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Journal articles on the topic 'Greek and Roman Music'
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Ascher, Leona, Rosaria Munson, and Giovanni Comotti. "Music in Greek and Roman Culture." Classical World 84, no. 3 (1991): 233. http://dx.doi.org/10.2307/4350770.
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Solomon, Jon, Giovanni Comotti, and R. V. Munson. "Music in Greek and Roman Culture." American Journal of Philology 111, no. 1 (1990): 109. http://dx.doi.org/10.2307/295266.
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Moore, Timothy J. "Music in the Time of Vergil." Greek and Roman Musical Studies 6, no. 1 (March 22, 2018): 51–60. http://dx.doi.org/10.1163/22129758-12341311.
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Abstract The twenty-eight papers delivered at a symposium entitled “Music in the Time of Vergil”, sponsored by the Vergilian Society in June 2016, suggest a number of areas where promising research can continue to be done in the field of Roman music. These include the Realien of Roman music, the role of musical imagery in Latin poetry, Greek elements in Roman music, Roman attitudes to music and musical change, musical responses to political developments, and the influence of Rome on the music of the modern world.
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Klavan, Spencer A., James Lloyd, and Harry Morgan. "New Voices in Ancient Music." Greek and Roman Musical Studies 7, no. 2 (August 20, 2019): 342–45. http://dx.doi.org/10.1163/22129758-12341354.
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Abstract This report provides a conspectus of the nine papers presented at ‘The Graduate Workshop in Ancient Greek and Roman Music’, held at the University of Oxford in June 2018. The workshop was organised with the intent of showcasing the innovative work of postgraduates in the field of ancient Greek and Roman music. Based around the themes of theory and practice, drama, and ritual, the papers reflect current areas of focus within the field and suggest promising avenues for further enquiry.
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Laferrière, Carolyn M. "Moving to the Music." Greek and Roman Musical Studies 9, no. 1 (March 29, 2021): 3–12. http://dx.doi.org/10.1163/22129758-12341375.
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Abstract This paper serves as a brief introduction to a recent MOISA-sponsored panel at the Annual Meeting of the Society of Classical Studies, held in Washington, D.C. from January 2–5, 2020. Three of these papers will appear in the current and subsequent issues as articles that, together with two additional contributions, are broadly dedicated to the theme of music and dance in Greek and Roman antiquity.
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Johnson, William A. "Musical evenings in the early Empire: new evidence from a Greek papyrus with musical notation." Journal of Hellenic Studies 120 (November 2000): 57–85. http://dx.doi.org/10.2307/632481.
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With disarmingly open conceit, the Younger Pliny tells Pontius Allifanus that ‘my hendecasyllables are read, are copied, are even sung, and Greeks (who have learned Latin out of love for my poetry book) make my verses resound to cithara and lyre’ (Epist. 7.4.9). By Pliny's time, Greek musicians (and actors) were widely distributed and organized in a worldwide guild centred at Rome, so it will not surprise us that Greeks are the ones setting the verses to music. But what sort of music? When Pliny went out to hear his beloved poems sung to cithara and lyre, what did it sound like? Or, more generally, what did Pliny, or Martial, or, in an earlier generation, Horace see and hear when out for an evening's musical entertainment at the hands of a Greek troupe? Until fairly recently, we have known precious little. Literary sources give the odd anecdote, such as the reports of Nero's performances, but in general tell us little specific about the content or style of musical entertainment in the Roman era. And sources speaking more technically about music itself lend the impression that nothing significant happened after the ‘New Music’ was introduced in the fourth century BC.
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Bellia, Angela, and Antonella Bevilacqua. "Rediscovering the Intangible Heritage of Past Performative Spaces: Interaction between Acoustics, Performance, and Architecture." Heritage 6, no. 1 (December 29, 2022): 319–32. http://dx.doi.org/10.3390/heritage6010016.
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The relationship between the shape and social use of Greek and Roman theatres has always been overshadowed by the technical and acoustic analyses of these performance spaces. Relevant ruins illustrate the relationship between performance typology, acoustics, and construction development of ancient theatres, which were mainly determined by the requirements of artistic venues. The music in tragedies and comedies, the dances, and the public speeches performed in the same places helped to shape the constructions according to the requirements of the events. In addition to the need to satisfy social and political interactions, the functions of musical performances and public speeches in theatres were maintained across generations so that they organically coexisted in both Greek and Roman times. This paper presents new insights into the relationships between sound and architecture, focusing on the case study of the Greek–Roman theatre of Katane and its evolution through the centuries. Architectural features have been described in terms of the social functions of the theatre rather than as mere results of geometric rules. A brief comparison with the neighboring odeion of Katane and other Greek–Roman theatres has been made regarding destination use.
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MORAN, NEIL. "A second medial mode Palestinian chant in Old Roman, Beneventan and Frankish sources." Plainsong and Medieval Music 19, no. 1 (March 11, 2010): 1–19. http://dx.doi.org/10.1017/s096113710999012x.
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ABSTRACTChants based on Crucem tuam in the second medial mode are examined in Greek, Slavonic and Latin sources. Central to the discussion is the role of Jerusalem in the dissemination of the modal system. On the Latin side, the emphasis is on Old Roman melodies, showing how they reproduce the prototypes more faithfully than Beneventan or Frankish melodies. The analysis does not support certain conclusions regarding the origins of the modal system and the relationship of Old Roman and Gregorian melodies advanced by Robert Snow, Helmut Hucke and Leo Treitler.
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Pöhlmann, Egert. "Fifteen Years of Enquiries in Ancient Greek and Roman Music (2004–2018)." Greek and Roman Musical Studies 7, no. 1 (March 21, 2019): 1–20. http://dx.doi.org/10.1163/22129758-12341331.
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Abstract Every summer, from July 2004 to July 2011, the Music Department at the Ionian University in Corfu (Greece) held a week-long Seminar on Ancient Greek and Roman Music, attended by students and scholars from all over the world, contributing to the formation of younger generations of researchers in the field. In 2012, because of the financial crisis in Greece, the annual seminar had to be cancelled: but in 2014 it was revived in Riva del Garda (Italy) thanks to the joint support of the MOISA and the ARION Societies and has taken place every year since then.
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KETTERER, ROBERT C. "Why early opera is Roman and not Greek." Cambridge Opera Journal 15, no. 1 (March 2003): 1–14. http://dx.doi.org/10.1017/s0954586703000016.
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During the seventeenth and eighteenth centuries, the models of Greek tragedy and Aristotelian theory were appealed to repeatedly, first to invent the dramatic genre we call opera, and then in an effort to use theory to rid that genre of what were perceived to be its self-indulgent excesses. This essay argues that despite these theoretical claims, influences from classical Rome were so thoroughly ingrained in European librettists that it was the experience of the Latin that prevailed. Roman subject matter, dramatic structure, philosophical fashion and imperial performance-context produced a musical theatre that was in essence Roman rather than Greek.
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Troiani, Sara. "Ettore Romagnoli traduttore delle Baccanti." Greek and Roman Musical Studies 10, no. 1 (March 7, 2022): 189–216. http://dx.doi.org/10.1163/22129758-bja10037.
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Abstract At the beginning of the Twentieth Century the Italian philologist Ettore Romagnoli popularised ancient classical culture through his work as translator and director of performances of Greek and Roman dramas. In his plays he attempted to reproduce the unity of the arts that belonged to the mousikē technē and to achieve a modern recreation of ancient sounds and rhythms. The paper aims to analyse the translation of Euripides’ Bacchae by Romagnoli (1912), comparing it with his studies on Greek music and tragedy and with operas. On the one hand, Romagnoli’s translation in Italian verses is based on the musicological theories about the close relationship between music and metrics in ancient Greek poetry; on the other, the adoption of operatic language to translate specific lines of Euripides’ drama is probably oriented to the Italian audience, which would have recognised conventional expressions from the libretti or from famous arias.
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Lawrence, William. "Advice to a student of Classics." Journal of Classics Teaching 18, no. 36 (2017): 15–16. http://dx.doi.org/10.1017/s2058631017000162.
