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Relevant bibliographies by topics / Lux Aeterna

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Academic literature on the topic 'Lux Aeterna'

Author: Grafiati

Published: 4 June 2021

Last updated: 3 February 2022

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Journal articles on the topic "Lux Aeterna"

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Trdan, Primož. "Lux aeternas by Two Composers: Sacred and Profane in the Context of Genre Individualisation." Musicological Annual 50, no. 2 (April 3, 2015): 273–78. http://dx.doi.org/10.4312/mz.50.2.273-278.

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Two pieces, both titled Lux aeterna, are works by György Ligeti and contemporary Slovenian composer Tadeja Vulc. The paper offers some thoughts on two pieces through the notion of genre. This point of view seems appropriate on account of Ligeti’s distinctive treatment of the sacred text, but even more on account of Tadeja Vulc’s work, a symphonic piece, which includes whispering the first words of Lux aeterna. This raises several questions, yet the main dilemma is how it came to be possible that pieces which originate from the genre realm of profane can easily embrace both title and text that used to mark a communio of a requiem mass.

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Roeder, John. "Pitch and Rhythmic Dramaturgy in Verdi's Lux aeterna." 19th-Century Music 14, no. 2 (October 1990): 169–85. http://dx.doi.org/10.1525/ncm.1990.14.2.02a00040.

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Fechete, Ioana. "January – Joseph Achille Le Bel, lux aeterna of stereochemistry." Comptes Rendus Chimie 19, no. 1-2 (January 2016): 3–9. http://dx.doi.org/10.1016/j.crci.2016.01.003.

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Matveev, Nikolai, and Kirill Shamritskiy. "The impact of restorative audio-visual environment learning on the stress." SHS Web of Conferences 43 (2018): 01007. http://dx.doi.org/10.1051/shsconf/20184301007.

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The experiment, conducted in the laser theater Lux Aeterna on the basis of the ITMO University, was aimed at testing the hypothesis about the positive effect of dynamic audio-visual content on the psycho-emotional state of a person and her academic progress after a long period of exposure. Both groups underwent a lengthy Bourdon test and a Shcherbatyh test for the learning stress. Only the participants who passed the laser theater session improved their productivity in the performance of monotonous work in the further passage of the test and showed a significant decrease in the level of general learning stress at the end of the experiment. Correlations between the level of learning stress and academic progress were not found. The use of sessions of dynamic audio-visual content based on the laser theater Lux Aeterna can be considered as an alternative relaxation method that allows changing the level of learning stress in people, increasing productivity in the performance of monotonous work and improve general well-being.

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Cano Palomo, Alejandro. "La música de Ligeti en Secundaria a través de 2001: Una Odisea del Espacio." Popular Music Research Today: Revista Online de Divulgación Musicológica 2, no. 2 (October 14, 2020): 61–78. http://dx.doi.org/10.14201/pmrt.23715.

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El trabajo llevado a cabo en esta investigación se centra en el uso de los medios audiovisuales como recurso didáctico en el aula de música de la enseñanza secundaria española, así como la música del compositor húngaro G. Ligeti (1923-2006) y el uso de sus partituras en la película 2001: Una odisea del espacio (1968) del director Stanley Kubrick (1928-1999). Tras la parte de investigación, se presenta una propuesta didáctica para el resto de la comunidad educativa, de posible aplicación a la hora de abordar la música de Ligeti y el concepto de música textural a través de la cinta de Kubrick y las piezas musicales Requiem, Lux Aeterna y Atmosphères, con materiales de elaboración propia.

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LEVY, BENJAMIN R. "‘Rules as Strict as Palestrina's’: The Regulation of Pitch and Rhythm in Ligeti's Requiem and Lux aeterna." Twentieth-Century Music 10, no. 2 (August 12, 2013): 203–30. http://dx.doi.org/10.1017/s1478572213000029.

