://dx.doi.org/10.2307/947079.

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Saltzstein, Jennifer. "Rape and Repentance in Two Medieval Motets." Journal of the American Musicological Society 70, no. 3 (2017): 583–616. http://dx.doi.org/10.1525/jams.2017.70.3.583.

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Two thirteenth-century vernacular motets copied side by side in the Montpellier Codex tell a story of sin and repentance. In one a shepherd rapes a maiden, while in the other a penitent begs the Virgin Mary to forgive a great sin. The music of these two motets is nearly identical: one is a contrafactum of the other, and represents a conscious narrative continuation of the first. This article offers a close reading of this unusual pair of motets, interpreting their texts and polyphonic musical settings in the context of other motets, the pastourelle song genre, their liturgical tenor, the techn

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Egido, Aurora. "Jaime Siles/x." Tropelías: Revista de Teoría de la Literatura y Literatura Comparada 1, no. 18 (2012): 249. http://dx.doi.org/10.26754/ojs_tropelias/tropelias.201218557.

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Se trata de componer un discurso poético partiendo de las palabras del propio autor. Pero, en este caso, el contrafactor no vuelve ni a lo divino, ni a lo humano la obra de Jaime Siles, sino que trata de componer una semblanza aproximada a partir de algunos de sus textos. Ya Marino habló de la licitud de robare, con tal de que lo sustraido se engastara de manera diferente para cobrar un nuevo significado. La operación es tan arriesgada como quien rompe un vitral de colores para componer otro distinto con los cristales rotos. Tal efecto de violencia se inserta en los parámetros de una era en la

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