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Look at the secondary school timetable and you will see that almost all the subjects are ancient Greek words; so the Greeks studied these ideas first and are worth studying for their ideas in their own language (just like the Romans in Latin!). Greek: Biology, Physics, Zoology, Philosophy, Mathematics, Economics, Politics, Music, Drama, Geography, History, Technology, Theatre Studies. Latin: Greek, Latin, Art, Science, Information (Latin) Technology (Greek), Computer Science, Media Studies.
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Wersinger-Taylor, Gabrièle. "Tosca A. C. Lynch and Eleonora Rocconi, A Companion to Ancient Greek and Roman Music." Aestimatio: Sources and Studies in the History of Science 2, no. 2 (July 31, 2022): 167–85. http://dx.doi.org/10.33137/aestimatio.v2i2.39097.
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Without doubt, this book will be very useful to postdoctoral students and researchers needing an overview of ancient Greek and Roman music. Within a rich thematic division, it offers a number of stimulating and accurate details about nearly all aspects of ancient music in a successful interplay of many approaches that will allow readers to gain an inclusive understanding of ancient μουσική. Reviewed by: G. Wersinger-Taylor, Published Online (2022-07-31)Copyright © 2022 by G. Wersinger-TaylorArticle PDF Link: https://jps.library.utoronto.ca/index.php/aestimatio/article/view/39097/29784 Corresponding Author: G. Wersinger-Taylor,CNRSE-Mail: wersinger@vjf.cnrs.fr
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Hagel, Stefan. "Ancient ‘Solmisation’ and the Meaning of Notes." Greek and Roman Musical Studies 10, no. 1 (March 7, 2022): 136–75. http://dx.doi.org/10.1163/22129758-bja10042.
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Abstract When contextualising the ancient Greek solmisation system, known from Aristides Quintilianus and one of Bellermann’s Anonymi, within its musical and linguistic environment, it emerges that it hardly predates the Roman Imperial period, an important part of whose musical schooling it appears to have formed. The system seems based on a combination of the various vowels’ intrinsic F2 pitch and intensity and reflects the harmonic hierarchies of contemporary music, shedding a much more favourable light on the music-psychological relevance of Aristides’ gendered musical notes than is conventionally assumed.
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Cerqueira, Fábio Vergara, and Amanda Basilio Santos. "“Melodias Visuais, Poesias Musicais: Antiguidade Sonoras”." Greek and Roman Musical Studies 9, no. 1 (March 29, 2021): 191–206. http://dx.doi.org/10.1163/22129758-12341382.
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Abstract This report deals with the activities carried out at the XX Jornada de História Antiga [XX Ancient History Conference], promoted by LECA (Laboratory of Studies on Ancient Ceramics) and held at UFPEL (Universidade Federal de Pelotas, Brasil); the conference was devoted to ancient Greek and Roman music, with a multidisciplinary approach. Here we present its aims, a description of the meeting, and some of the outcomes which resulted from the event.
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Friedheim, Emmanuel. "Jewish Society in the Land of Israel and the Challenge of Music in the Roman Period." Review of Rabbinic Judaism 15, no. 1 (2012): 61–88. http://dx.doi.org/10.1163/157007012x622926.
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Abstract During the Second Temple period, music had an important role in Jewish society. Alongside it was Greek music, which at times made inroads into Jewish cultural life. However, the Jewish institutions of the time managed to filter out the religious and cultural influences of this foreign musical tradition. After the destruction of the Temple, by contrast, Hebrew sources point to pagan ritual music that had significant, damaging influence on Jewish society. The sages tried to counter this influence through sermons, but, surprisingly, not by absolute prohibition. The influences of pagan music increased in the Talmudic period, even as the halakhic prohibitions waned. This paradox requires an explanation. This article suggests that the way the sages treated pagan music was an aspect of their complex attitude toward the Greco-Roman culture, one that alongside prohibitions increasingly tended toward leniency once it became clear that prohibitions did not provide a defense against pagan cultural influences.
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CAIN, REBECCA BENSEN. "Greek and Roman Aesthetics by bychkov, oleg v. and anne sheppard." Journal of Aesthetics and Art Criticism 70, no. 2 (April 2012): 242–45. http://dx.doi.org/10.1111/j.1540-6245.2012.01515_7.x.
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Pöhlmann, Egert. "Vitruvius De Architectura V." Greek and Roman Musical Studies 9, no. 1 (March 29, 2021): 157–74. http://dx.doi.org/10.1163/22129758-12341380.
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Abstract In Book 5 of De architectura, the main subjects of Vitruvius are the Roman and Greek theatre and their acoustic qualities, explained with the help of several Greek theories. Vitruvius tries to enhance them by introducing a system of assisted resonance. Following the Harmonics of Aristoxenus, he recommends equipping theatre buildings with ἠχεῖα of bronze or earthenware, with the aim of increasing the strength of the voices of actors. Archaeological evidence for such equipment is nonexistent. But in Eastern and Western churches, vessels under the floor and in the walls were found. The Western examples begin in Carolingian times, when De architectura became known again. Thus, there is a debate about whether or not the work of Vitruvius had an influence on Carolingian architecture. The ἠχεῖα of Vitruvius and the resounding vessels in churches work as Helmholtz-Resonators, the sound-absorbing effects of which were used in churches with high internal resonance, while their sound-reinforcing effects were the aim of the ἠχεῖα in theatres.
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ARYOL, Hakan, and Elvan KARAKOÇ. "The Effect of Greek And Rum Identities Living in Anatolia Geography on Greek Music." Gaziantep University Journal of Social Sciences 22, no. 4 (October 20, 2023): 1175–87. http://dx.doi.org/10.21547/jss.1288935.
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The different naming of societies in different regions was thought to be related to their beliefs in the geography they lived in, their jobs, or their ethnic origins in social history. A similar situation exists for the Greeks, who have lived in Anatolian lands for numerous years. Because the majority of Byzantines were Orthodox Christians, they were all referred to as Romans, regardless of ethnic origin. During the Turkish rule, the Romans were given the name Rum which means Pontic, and it was used to describe all Orthodox Christians in the Ottoman period, regardless of ethnicity. Until Greece acquired independence, the Ottoman Empire referred to them as Rum. The Greek communities living in different regions within the Ottoman Empire have played a significantly influential role in the existence of a shared culture. The Greek and Turkish populations living together in Anatolian lands have influenced each other through sharing folk dances, songs, and activities, and they have continued to preserve this culture in the regions they migrated to due to historical reasons. This research aims to examine the influence of Greek and Rum identities, which existed in the Anatolian region, on Greek music. The research is a descriptive study. The literature on the subject was scanned using the document analysis method, which is one of the qualitative research methods, and as a result of the scanning, information about how the Greek and Rum identities who lived in Anatolia were formed and was tried to establish a link between their traditional music.
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Nice, David. "A happy mythologizer: Strauss's creative role in his Greek operas." Tempo, no. 210 (October 1999): 10–16. http://dx.doi.org/10.1017/s0040298200007130.
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According to David Fielding's eagerly-awaited, tender-hearted Garsington production of Die Liebe der Danae, Semele, Europa, Alkmene and Leda are ballroom queens. In the beginning, three of their four amours with that master of disguise Zeus/Jupiter bore fruit significant for the ongoing sagas of Greek and Roman mythology: Herakles from the three-night stint of Alkmene and the man she believed to be her husband, Helen of Troy and Clytemnestra out of a single egg laid by swan-seduced Leda, and Dionysus out of the ashes of over-reaching Semele, shrivelled by the sight of her god in all his majesty. The biological imperative was discarded by Hugo von Hofmannsthal – perhaps oddly for one so interested in the child-bearing outcome of his own Frau ohne Schatten myth – as he proposed a new operatic legend for Strauss in 1920. His queens (first three, later four) would be ‘bird-like, vain, forgetful, gossiping about everything’, flitting around in a Zerbinetta-like intermezzo to the main business of Jupiter's quest for Danae's love; the featherlight delicacy of the proposal was beautifully mirrored by Fielding's inspired idea. Taking up his long-deceased poet's suggestion just under two decades later, Strauss, as he neared the end of his operatic career, added a further twist. His god had grown old like himself; and on Jupiter's ever more emotional journey towards the renunciation of the woman Strauss decided would be his last love, Danae, the four close-harmony queens would move from Ariadne-style banter to tender acknowledgement of the ageing process, their apogee a canon of bitter-sweet sentimentality.