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AbstractGyörgy Ligeti has stated that his micropolyphonic compositions were ‘governed by rules as strict as Palestrina's’ (Ligeti 1983, 14); some of these rules are preserved directly in his sketches and others can be derived from the compositions themselves. This article discusses the artistic context in which Ligeti developed systems of rules for individual compositions, and investigates in depth the composer's rules for the organization of pitch and rhythm in two of his seminal works from the 1960s, transmitting the explicit rules for pitch in sketches for the ‘De die judicii’ movement of the Requiem and uncovering implicit rules for rhythm in Lux aeterna. By examining both the rules and their application in composition, with the exceptions that arise therein, we come to a better understanding of the aesthetic goals Ligeti's rules were devised to meet, and the balance of stricture and freedom that was essential to the composer's persona.

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Supponen, Lauri. "In A Deepening Light: Musica nova Helsinki 2017." Tempo 71, no. 281 (June 21, 2017): 96–98. http://dx.doi.org/10.1017/s0040298217000390.

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As the audience's rustling quietens along with the memories of everyday pulses, ethereal sounds appear. We are at Helsinki's iconic Rock Church, on the eighth night of the biennial Musica nova festival for contemporary music. The Helsinki Chamber Choir sound the first, lingering lines of György Ligeti's Lux Aeterna from the balcony, behind the audience. The peculiar acoustics give the illusion that the choir is hidden in between the crevasses and cracks of the stone wall in front. The listener is surrounded. Marvellously kept together by Nils Schweckendiek, the singers transform the colour of their voices into sine-tones and oboes in a strangely soothing way. This rendition now somewhat more present than the night before, when the choir echoed the same micropolyphonic lines across the aula of the Kiasma art museum. There the cool distance of the work really spoke in a mesmerising way, with an unreachable caress.

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DePrano, Maria. "Lux Aeterna: Commemoration of Women with Candles in the Santa Maria Novella Book of Wax in Fifteenth-Century Florence." Early Modern Women: An Interdisciplinary Journal 6 (September 1, 2011): 165–72. http://dx.doi.org/10.1086/emw23617331.

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Hopman, Nicholas. "Luther’s Antinomian Disputations and lex aeterna." Lutheran Quarterly 30, no. 2 (2016): 152–80. http://dx.doi.org/10.1353/lut.2016.0034.

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Prazeres, Paulo Joviniano Alvares dos, Juliana Karla Pajeu, and Francisco Caetano Pereira. "Lex Aeternam e Lex Temporalem: do direito fundamental à educação inclusiva." Revista Científica Multidisciplinar Núcleo do Conhecimento 02, no. 12 (December 11, 2019): 52–66. http://dx.doi.org/10.32749/nucleodoconhecimento.com.br/lei/lex-aeternam.

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Dissertations / Theses on the topic "Lux Aeterna"

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MOSELEY, BRIAN CHRISTOPHER. "INTEGRATING ANALYTICAL ELEMENTS THROUGH TRANSPOSITIONAL COMBINATION IN TWO WORKS BY GEORGE CRUMB." University of Cincinnati / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1187014156.

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Krystal, Kuhns R. "Organizational Principles in Two of George Crumb's Chamber Works with Flute: Madrigals, Book II and Federico's Little Songs for Children." Kent State University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=kent1309128280.

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"Lux Aeterna for Four Voices and Chamber Orchestra." Doctoral diss., 2019. http://hdl.handle.net/2286/R.I.53576.

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abstract: Lux Aeterna is scored for Flute (Piccolo), Bb Clarinet (Bass Clarinet), Oboe, Bassoon (Contra-Bassoon), French Horn, Trumpet in C, Tenor Trombone, Soprano Voice, Alto Voice, Tenor Voice, Bass Voice, 2 Violins, Viola, Cello and Double Bass. The piece lasts 17-18 minutes. The text, in its original Latin, is from the Requiem Mass. The pitch material for the four voices is directly derived from the original Gregorian Chant (B, C#, D, E, F#, G, A). The primary pitch materials for the instrumental ensemble are drawn from the overtone series, with the fundamental of B natural. As found in the natural overtone series, the chords produced in this composition include microtones found both naturally from the series along with microtones added by the composer to create harmonic friction. This treatment of microtonal materials is juxtaposed with the “pure” nature of the B minor modal scale sung by the 4 vocalists. Lux Aeterna uses the performance space so that the sixteen performers and conductor surround the audience in an oval shape. Entrances of instruments are determined by their position around the audience and the way in which those sounds interact with one another across the space of the hall. The instruments are strategically placed so that timbres can be balanced in a specific way and the listener can hear the pitches blend in the acoustics of the hall. The goal is to create an immersive listening experience for the audience. Although there are some spectral techniques involved in this composition, no computers or software programs were used to analyze harmonic materials. The pitch material is either from the overtone series or the B minor scale. Essentially, the music is instinctually composed.
Dissertation/Thesis
Doctoral Dissertation Music 2019