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Youens, Susan. "Swan Songs: Schubert's ‘Auf dem Wasser zu singen’." Nineteenth-Century Music Review 5, no. 2 (November 2008): 19–42. http://dx.doi.org/10.1017/s1479409800003359.
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The following inquiry began as an echo of my preoccupation long ago and far away with settings of late nineteenth-century French poetry. Mallarmé's ‘le cygne/signe’ arrives too late (involuntarily, I recall the immortal line ‘What time's the next swan?’) to be a player in the creation of Schubert's songs, but the great French poet had recourse to some of the same signifying swans at work in this composer's chosen poem by Friedrich Leopold zu Stolberg-Stolberg. Struck by an analogy in the words for D. 774 (published in March 1827 as op. 72), I dug a little deeper and discovered multiple specimens of these emblematic creatures from Greek and Roman literature, medieval lore, Reformation iconography and Romantic art.
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Barker, Andrew. "Dionysius of Halicarnassus on Rome’s Greek Musical Heritage." Greek and Roman Musical Studies 5, no. 1 (February 23, 2017): 63–81. http://dx.doi.org/10.1163/22129758-12341290.
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Dionysius tells us that his main objective in writing theAntiquitates Romanae, his massive history of Rome, was to convince his fellow-Greeks that the Romans were by origin Greeks themselves, that in their customs they preserved central features of the noble Greek culture they had inherited, and that the people under whose regime the Greeks now lived were therefore not to be despised or resented as barbarians. This paper examines some of the allusions to music scattered through the text, considering the extent and nature of the support they give to this thesis, and asking whether there is anything to be learned from them about the characteristics of the culture which Dionysius regards as both admirable and essentially Greek, and which he represents as manifesting itself among the Romans from the earliest times and persisting among them to the present day.
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Shmiher, Taras V. "MUSICAL DIMENSIONS OF QUALITY JUDGEMENTS IN LITURGICAL TRANSLATION." Scientific Journal of National Pedagogical Dragomanov University. Series 9. Current Trends in Language Development, no. 23 (July 17, 2022): 88–96. http://dx.doi.org/10.31392/npu-nc.series9.2022.23.08.
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The paper is dedicated to the issues of how translation quality assessment can deal with the musical aspects of liturgical praxis. It is not limited to the matters of melody and isosyllabism (which partially overlap with the theory of verse translation), but it has also to cover the issues of functionality, perception and reception (which are integrated in translation sociology and criticism). The study consists of three foci: singability and melody (isosyllabism and local chants, collective and individual creativity), historicism (hidden interpretations, functional censorship) and phonetic and semantic prosody (problems of subjectivist perception, churchly interventions, modulations of poetic texts for liturgical use). The problem of relay translation looks very unusual: although all liturgical texts came from the same language (Patristic Greek), vernacular believers receive their national texts which were translated via the mediating language (Latin or Church Slavonic, or even more languages). The main text of the analysis is the Paschal Troparion (in the Greek, Church Slavonic, Ukrainian, Polish, and English versions), but observations over other various liturgical texts are included. The juxtaposition of the Roman and Byzantine Rites shows how great the role of vocal music is in both rites and how attentively the ecclesiastical authorities cherished the sacred music for the propaganda of ecumenical moral dogmas.
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Harding, Catherine. "University of Victoria." Florilegium 20, no. 1 (January 2003): 51–53. http://dx.doi.org/10.3138/flor.20.012.
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The Medieval Studies program at the University of Victoria is an interdisciplinary unit whose members come from the Faculty of Humanities and the Faculty of Fine Arts. The idea of creating an undergraduate program in Medieval Studies was developed in 1986-87; since that date faculty members teaching in the Departments of English, French, Hispanic and Italian Studies, Greek and Roman Studies, History, Philosophy, Music, and History in Art have offered courses leading to a Major in Medieval Studies (The program began as a Minor and changed to a Major in 1994). Undergraduates are introduced to key concepts in the study of medieval culture and society in Europe, as well as the medieval Islamic world.
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Peno, Vesna. "On the multipart singing in the religious practice of orthodox Greeks and Serbs: The theological-culturological discourse." Muzikologija, no. 17 (2014): 129–54. http://dx.doi.org/10.2298/muz1417129p.
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In 1844, Serbian patriarch Josif Rajacic served two central annual Liturgies, at the feasts of Pasha and Penticost, in the Greek church of Holy Trinity in Vienna; these were accompanied by the four-part choral music. The appearance of new music in several orthodox temples in Habsburg Monarchy (including this one) during the first half of the nineteenth century, became an additional problem in a long chain of troubles that had disturbed the ever imperiled relations between the local churches in Balkans, especially the Greek and Serbian Orthodox. The official epistle that was sent from the ecomenical throne to all sister orthodox churches, with the main request to halt this strange and untraditional musical practice, provoked reactions from Serbian spiritual leader, who actually blessed the introduction of polyphonic music, and the members of Greek parish at the church of St. George in Vienna, who were also involved with it. The correspondence between Vienna and Constantinople reflected two opposite perceptions. The first one could named ?traditional? and the other one ?enlightening?, because of the apologies for the musical reform based on the unequivocal ideology of Enlightenment. In this article the pro et contra arguments for the new music tendencies in Greek and Serbian orthodox churches are analyzed mainly from the viewpoint of the theological discourse, including the two phenomena that seriously endangered the very entity of Orthodox faith. The first phenomenon is the ethnophiletism which, from the Byzantine era to the modern age, was gradually dividing the unique and single body of Orthodox church into the so-called ?national? churches, guided by their own, almost political interests, often at odds with the interests of other sister churches. The second phenomenon is the Westernization of the ?Orthodox soul? that came as a sad result of countless efforts of orthodox theological leaders to defend the Orthodox independence from the aggressive Roman Catholic proselytism. ?The Babylonian captivity of the Orthodox church?, as Georg Florovsky used to say, began when Orthodox theologians started to apply the Western theological methods and approaches in their safeguarding of the Orthodox faith and especially in ecclesiastical education. In this way the new cultural and social tendencies which gripped Europe after the movements of Reformation and Contra-Reformation were adopted without critical thinking among Orthodox nations, especially among the representatives of the Ortodox diaspora at the West. Observed from this extensive context, the four-part music in Orthodox churces in Austria shows one of many diverse requirements demanded from the people living in a foreign land, in an alien and often hostile environment, to assimilate its values, in this case related to the adoption of its musical practices.
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Alasgar Kasimi, Sehrane. "Periods of cultural development of Azerbaijan." SCIENTIFIC WORK 60, no. 11 (November 6, 2020): 21–26. http://dx.doi.org/10.36719/2663-4619/60/21-26.