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CHEN, YU-AN, and 陳昱安. "Music Analysis and Exploration of George Crumb’s “Lux Aeterna”." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/99182154735923062022.

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碩士
東吳大學
音樂學系
104
Since the mid-twentieth century, George Crumb (1929- ) is one of the most influential composers of American Contemporary Music. In his works, the place of having the utmost artistic charm is nothing better that the expression of the timbre. occupies a place among the American contemporary composers, and he has successfully come on the international musical stage. The process of exploring the work in this thesis is to first make an initial understanding of Crumb's life and his creative career in each period, and then study further the related music basic elements from " Lux Aeterna ", such as lyrics,timbre, pitch and rhythm. By George Crumb research to understand how the musical performance to new creative way.

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Monteiro, Pedro Miguel Pereira. "Ordem, caos e percepção : modelo teórico e analítico para Lux aeterna de György Ligeti." Doctoral thesis, 2012. http://hdl.handle.net/10400.14/13266.

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A nossa proposta, Ordem, Caos e Percepção – Modelo teórico e analítico para Lux aeterna de György Ligeti, é baseada em três grandes eixos. No primeiro, apresentamos uma reflexão especulativa sobre as relações, lineares e não lineares, que fundam e orientam a percepção do objecto musical em níveis dimensionais e analíticos. No segundo, estabelecemos o exemplo que serve de referência ao nosso estudo, Lux aeterna, determinando e contextualizando a nossa metodologia de análise. Daí partimos para uma análise formal detalhada, baseada na percepção, e estabelecida desde a sua superfície audível, delimitada pelos conceitos de macro e micro estrutura. Finalmente, no terceiro, apurando as limitações dos modelos analíticos tradicionais, fazemos uso do nosso próprio modelo teórico, revelando a estrutura da obra, a partir da iteração fractal de um único movimento - arsis-thesis - em toda a sua forma. Em consequência, o terceiro eixo oferece mais do que uma conclusão. Para além de apurar uma síntese da informação recolhida, nele configuramos um novo modelo de análise o qual tem em conta, não só a especificidade da percepção, desde o evento à forma, mas a materialidade específica da própria música. Por isso, esta materialidade, como fenómeno sonoro, contemplada através dos seus processos estruturais próprios, exclusivamente musicais, depende das circunstâncias específicas da sua experiência, decorrendo naturalmente do espaço-tempo que a enquadra. A inspiração básica do trabalho proposto advém, pois, de uma abordagem duplamente interdisciplinar. Por um lado, cruza diversos ramos do conhecimento científico, designadamente, as ciências exactas com a matemática, a física, a Teoria do Caos ou a topologia, mas também a própria teoria e análise musicais, de onde faz emergir um novo conjunto de conceitos e uma metodologia inovadora. Por outro, procura entender a música como uma actividade prática mas necessariamente teórica, uma vez que, ao músico, como artista, é indispensável o conhecimento do objecto da sua obra, do seu processo criativo e da reflexão sobre o que lhe serve de suporte. Neste sentido, é relevante a experiência directa da materialidade da obra, através da sua audição. Todavia, como fica demonstrado no exemplo prático da preparação de uma ensaio para a obra, a teoria fundamenta uma análise que, por sua vez, se torna eficaz e reveladora do conjunto de processos que descrevem as relações de complexidade entre o resultado audível do objecto sonoro e o seu processo, relevando a quem ouve, activa ou passivamente, a beleza de ambos. Decorrente deste facto, vemos como Lux aeterna levanta um conjunto de questões teóricas e analíticas, relacionadas com a sua complexidade estrutural. De resto, estes problemas não são verificados apenas nesta obra mas num vasto domínio de sistemas dinâmicos, humanos e naturais. Esta complexidade, abordada na Teoria do Caos, resulta não apenas do objecto musical, em si, mas também, e sobretudo, das características intrinsecamente complexas advindas da sua percepção, nas quais se separam, pela natureza do mecanismo conceptual, processo e resultado.