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The musical history of Azerbaijan is a part of understanding of the ancient past of Azerbaijan. The universally recognized development peculiarities of Azerbaijan are the result of the specific musical culture of the Azerbaijani people. Difficulties of studying the ancient music culture of Azerbaijan are directly related to the absence of leading sources and indirect references. Oral traditional folklore, folk song creativity, fiction and archaeological monuments are the main sources of the study of the past of Azerbaijani culture. It is important to preserve the authenticity of classical music and folk songs of Azerbaijan, starting with the ancient ancestors of the Azerbaijani people: thousands of years before our era had a different historical effect on the Medians, the Caspians, the Albanians and other tribes. The extensive trade routes passing through Azerbaijan, the Silk Road, the invasion of various tribes as Huns- Suvars (in the VII century BC), Romans (at the beginning of our era), Khazars (VI - VII centuries), Cumanses (IX - XI centuries), Seljuk Turks (X-XI centuries), Mongols (XIII century), Persians, Arabs and had their specific impact on Azerbaijani folk music and culture. The broad and sophisticated international trade junction of the Middle East countries certainly came to Azerbaijan. Latin and Greek inscription about Domitian’s, XII Roman legion being on the shores of the Caspian Sea, were discovered on Gobustan rocks at the end of the first century The great Norwegian researcher and traveler, Tur Heyerdal in his scientific findings made a special place for Gobustan boat descriptions and considered similarity with the Sumerian culture. He also stated that, the civilization of Arabian Sea had contacted with Gobustan[5]. The Khazars are one of the oldest and most widely spread ethnic groups in the Eastern and Central Transcaucasia. According to ancient and old Oriental sources, during the existence of the Achaemenid rule (6th-4th centuries BC), they established ethno-cultural relations with their close neighbors, as well as with peoples who were relatively far from them. Key words: music history, archeological monuments, classical music, ancient tribes, folklore
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Levitan, William. "A Companion to Ancient Greek and Roman Music. Blackwell Companions to the Ancient World, edited by Lynch, T.A.C., and Rocconi, E." Greek and Roman Musical Studies 11, no. 1 (January 23, 2023): 208–11. http://dx.doi.org/10.1163/22129758-bja10057.
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Ernst, Eldon G. "The Emergence of California in American Religious Historiography." Religion and American Culture: A Journal of Interpretation 11, no. 1 (2001): 31–52. http://dx.doi.org/10.1525/rac.2001.11.1.31.
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On Sunday, October 23, 1983, a notable event occurred in San Francisco. A celebration of music, word, and prayer commemorated the five-hundredth birthday of the great Protestant reformer, Martin Luther. Leaders of the Episcopal, Baptist, Methodist, Presbyterian, Congregational, and Lutheran traditions took part in the service. Representatives of many other denominations marched in the processional singing “A Mighty Fortress Is Our God.” Choral settings from the Greek Orthodox service framed the liturgy. Most remarkable, the Roman Catholic archbishop of San Francisco opened the ceremony, and the event took place in St. Mary's Cathedral. Reformation-rooted Protestant Christianity thus was recognized by a broad panorama of world Christian traditions that had lived side by side for well over a century in the strongly Catholic City of Saint Francis by the Golden Gate.
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Calero, Luis. "El canto coral amateur, un factor clave en la evolución del drama ateniense." Vínculos de Historia Revista del Departamento de Historia de la Universidad de Castilla-La Mancha, no. 12 (June 28, 2023): 161–74. http://dx.doi.org/10.18239/vdh_2023.12.08.
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RESUMENEn este artículo se revisa la información acerca de la supuesta belleza del género enharmónico tal y como habla de él Aristóxeno en su tratado musical, el más antiguo conservado, sin perder de vista el hecho de que con toda probabilidad ya había desaparecido cuando escribió sus Elementa harmonica en el siglo iv a. C. En cualquier caso, este género no se conserva en la fase helenística ni en el período romano, fue tempranamente sustituido por los otros dos géneros, el cromático y el diatónico. Mi metodología de investigación buscará mostrar que parte del problema de su extinción en la música práctica debe de haber yacido en los problemas que implica la afinación del tetracordo enharmónico para la voz humana, especialmente en un contexto en que la mayoría de los cantantes de los coros del drama antiguo era enteramente amateur. En conclusión, los tratados deben de estar analizando una práctica que ya no existe, aunque los autores la añoran, y cuya dificultad vocal y técnica debió de conducir a la eliminación del coro en fases tardías de la tragedia y la comedia, especialmente tras la irrupción en escena de la vanguardia de compositores de la Nueva Música. Palabras clave: enharmónico, técnica vocal, música, dramaTopónimos: antigua AtenasPeríodo: época clásica ABSTRACTIn this paper, I revise the information about the alleged beauty of the enharmonic genre as it is dealt with in Aristoxenus’ book. Being the oldest extant Greek treatise on music theory and without losing sight of the fact that most probably had already disappeared when he wrote his Elementa Harmonica in the fourth century BC, is the oldest of all extant pieces on which we shall base our research. In any case, this genre is not found either in any example in the Hellenistic phase or in the Roman period, having been early replaced by the other two genres (the chromatic and the diatonic). My researching methodology will show what part of the problems for its extinction in music practice have relied on tune problems, especially those of the enharmonic tetrachord for human voice in a context in which most of the choral singers of ancient drama were entirely amateur. As a result, treatises would be showing a non-existing-but-longed-for practice, whose technical and vocal difficulties must have led to the elimination of the chorus in later phases of tragedy and comedy, primarily after the appearance of the avant-garde New Music composing wave on stage. Keywords: enharmonic, vocal technique, music, dramaToponym: ancient AthensPeriod: classic REFERENCIASBarker, A. (1984): Greek Musical Writings: I. The Musician and his Art, Cambridge, University Press.—(1989): Greek Musical Writings: II. Harmonic and Acoustic Theory, Cambridge, University Press.—(2007): The Science of Harmonics in Classical Greece, Cambridge, University Press.Bélis, A. (1986): Aristoxène de Tarente et Aristote. Le Traité d’Harmonique, Paris, Klincksiek.Calame, C. (2017): La tragédie chorale. Poésie grecque et rituel musical, Paris, Les Belles Lettres.Calero, L. (2016): La voz y el canto en la Antigua Grecia. Tesis doctoral. Madrid, Universidad Autónoma de Madrid.—(2017): “De la música oriental a las prácticas musicales de la Grecia arcaica”, en J. J. Martínez García, L. García Carreras, D. López Muñoz, C. I. Caravaca Guerrero, C.M. Sánchez Mondéjar, C. Molina Valero, M. Andrés Nicolás y P.D. Conesa Navarro (coords.) Construyendo la Antigüedad: Actas del tercer Congreso Internacional de Jóvenes Investigadores del Mundo Antiguo (CIJIMA III), Centro de Estudios del Próximo Oriente y la Antigüedad Tardía, Murcia, Universidad de Murcia, pp. 217-231.—(2018): “La anatomía vocal y respiratoria en los textos griegos antiguos”, Panace@ 19.48, 187-198.Crocker, R. L. (1978): “Remarks on the tuning text UET VII 74 (U. 7/80)”, Orientalia, 47.1, 99-104.Csapo, E. Slater, W. (1995): The context of ancient drama. Ann Arbor, University of Michigan Press.Dimon, Th. (2011): La voz cantada y hablada, Madrid, Gaia Ediciones.García López, J., Pérez Cartagena, J., Redondo Reyes, P. (2012): La música en la antigua Grecia, Murcia, Ediciones de la Universidad de Murcia.Granot R. Y., Israel-Kolatt, R., Gilboa, A. Kolatt, T (2013): “Accuracy of Pitch Matching Significantly Improved by Live Voice Model”, Journal of Voice 27.3, pp. 390.313-390.e20. http://dx.doi.org/10.1016/j.jvoice.2013.01.001Hagel, S. (2010): Ancient Greek Music. A New Technical History, Cambridge, University Press.—(2016): “‘Leading Notes’ in Ancient Near Eastern and Greek Music and Their Relation to Instrument Design”, en Ricardo Eichmann, Lars-Christian Koch Jianjun Fang (Eds.) Studien zur Musikarchäologie X; Vorträge des 9. Symposiums der Internationalen Studiengruppe Musikarchäologie im Ethnologischen Museum der Staatlichen Museen zu Berlin, Rahden/Westf., Leidorf, pp. 133-150.Hulen, L. (2006): “A musical scale in simple ratios of the harmonic series converted to cents of twelve-tone equal temperament for digital synthesis”, WSEAS Transactions on Computers, 5.8, 1713-1719.Husler, F. Rodd-Marling, Y. (1983): Singing: The Phisical Nature of the Vocal Organ, London, Hutchinson Co.Michaelides, S. (1978): The Music of Ancient Greece. An Encyclopaedia, London, Faber and Faber.Pérez Cartagena, F.J. (2006): “ΧΟΡΟΔΙΔΑΣΚΑΛΙΑ. La dirección del coro en el drama ático”, en E. Calderón, A. Morales, M. Valverde (Eds.) KOINÒS LÓGOS. Homenaje al profesor José García López, Murcia, Ediciones de la Universidad Murcia, pp. 785-794. Pérez Cartagena, F.J. (2009): Hefestión: Métrica griega. Aristóxeno: Harmónica-rítmica. Ptolomeo: Harmónica. Introducciones, traducciones y notas de Josefa Urrea Méndez, Francisco Javier Pérez Cartagena y Pedro Redondo Reyes. Madrid, Editorial Gredos.Pianko, G. (1963): “Un comico tributo alla storia della musica greca”, Eos 53, 56-62.Pickard-Cambridge, A., Sir (1968): The Dramatic Festivals of Athens, Oxford, Clarendon Press.Pöhlmann, E. West, M.L. (2001): Documents of Ancient Greek Music. The Extant Melodies and Fragments Edited and Transcribed with Commentary, by Egert Pöhlmann and Martin L. West: Oxford, Clarendon Press.West, M.L. (1994): Ancient Greek Music, Oxford, Clarendon Press.Zarate, J.M., Ritson, C.R. y Poeppel, D. (2013): “The Effect of Instrumental Timbre on Interval Discrimination”, PLoS One; San Francisco Tomo 8, núm. 9. https://journals.plos.org/plosone/article?id=10.1371/journal.pone.0075410
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Petrovic, Ivana, and Andrej Petrovic. "General." Greece and Rome 64, no. 2 (October 2017): 220–38. http://dx.doi.org/10.1017/s0017383517000158.
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If you still haven't chosen a book to take with to the desert island, I have a suggestion: L'encyclopédie du ciel. At 1,202 pages, it will keep you occupied day and night: what you read as text by day will help you read by night in the sky. This wonderful and extremely useful book is as difficult to classify as it is to put down. Essentially, it is a compendium of Greco-Roman discourse on the stars and planets, divided into three parts. The first (‘Les images: histoire et mythologie: voir et raconter’) is about the constellations and the planets. It opens with a catalogue in which each constellation is illustrated, explained, and accompanied with appropriate quotations from Eratosthenes’ Catasterismoi and Hyginus’ Astronomica. There follow essays about the names of the constellations, on the Sun, Moon, and the planets, and one on Greek and Roman creation myths. All are accompanied by long passages of appropriate Greek and Latin texts in translation. The second part of the book (‘Les lois: l'astronomie: observer et calculer’) is about the ancient attempts to make sense of and explain the stars and planets as a system, about calendars, and about ancient astronomical instruments and objects. This part of the book also contains a complete translation of Hipparchus’ Commentary on the Phaenomena of Eudoxus and Aratus. It closes with an account of Greek star catalogues. The third part of the book is concerned with various attempts to interpret the celestial phenomena (‘Les messages: signes et influence: interpréter et prédire’). It includes, but is not restricted to, astrology; philosophical ideas are also discussed, such as astral apotheosis, the ascent of the soul through the sky, and the music of the spheres. There is a dictionary of astronomical and astrological terms and a dictionary of ancient astronomers and authors dealing with astronomy. The book closes with parallel star catalogues of Eratosthenes, Hipparchus, and Ptolemy.
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SMITH, AYANA. "THE MOCK HEROIC, AN INTRUDER IN ARCADIA: GIROLAMO GIGLI, ANTONIO CALDARA AND L'ANAGILDA (ROME, 1711)." Eighteenth Century Music 7, no. 1 (January 21, 2010): 35–62. http://dx.doi.org/10.1017/s1478570609990443.
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ABSTRACTIn 1711 the opera L'Anagilda was performed in the private theatre of Francesco Maria Ruspoli, an important Roman patron of the Arcadian Academy. L'Anagilda's librettist (Girolamo Gigli) and composer (Antonio Caldara) were both associated with this society, but the opera contrasts with the basic goal of Arcadian aesthetics – namely, to reform literature and opera by imitating the structure of ancient Greek tragedy and the stylistic purity of Italian renaissance poets. Rather, Gigli and Caldara created an opera infused with comedy, interspersed with fantastic intermezzos and formulated according to a genre not endorsed by Arcadian literary critics, the mock heroic. This article explores topics related to one central question: why would Gigli and Caldara openly flout the literary precepts of Arcadia? Gigli was a career satirist whose works eventually caused him to be exiled from his native Siena, all of Tuscany and the Papal States, and to be expelled from three major literary academies, the Intronati, the Cruscanti and the Arcadians. Since he continually criticized the organizations to which he belonged for their narrow-mindedness, prejudice and hypocrisy, I contend that L'Anagilda represents a critique of Arcadia. Yet in the process, Gigli also shows the Arcadians that there is more than one path to verisimilitude and the imitation of classical models. Despite the mock-heroic characteristics of the libretto, Gigli adheres to some Arcadian structural requirements, and Caldara's score heightens the characterizations and the overall verisimilitude of the opera.
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Moody, Ivan. "The compass revisited: Rewriting histories of music in the south." Muzikologija, no. 25 (2018): 199–206. http://dx.doi.org/10.2298/muz1825199m.
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The history of music in the countries of Southern Europe has, in general, been examined either from the West or from the East. This has had to do with traditional and univestigated assumptions of divisions on religious and linguistic grounds, amongst others, and a lack of familiarity with the relevant literatures which it self derives in large part from a lack of familarity with the relevant languages. Thus, there has been very little comparison of aesthetics in the context of emerging or newly-established nations, and the vital and simultaneous investigation of modernism in those countries, that takes into account both the countries of the Mediterranean and of the Balkans, rather than viewing them as peripheries and discussing them almost exclusively in relation to a theoretical centre. In a number of recent publications and papers, I have aimed to break down some of the seborders precisely by confronting the question of tradition and modernism and bycomparing and contrasting the music of the Latin/ Roman Catholic South-West with that of the Slavic and Greek/Orthodox East, at the same time endeavouring todiscuss this problem in a very broad sense, which I believe to be necessary in establishing the groundwork for future investigation in this area. In this article I discuss this approach and examine the problems inherent in its implementation, given both the need for breadth of historical and geographical vision (i.e., denationalizing music histories) and for the avoidance of a musicology of cliche, born of ideology rather than unbiased curiosity.
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Oltean, Tatiana. "Béla Bartόk Bluebeard’s Castle – a new Avatar of the Myth of Orpheus?" Musicology Papers 35, no. 1 (November 1, 2020): 52–64. http://dx.doi.org/10.47809/mp.2020.35.01.04.
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Ever since its Greek and Roman mythological and literary sources during Antiquity, the myth of Orpheus has been of paramount importance in the edification of the Artist as a key-character of understanding Music as magic and Love beyond death. Over the course of millennia, the myth has underwent numerous transformations, reflecting cultural and creative views of each period. Up to this day, the myth of Orpheus continues to allure composers` creative imagination. Within the modern and even postmodern tempestuous avatars of the myth in musical creation, the myth stays true to revealing the creator`s inner landscape, his/her reflective searching, and the nature of love between life and death. The current essay proposes a set of correlations between the essential motifs of this ancient myth and the symbols in Béla Bartók`s Bluebeard`s Castle, in a quest for answering the question whether this iconic opera of modernity could be understood, to some extent, as a new avatar of the Orpheus myth.
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Garrido Domené, Fuensanta, and Felipe Aguirre Quintero. "La tradición musical antigua en autores latinos de los siglos VI-VII." Vínculos de Historia Revista del Departamento de Historia de la Universidad de Castilla-La Mancha, no. 12 (June 28, 2023): 222–37. http://dx.doi.org/10.18239/vdh_2023.12.11.