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Němec, Ronald. "Ochrana osobnosti z hlediska právní filozofie a platného práva." Doctoral thesis, 2013. http://www.nusl.cz/ntk/nusl-327428.

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PROTECTION OF PERSONALITY IN SCOPE OF LEGAL PHILOSOPHY AND APPLICABLE LAW 1. Summary We can see law from two main perspectives. Law is either complex of written regulations, which are prepared by human beings based on some interests or it is a complex of rules, which altough are written, but its nature are originating from higher normative system. First is a present perspective. Current law science is prefering valid law as complex of regulations published in statute book. What is not banned by law, is allowed. Though this law philosophy is leading to instability in society. Every year legislator is making hundreds of amendements and create new laws to cover new circumstances which appear in the society. Despite legislator effort is society further unsatisfied with legal state. Society claims that law is enforceable for those who are able to hire big law firms, which can find neccesary grey areas. Immanuel Kant among the first draw a problem between legality and legitimacy. But it is not only matter of legislator whether he acts legitimately or legally, but as well as of receiver of law norm. Is every legal act of the recepient of the legal order of the Czech Republic legal as legitimate? Legal yes, if in conformity with legal order. But is it even legitimate? And is it moral? For juspositivism is...

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Books on the topic "Lux Aeterna"

1

Thomas, Lindemann, Renftle Barbara, Catholic Church. Diocese of Rottenburg am Neckar (Germany). Diözesanmuseum, and Galerie Schloss Mochental, eds. Nikolaus Betscher: Agnus Dei, Remember me, Requiem aeternam, Anrufung, Der grosse Tag, Magnificat, De profundis clamavi, Abgeschlagen von der Zeit, Der Weg ins Exil, Lux aeterna, Kyrie : [anlässlich der Ausstellung "Hermann Weber. Nikolaus Betscher (1745-1811), Bilder, Zeichnungen, Objekte" vom 28. November 2008 bis 16. Januar 2009 im Priesterseminar/Diözesanmuseum Rottenburg am Neckar : 2009, Galerie Schloss Mochental, Change-die Hoffnung stirbt zuletzt]. [Karlsruhe]: Info Verlag, 2009.

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Hermann, Weber. Nikolaus Betscher: Agnus Dei, Remember me, Requiem aeternam, Anrufung, Der grosse Tag, Magnificat, De profundis clamavi, Abgeschlagen von der Zeit, Der Weg ins Exil, Lux aeterna, Kyrie : [anlässlich der Ausstellung "Hermann Weber. Nikolaus Betscher (1745-1811), Bilder, Zeichnungen, Objekte" vom 28. November 2008 bis 16. Januar 2009 im Priesterseminar/Diözesanmuseum Rottenburg am Neckar : 2009, Galerie Schloss Mochental, Change-die Hoffnung stirbt zuletzt]. [Karlsruhe]: Info Verlag, 2009.

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Lauridsen, Morten. Lux aeterna. 1997.

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Harvey, Jamison D. Lux Aeterna: Constants. CreateSpace Independent Publishing Platform, 2012.

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Kokkonen, Joonas. Lux Aeterna: Organ Solo. Boosey and Hawkes, 2004.

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Tuairisc, Eoghan Ó. Lux Aeterna agus danta eile. Cois Life Teoranta, 2000.

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Lux Humana, Lux Aeterna: Essays on Biblical and Related Themes in Honour of Lars Aejmelaeus (Publications of the Finnish Exegetical Society). Finnish Exegetical Society, 2005.

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Levy, Benjamin R. Synthesis of Technique (1962–67). Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199381999.003.0006.