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RESUMENEste artículo está dedicado a los tratados musicales escritos en latín entre los siglos vi y vii. A través de estas páginas se dará una visión concisa, ecléctica y panóptica de autores latinos que vivieron entre estos siglos y que dedicaron su obra o parte de ella a nociones relacionadas con la ciencia harmónica de los antiguos griegos. En este estudio se evidenciará la selección de ciertos aspectos de la teoría musical griega en su paso hasta la Edad Media, como la pérdida paulatina de la cuestión notacional vocal e instrumental, así como la progresiva importancia que fue adquiriendo la rítmica y la métrica en los tratados musicales de esta época. Palabras clave: Boecio, Casiodoro, Isidoro de Sevilla, música griega antiguaTopónimo: EuropaPeríodo: Edad Media ABSTRACTThis article is dedicated to the musical treatises written in Latin between the 6thand 7thcenturies. Throughout these pages there will be given a concise, eclectic and panoptic view of the Latin authors who lived between these centuries and who dedicated their work or part of their work to notions related to the harmonic science of the ancient Greeks. This study aims to show the selection of certain aspects of Greek music theory in its evolution to the Middle Ages, such as the gradual loss of the vocal and instrumental musical notation, as well as the progressive importance that Rhythmics and Metrics were acquiring in the musical treatises of this era. Keywords: Boethius, Cassiodorus, Isidore of Seville, ancient greek musicPlace names: EuropePeriod: Middle Ages REFERENCIASBarbera, A. (1980): The Persistence of Pythagorean Mathematics in Ancient Musical Thought, University of North Carolina-Chapel Hill, Ph. D. Dissertation.Barker, A. (1989): Greek Musical Writings. Vol. II: Harmonic and Acoustic Theory, Cambridge University Press.Barney, S. A., Lewis, W. J., Beach, J. A. y Berghof, O. (2006): The Etymologies of Isidore of Seville, Cambridge University Press.Bower, C. M. (1978): “Boethius and Nicomachus: An Essay Concerning the Sources of the De Institutione Musica”, Vivarium 16, pp. 1-45.—(1989): Fundamentals of Music. Anicius Manlius Severinus Boethius translated, with Introduction and Notes, Yale University Press.— (2008): “The transmission of ancient music theory in to the Middle Ages”, en Th. Christensen (ed.), The Cambridge History of Western Music Theory, Cambridge University Press, pp. 136-167.Caldwell, J. (1981): “The De institutione arithmetica and the De institutione musica”, en M. Gibson (ed.), Boethius. His Life, Thought and Influence, Oxford, Blackwell, pp. 135-154.Chadwick, H. (1981): Boethius. The Consolations of Music, Logic, Theology, and Philosophy, Oxford University Press.Condorelli, A. (2005): “Nota su Cassiodoro (Inst. 2, 5, 2/3)”, Wiener Studien 118, pp. 183-192, tiny.cc/60posz (Consulta: 30-03-2021).Courcelle, P. (1948): Les lettres grecques en Occident. De Macrobe à Cassidore, Paris, E. de Boccard.— (1969): Late Latin Writers and Their Greek Sources, Harvard University Press.— (1973): “Ambroise de Milan et Calcidius”, en W. den Boer, P. G. van der Nat y Ch. M. J. Sicking, Romanitas et Christianitas: Studia Iano Henrino Waszink A. D. VI Kal. Nou. A. MCMLXXIII XIII lustra complenti oblata, Amsterdam, North-Holland, pp. 45-53.Cristante, L. (1987): Martiani Capellae De Nuptiis Philologiae et Mercurii Liber IX, Padova, Ed. Antenore.Dick, A. (1978): Martianus Capella, ed. stereotypa correctior editionis anni 1925, addenda et corr. iterum adiecit Jean Préaux, Stutgardiae, Teubner.Friedlein, G. (1867): Anicii Manlii Torquati Severim Boetii De institutione arithmetica libri duo, De institutione musi ca libri quinque; accedit Geometria quae fertur Boetii, Leipzig.Fubini, E. (1976): L’estetica musicale dall’antichità al Settecento, Torino, Giulio Einaudi.Garrido Domené, F. (2012): “Lo que vibra es el yunque: análisis de Nicom. Harm. VI, pp. 245.18-248.26”, Cuadernos de Filología Clásica: Estudios griegos e indoeuropeos 22, pp. 127-140.— (2016): Los teóricos menores de la música griega, Barcelona, Cerix.— (2018): “Límites del léxico musical latino: Nicómaco de Gerasa en Boecio”, Latomus 77, pp. 365-382.Garrido Domené, F. y Aguirre Quintero, F. (2016): “La tradición musical antigua en autores latinos tardíos: siglos iii-v”, Littera Aperta 4, pp. 37-63.Gómez Muntané, M. C. (2001): La música medieval en España, Kassel, Edition Reichenberger.Gibson, M. (ed.) (1981): Boethius. His Life, Thought and Influence, Oxford, Blackwell.Grebe, S. (1993): “Die Musiktheorie des Martianus Capella: eine Betrachtung der in 9, 921-935 benutzten Quellen”, International Journal of Musicology 2, pp. 23-60.— (1999): Martianus Capella, De nuptiis Philologiae et Mercurii, Darstellung der Sieben Freien Künste und ihrer Beziehungen zueinander, Stuttgart-Leipzig.Guillaumin, J.-B. (2011): Martianus Capella, Les noces de Philologie et de Mercure. Livre IX: L’Harmonie, Paris, Les Belles Lettres.Gushee, L. (1973): “Questions of Genre in Medieval Treatises on Music”, en E. L. Wulf y H. Oesch, Gattungen der Musik in Einzeldarstellungen, Gedenkschrift Leo Schrade, vol. I, Bern-München, Francke, pp. 365-433.Kaylor, N. H. y Phillips, P. E. (eds.) (2012): A Companion to Boethius in the Middle Ages, Leiden, Brill.Kirkby, H. (1981): “The Scholar and his Public”, en M. Gibson (ed.), Boethius. His Life, Thought and Influence, Oxford, Blackwell, pp. 44-69.Lindsay, W. M. (1911): Isidori Hispalensis Episcopi Etymologiarum sive Originum libri XX, Oxford.Luque Moreno, J., Fuentes, F., López, C., Díaz, P. R. y Madrid, M. (2009): Boecio. Sobre el fundamento de la música, Madrid, Gredos.Lynch, C. H. y Galindo, P. (eds.) (1950): San Braulio, obispo de Zaragoza (631-651). Su vida y sus obras, Madrid, CSIC.Matthews, J. (1981): “Anicius Manlius Severinus Boethius”, en M. Gibson (ed.), Boethius. His Life, Thought and Influence, Oxford, Blackwell, pp. 15-43.Mathiesen, Th J. (1998): Strunk’s Source Readings in Music History, Vol. I, Greek View of Music, New York.— (2000): Apollo’s Lyre. Greek Music and Music Theory in Antiquity and the Middle Ages, University of Nebraska Press.Michaelides, S. (1978): The Music of Ancient Greece. An Encyclopaedia, London, Faber and Faber.Mynors, R. A. B. (ed.) (1937): Cassiodori senatoris institutiones, Oxford, The Clarendon Press, goo.gl/EHUoPH (Consulta: 12-02-2021).Navarro Antolín, F. (2016): Marciano Capela, las nupcias de Filología y Mercurio, vol. I. Libros I-II: Las bodas místicas, Introducción, edición crítica, traducción y notas, Madrid, Alma Mater-CSIC.O’Donnell, J. J. (1969): Cassiodorus, University of California Press.Obertello, L. (1974): Severino Boezio, 2 vols., Genova, Accademia Ligure di Scienze e Lettere.Oroz Reta, J., Marcos Casquero, M. A. y Díaz y Díaz, M. C. (eds.) (2004): San Isidoro de Sevilla. Etimologías, Edición bilingüe, Madrid, Biblioteca de Autores Cristianos. Pizzani, U. (1965): “Studi sulle fonti del De institutione musica di Boezio”, Sacris erudiri 16, pp. 5-164.— (1982): “Una ignorata testimonianza di Ammonio di Ermia sul perduto Opus maius di Nicomaco sulla musica”, en Studi in onore di Aristide Colonna, Perugia, Ist. di Filol. Class., pp. 235-345.Ramelli, I. (2001): Marziano Capella, Le nozze di Filologia e Mercurio, Introduzione, traduzione, commento e appendici, Milano, Bompiani.Schrade, L. (1947): “Music in the Philosophy of Boethius”. Musical Quarterly 33, pp. 188-200.Stahl, W. H., Johnson, R. y Burge, E. L. (1971): Martianus Capella and the Seven Liberal Arts. Volume I: The Quadrivium of Martianus Capella. Latin Traditions in the Mathematical Sciences, 50 B.C.-A.D. 1250, with a Study of the Allegory and the Verbal Disciplines, Columbia University Press.— (1977): Martianus Capella and the Seven Liberal Arts. Volume II: Marriage of Philologie and Mercury, Columbia University Press.Villegas Guillén, S. (2005): Boecio. Tratado de música, Madrid, Ediciones Clásicas.Wille, G. (1967): Musica Romana, Amsterdam, P. Schippers N.V.Willis, J. A. (1983): Martianus Capella, Leipzig, Teubner.Zekl, H. G. (2005): Martianus Capella: Die Hochzeit der Philologia mit Merkur. De nuptiis Philologiae et Mercurii, Würzburg, Königshausen Neumann.
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David, A. P. "Cantando o Feitiço de Homero: O Fim da Poética Oralista (Prefácio)." Dramaturgias, no. 24 (December 30, 2023): 315–26. http://dx.doi.org/10.26512/dramaturgias24.52134.
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We did not use to know how the prosody of Greek words interacted with Greek metres. With the arrival of the new theory of the Greek accent, now we do. The ignoring of the seemingly irrelevant accent marks in texts seems to have led not to the realisation that all we could know, sadly, about the sound and performance of Greek poetry was its metre, but to the delusion that metre was all there was to know. The level of discovery newly achieved in the texture and the nature of Homeric composition is truly astounding, even to the author. There is no embarrassment, however, because he can take no credit for the content of the treasury: the new law of tonal prominence is merely the key to opening a long silent vault, hidden in plain sight in the accentual notation of East Roman manuscripts. There are now unmistakable proofs—for so they should be called—of Homer’s musical intent and design. The implications for any theory of Homeric composition, and indeed any assessment of his artistic arsenal, can find no bottom, once these findings see the light of day. Most egregious is the hypothesis of an oral tradition shaping composition via purely metrical formulas, with no role whatsoever to be played by the manifest tonal phenomena recorded in the manuscripts. Penelope’s circumflexes, and her special circumflected motif, are a sight and a sound that can no longer be unseen, or unheard in their wake. Odysseus also is discovered to have a distinctive accentual motif (Chapter 11). Let the implications sink in like a down- glide in your voice: there is new music on the radio, and Homer must be heard as if for the first time.
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Hemetek, Ursula, Dick Blau, Charles Keil, Angeliki Vellou Keil, and Steven Feld. "Bright Balkan Morning. Romani Lives & the Power of Music in Greek Macedonia." Lied und populäre Kultur / Song and Popular Culture 47 (2002): 215. http://dx.doi.org/10.2307/3595196.
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Kavouras, Pavlos. "Bright Balkan Morning: Romani Lives and the Power of Music in Greek Macedonia." Ethnomusicology 50, no. 1 (January 1, 2006): 154–57. http://dx.doi.org/10.2307/20174432.
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Jon, Bumsoo. "시적 영감과 철학적 절제:키츠의 하이페리온 시편에 나타난 메타시적 암시." Criticism and Theory Society of Korea 27, no. 3 (October 31, 2022): 315–32. http://dx.doi.org/10.19116/theory.2022.27.3.315.
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If Hyperion centers on the contrasting fates of Hyperion and Apollo—gods associated with music, poetic inspiration, truth and prophecy—the primary themes of power, loss, struggle, and suffering can be read metaphorically as metapoetic allusions to the succession of literary generations, articulating the nature of poetry and writing. When rewriting his unfinished Greek fragments into a first-person narrative in 1819, John Keats conducts a major reassessment of Moneta’s role in the project, the Roman equivalent of Mnemosyne, the goddess of memory and the mother of the Muses. He redefines Moneta’s relation to the poet-narrator, the poem’s main protagonist who is engaged in an increasingly self-conscious quest for knowledge of his true self and merits and who eventually undergoes a radical transformation into a superior Olympian god of music and poetry, replacing his Titanic predecessor. The goddess of memory and oral culture embodies an alternative discourse surprisingly decentered and polyvocal in nature. The conventional assumption that writing is a product of the solitary genius is obscured now by an interwoven fabric of discussion, feedback, narrative interventions, negotiations, and textual instability. In so doing, the second-generation English Romantic refutes the assumption that poetic power is a product of a heroic mind and philosophical solipsism rather than a result of a dialogic quest for knowledge.
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Grzywaczewski, Józef. "Radość Sydoniusza Apolinarego z tego, że filozofia służy teologii." Vox Patrum 58 (December 15, 2012): 315–24. http://dx.doi.org/10.31743/vp.4081.
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The article shows Sidonius Apollinaris’ admiration for all intellectual activities. For example he congratulated Faustus of Riez after reading his book „On the Holy Spirit”. In all the Sydonius’ writings one can see that he has always had a lot of respect for poets and writers as Lampridius or to scholars as Phoebus. In the context of the fall of the Roman Empire Sidonius really appreciated those who reach for the teachings of ancient philosophy, rhetoric, astronomy and music in the proclamation of the Gospel. So Claudianus Mamertus, author of the book „De statu animae” did. According to Sidonius he was a great master of the three cultures: Roman, Greek and Christian. In the works of Sidonius we can see a gradual transition from the vision of the Empire as a political power to the vision of the Church as a spiritual power. In this context, he gladly stated that the Plato’s Academy was working for the Church of Christ. For this reason, he appreciated each quotation from pagan’s works in Christian works. Polish reader can see common elements in Sidonius and Sienkiewicz: both writers were living in a difficult political situation, the home of the two was ruled by foreign rulers: both writers set themselves the same goal – to write to encourage hearts with glorification of excellent people. Both writers wanted to help people get out of the crisis and to lay the foundations for a better future.
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Vendries, Christophe. "Questions d’iconographie musicale: L’apport des terres cuites à la connaissance de la musique dans l’Égypte hellénistique et romaine." Greek and Roman Musical Studies 1, no. 1 (2013): 195–227. http://dx.doi.org/10.1163/22129758-12341243.
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Abstract The Graeco-Egyptian terracottas produced during the Ptolemaic and Roman period provides good material for investigating musical life in Egypt. The majority of the Fayum terracottas have been found in tombs, or in private houses as sources of protection and good luck. Most of the motifs are original by comparison with the other terracotta work of the ancient world. Many musicians (aulos or syrinx players, harp players, women with drum or crotala) and dancers are shown among deities (mainly Harpocrates, Isis and Bès) and other cult celebrants in religious festivals. Cult practice is a common theme (we can see priests, prayers, wine and animals for sacrifice) and musicians provided performances during procession and festivals. The musician is associated with the cult by his crown (lotus-bud diadem or floral crown) and by the amphora at his feet, and most of them are ithyphallic, thus connoting prosperity. These pieces present an opportunity to investigate the connection between Egyptian and Greek traditions and to compare the motifs with papyrological and textual testimonies about music.
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Levy, Mark. "Bright Balkan Morning: Romani Lives and the Power of Music in Greek Macedonia (review)." Notes 61, no. 1 (2004): 142–45. http://dx.doi.org/10.1353/not.2004.0106.
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Holst-Warhaft, Gail. "Bright Balkan Morning: Romani Lives and the Power of Music in Greek Macedonia (review)." Journal of Modern Greek Studies 22, no. 2 (2004): 210–12. http://dx.doi.org/10.1353/mgs.2004.0011.
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Champ, Judith F. "Goths and Romans: Daniel Rock, Augustus Welby Pugin, and Nineteenth-Century English Worship." Studies in Church History 35 (1999): 289–319. http://dx.doi.org/10.1017/s0424208400014091.