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Ligeti’s first major commissio brought him some security, and with it the chance to focus on codifying the compositional techniques he had developed during the previous years. The sketches for the Requiem—especially the Kyrie and Dies irae movements—show explicit forms of rulemaking that differ from those associated with Boulez, Stockhausen, and others using the integral serial approach. Ligeti’s approach to rhythm is further refined in Lux aeterna and Lontano, and the Cello Concerto represents the synthesis of the static and wild textures developed so meticulously in the previous works. The Cello Concerto also reuses types of musical material created in Aventures, referencing specific episodes from the earlier work in an instrumental setting.

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Avantgardistische Chormusik als komponierte Negative Theologie : György Ligeti : Lux aeterna Dieter Schnebel : AMN Helmut Lachenmann : Consolation II Heinz Holliger: Psalm. Tectum Verlag, 2015.

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Cooper, Jordan. Lex Aeterna: A Defense of the Orthodox Lutheran Doctrine of God's Law and Critique of Gerhard Forde. Wipf & Stock Publishers, 2017.

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Book chapters on the topic "Lux Aeterna"

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Adams, Byron. "Lux aeterna." In Fauré Studies, 113–33. Cambridge University Press, 2021. http://dx.doi.org/10.1017/9781108692267.006.

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"From ‘Lex aeterna’ to the ‘leges addictae’." In The Summa Halensis, 227–50. De Gruyter, 2020. http://dx.doi.org/10.1515/9783110685008-015.

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Stiening, Gideon. "Lex naturalis est prima participatio legis aeternae." In Die Naturrechtslehre des Francisco Suárez, edited by Oliver Bach, Norbert Brieskorn, and Gideon Stiening. Berlin, Boston: De Gruyter, 2017. http://dx.doi.org/10.1515/9783110524246-003.

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"Some Comments on the Background and Influence of Augustine’s Lex Aeterna Doctrine." In Creation Christ and Culture : Studies in Honour of T. F. Torrance. Bloomsbury Academic, 2016. http://dx.doi.org/10.5040/9781472549679.ch-005.

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"peuvent conserver ces stipule que « toute personne a profil ou de la personnalité à figurer dans un traitement informations ad vitam le droit de connaître et de de l’intéressé. (article 26 de la loi). aeternam ? Il fallait bien contester (. . .) les Nous sommes tous [. . .] En juin 1985, la dresser des garde-fous [4]. . . raisonnements utilisés dans les victimes de boîtes aux lettres Commission était saisie d’une et se donner les moyens de les traitements automatisés dont les engorgées : les messages plainte à l’encontre d’une faire respecter. résultats lui sont opposés ». publicitaires – souvent agence matrimoniale ; la Légiférer sur On peut discourir à loisir personnalisés – s’y entassent. plaignante avait eu la surprise l’informatique n’est pas un les dangers de l’informatique, C’est la manifestation la plus d’apprendre qu’elle figurait luxe pour société bourgeoise mais rien ne vaut des courante, la plus bénigne sur le fichier informatisé de décadente. Ce d’autant moins exemples concrets. En voici aussi, d’un emploi abusif de l’agence, alors qu’elle ne que la machine peut aussi être quelques-uns. fichiers. La vente par l’avait jamais contactée. De dangereuse dans les correspondance et le plus, ce fichier, qui n’avait pas comportements qu’elle induit Article 2 : Aucune décision marketing direct reposent en été déclaré à la Cnil, et dans les utilisations qui en de justice (respectivement grande partie sur contenait des informations sont faite. « Ses oracles ont, administrative ou privée) l’exploitation et la cession de relatives à la religion des pour reprendre Michel Serre, impliquant une fichiers de clientèle. Les personnes. Cette application la légitimité de la vérité ». Et appréciation sur un professionnels de ces secteurs contrevenait ainsi à pas moins Jacques Fauvet souligne : comportement humain ne se sont toutefois engagés à de trois articles de la loi. « C’est informatique, donc c’est peut avoir pour effacer des fichiers les noms vrai. » Pour lutter contre cette (respectivement seul) des personnes qui en feraient force de conviction parfois fondement un traitement." In Francotheque: A resource for French studies, 176–78. Routledge, 2014. http://dx.doi.org/10.4324/978020378416-33.

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