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The Chant or music used by the Papal choir, and indeed in most Catholic cathedrals and abbey churches is, excepting in some instances, ancient. Gregory the Great collected it into a body and gave it the form in which it now appears, though not the author of it. The chant of the psalms is simple and affecting, composed of Lydian, Phrygian and other Greek and Roman tunes, without many notes, but with a sufficient inflection to render them soft and plaintive or bold and animating…. This ancient music which has long been known by the name of the Gregorian chant, so well adapted to the gravity of divine service, has been much disfigured in the process of time by the bad taste of the middle and the false refinements of the latter ages. The first encumbered it with an endless succession of dull unnecessary notes, dragging their slow length along, and burthening the ear with a dead weight of sound; the other infected it with the melting airs, the laboured execution, the effeminate graces of the orchestra, useless to say the least even in the theatre, but profane and almost sacrilegious in the church. Some care seems to have been taken to avoid these defects in the papal choir. The general style and spirit of the ancient and primitive music have been retained and some modern compositions of known and acknowledged merit, introduced on stated days and in certain circumstances. Of musical instruments, the organ only is additional in St Peters, or rather in the Papal chapel, and even then not always: voices only are employed in general, and as those voices are numerous, perfect in their kind, and in thorough unison with one another, and as the singers themselves are concealed from view, the effect is enchanting and brings to mind ‘the celestial voices in full harmonic number joined’ that sometimes reached the ears of our first parents in paradise, and ‘lifted their thoughts to heaven’.
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Марат Рафаэлевич, Ингельдеев,, and Яковлева, Татьяна Олеговна. "Elena Rykova's “101% mind uploading”: On the Materialism, Theatre and Sonic Resonance." Музыкальная академия, no. 4(780) (December 26, 2022): 134–45. http://dx.doi.org/10.34690/275.
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Настоящий текст является расшифровкой беседы о пьесе «101% mind uploading» композитора Елены Рыковой, состоявшейся на «антиконференции» Gnesin Contemporary Music Week 2021. Пьеса находится на стыке жанровых границ, представляя собой музыкальный перформанс, в котором исполнители проводят «операцию над роялем». В основном выступлении музыковед Марат Ингельдеев задается вопросом о том, как некоторые из теорий нового материализма, в том числе предложенные Биллом Брауном и Джейн Беннетт, могут находить отражение в проблематике тактильности и физического в пьесе Рыковой. Театровед Екатерина Кострикова и музыковед Анастасия Кожевникова предлагают трактовки произведения через призму перформативного и театрального восприятия, находя параллели с античным театром и ритуальностью восточных культур. Модератор и музыковед Татьяна Яковлева рассуждает о природе жанровой принадлежности «101% mind uploading» в сравнении с музыкой Джона Кейджа и Маурисио Кагеля. Участники приходят к выводу об особом значении понятия звукового резонанса в творчестве Рыковой. This text is a transcript of a discussion, which took place during the Gnesin Contemporary Music Week 2021 anti-conference, on the musical piece 101% mind uploading, written by the composer Elena Rykova. The work is situated at the intersection of genres, being a musical performance art piece, in which the performers carry out a "surgery on the piano.” In the main section, musicologist Marat Ingeldeev explores how some of the new materialism theories, including the ones by Bill Brown and Jane Bennett, can be reflected in the issues of tactility and physicality in the composer's work. Theatre expert Ekaterina Kostrikova and musicologist Anastasiya Kozhevnikova propose some interpretations of the work through the lens of performative and theatrical perception, finding parallels with ancient Greek and Roman theatre traditions and the rituals of east Asian cultures. Discussion moderator and musicologist Tatyana Yakovleva speaks about the nature of genre labelling, comparing it with the music of John Cage and Mauricio Kagel. The participants come to some conclusions, regarding the special significance of Rykova's concept of sonic resonance.
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MANOS, IOANNIS. "Review: Bright Balkan Morning: Romani Lives and the Power of Music in Greek Macedonia by Charles Keil, Angeliki Vellou Keil." Journal of the American Musicological Society 59, no. 2 (2006): 513–18. http://dx.doi.org/10.1525/jams.2006.59.2.513.
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Barbera, Andre. "Die Musik des Altertums . Albrecht Riethmuller , Frieder Zaminer . Die Musik des Altertums. "Neues Handbuch der Musikwissenschaft", Vol. 1 . Carl Dahlhaus . Music in Greek and Roman Culture . Giovanni Comotti , Rosaria V. Munson . Stringed Instruments of Ancient Greece . Martha Maas , Jane McIntosh Snyder . Ancient Greek Music Theory: A Catalogue Raisonne of Manuscripts. "Repertoire international des sources musicales", Vol. B 11 . Thomas J. Mathiesen ." Journal of the American Musicological Society 43, no. 2 (July 1990): 353–67. http://dx.doi.org/10.1525/jams.1990.43.2.03a00040.
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Barbera, André. "Review: Die Musik des Altertums by Albrecht Riethmüller, Frieder Zaminer; Die Musik des Altertums. Neues Handbuch der Musikwissenschaft, Vol. 1 by Carl Dahlhaus; Music in Greek and Roman Culture by Giovanni Comotti, Rosaria V. Munson; Stringed Instruments of Ancient Greece by Martha Maas, Jane McIntosh Snyder; Ancient Greek Music Theory: A Catalogue Raisonné of Manuscripts. Neues Handbuch der Musikwissenschaft, Vol. B 11 by Thomas J. Mathiesen." Journal of the American Musicological Society 43, no. 2 (1990): 353–67. http://dx.doi.org/10.2307/831617.
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Przybyszewska-Jarmińska, Barbara. "The Polish Contribution to Central European Musical Culture in the Seventeenth Century. The Case of Marcin Mielczewski." Musicological Annual 40, no. 1-2 (December 17, 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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Perrot, Sylvain. "The Musical Culture of the Western Greeks, according to Epigraphical Evidence." Greek and Roman Musical Studies 2, no. 1 (January 28, 2014): 99–123. http://dx.doi.org/10.1163/22129758-12341254.
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AbstractInscriptions concerning musicians in and from Magna Graecia illuminate the musical life of the Western Greeks. There are chronological restrictions; all the inscriptions were written in the Hellenistic and Roman periods, none in Archaic and Classical times. We shall consider resemblances and differences between them and those of mainland Greece and Asia Minor, and relationships between Magna Graecia and Rome. Many inscriptions are honorific decrees for victors in local and Panhellenic musical contests, notably at Delphi. Others are lists of participants, whose commonest musical specialisms were also, perhaps, the most popular. Some reveal the functions of musicians in sanctuaries. Funerary inscriptions, not always evoking the music of the elites, mention composers as well as performers, identifying their gender, age and social status. Some are in verse, elucidating the Western Greeks’ conception of µουσική itself, and their poetic techniques for expressing on a stone the feelings of a musical soul.
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EL SHAMI, Alissar. "INFLUENCE OF CULTURAL TOURISM IN THE ECONOMIC AND SOCIAL GROWTH IN LEBANON." RIMAK International Journal of Humanities and Social Sciences 05, no. 06 (November 1, 2023): 114–27. http://dx.doi.org/10.47832/2717-8293.26.7.
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Lebanon enjoys a geographical location, a rich, and distinctive cultural history, attracting tourists from different regions around the world. Lebanon’s cultural heritage is reflected in the archaeological sites that reflect the Phoenician, Greek, and Roman civilizations, among others. Lebanon has an ancient history that left its mark on its culture, and cultural tourism in Lebanon can help it rise from the economic and social crises that it has suffered from since the fall of 2019. Cultural tourism is an important product in the international tourism market, it is a tourist activity that allows the visitor to learn and discover cultural aspects material and non-material including arts and architecture historical and cultural heritage food heritage literature, and music industries festivals, and museums, and exhibitions and national parks and wildlife reserves and religious places and temples and churches. Cultural tourism contributes to enhancing the identities of communities, enhancing communication between cultures, preserving the heritage and culture of the region, as well as contributing to the development of multiple economic sectors, such as agriculture,handicrafts, and creative industries, and leads to diversifying the local economy and reducing its dependence on other sources of income. This research paper aims to answer the following question: How can cultural tourism contribute to the economic and social recovery of Lebanon? By answering this question, this paperwill delve into researching the solutions that the Lebanese state must take to enhance cultural tourism in Lebanon