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Vojvodić Nikolić, Dina D. "PREDLOG ODREĐENjA POJMA MUZIČKA KRITIKA I TIPOLOGIJE KRITIČKIH TEKSTOVA MEĐURATNOG DOBA U SRBIJI." Nasledje Kragujevac XX, no. 55 (2023): 299–312. http://dx.doi.org/10.46793/naskg2355.299vn.
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The paper presents a proposal for defining the concept of music criticism and types of critical texts. The historical development of music criticism, its problems, methods, goals and main representatives are presented. The history of music criticism is ideologically connected with music, and primarily appeared in occasional publications. Criticism of musicians began continuously in the middle of the 18th century, when the first open discussions on various issues of music appeared. Jean-Jacques Rousseau, Johann Mattheson and Charles Burney stand out among the first music critics. The last years of the 18th and the beginning of the 19th century were marked by change, and now the main patron of music, and therefore of criticism, became the middle class and not the previous aristocracy. It is important to apostrophize the fact that criticism of the 18th century was predominantly focused on vocal music, while instrumental music had a subordinate place. Vocal music, according to the aesthetic concepts of the time, represented the pinnacle of musical expression, and criticism had the task of continuously and tirelessly promoting it. In the 19th and 20th centuries, the situation changed, and instrumental music gained a prominent place in criticism.
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De Koninck, Tine. "Natascha Veldhorst, Sounding prose. Music in the 17th-century Dutch Novel." Early Modern Low Countries 6, no. 1 (June 29, 2022): 158–60. http://dx.doi.org/10.51750/emlc12178.
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Dukhanina, Alexandra V. "The Life of St. Stephen of Perm in the Printed Prologue: Textual Criticism and Codicological Value." Труды Отдела древнерусской литературы 68 (2020): 135–74. http://dx.doi.org/10.31860/0130-464x-2020-67-135-174.
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The Life of St. Stephen of Perm in a specific redaction was included in the second edition of the Prologue of 1642—1643 and reprinted in all subsequent editions of the Prologue in the 17th—18th centuries. Eight handwritten copies of the text belonging to this redaction have been found in 17th- and 18th-century manuscripts. In most editions of the Prologue the text reveals minor linguistic and stylistic changes that provide material for the history of editing of the Prologue, as well as for the history of the Russian literary language. They also allow determining which particular edition served as a model for this or that manuscript copy of the Life. Knowing the publication year of the editions has helped to clarify the dating of some manuscripts of this redaction of the Life and even to correct some data from an album of seventeenth-century watermarks
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Mishina, L. A. "THE FAMILY PHENOMENON IN SEVENTEENTH-CENTURY AMERICAN LITERAURE." Bulletin of Udmurt University. Series History and Philology 32, no. 2 (April 29, 2022): 355–62. http://dx.doi.org/10.35634/2412-9534-2022-32-2-355-362.
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The purpose of this article is to analyze the phenomenon of the New English family of the 17th century, the first century of the existence of American national literature, presented in the works of early American authors - period insufficiently studied in literary criticism. Untranslated or incompletely translated into Russian works of such religious and public figures, writers as Richard Mather (Diary), Inkris Mather (The Life and Death of the Reverend Richard Mather), Edward Johnson (The Miraculous Providence of the Savior of Zion in New England) , Samuel Sewall (Diary), John Cotton (God’s Promise to His Plantation), Cotton Mather (Life of Mr. Johnatan Burr), are introduced into literary criticism. Being one of the key in the early history and literature of the United States, the theme of the family has the following aspects considered within the framework of the article: the move of families to a new continent, settling in a new place, the status of a father, mother, and child. The process of formation and existence in extreme conditions of a Protestant family is analyzed, the role of the family community in the fulfillment of the sacred mission - the creation of the kingdom of Christ on new lands - is determined. The conclusion is made about the uniqueness of the New English family of the 17th century, which combined the features of both the family structure that developed in European society and those born in the process of American experiments. The idea is emphasized that the disclosure of the family theme by early American authors clearly represents the features of American literature of the 17th century in general. The article uses biographical, structural, cultural and historical methods of literary analysis.
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Harrán, Don. "Elegance as a Concept in Sixteenth-Century Music Criticism*." Renaissance Quarterly 41, no. 3 (1988): 413–38. http://dx.doi.org/10.2307/2861755.
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”… et vere sciunt cantilenas ornare, in ipsis omnes omnium affectus exprimere, et quod in Musico summum est, et elegantissimum vident … “Adrian Coclico, Compendium musices (1552)The notion of music as a form of speech is a commonplace. Without arguing the difficult questions whether music is patterned after speech or itself constitutes its own language, it should be remembered that the main vocabulary for describing the structure and content of music has been drawn from the artes dicendi. The present report deals with a small, but significant part of this vocabulary: the term elegance along with various synonyms and antonyms borrowed from grammar and rhetoric and applied to music, in a number of writings, from classical times onwards.
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Smirnova, Tat’yana V. "The Pavan in English Music of the 16th–17th Centuries." Vestnik of Saint Petersburg University. Arts 13, no. 2 (2023): 222–42. http://dx.doi.org/10.21638/spbu15.2023.201.
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The article is devoted to recreation of the genre Pavan evolution in English music of the 16th–17th centuries. The research involved diverse sources such as early treatises, musical and practical manuals, old-printed musical editions and modern anthologies of the English music of the 16th–17th centuries that allowed to review the Pavan as a vivid representative of the genre system of 16th–17th centuries English instrumental music, to locate the main centers of its expansion (the Tudors and Stuarts Royal Courts, the Houses of English authoritative stripes and Inns of Court) and to concretize some idea about its functional and communicative features, to determine a range of English Pavan authors from William Byrd and Alfonso Ferrabosco the elder (who were silent trendsetters in the musical and artistic tastes at the English Court in the second half of the 16th century) to Henry Purcell (who became a leader in the development of English music in the last quarter of the 17th century marked by vanishing of national late Renaissance and early Baroque traditions in the chamber instrumental music-making). In the article there were defined the vectors for new treatment of dance genre, have been developing its composition from anonymous to author’s one with clearly recognizable individual style of writing. It emphasizes the systematics of the variety of surviving Pavans with different titles, which reflects the compositional-technological or figurative-emotional features of dance pieces. Apart from the others the “named” Pavans and the pieces related to them and created in traditions ‘In memoriam’ were examined. The results of scientific research could be used for the further development of the musical style questions and compositional method of English composers of the 16th–17th centuries related to the mutual cultural and historical tradition.
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Hansen, Jette Barnholdt. "From Invention to Interpretation: The Prologues of the First Court Operas Where Oral and Written Cultures Meet." Journal of Musicology 20, no. 4 (2003): 556–96. http://dx.doi.org/10.1525/jm.2003.20.4.556.
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The dynamic progression from orality to literacy is embodied in the notation of the prologues to the first court operas. This transition is influenced by the proliferation of printed scores at the beginning of the 17th century and has profound rhetorical consequences for vocal performance. In the first prologues, where the written arie are formulaic, the singer is the creator and authority; s/he controls the musical performance and makes the connection between words and music by means of variation, ornamentation, and improvisation as part of a persuasive dialogue with listeners. In the later prologues, however, the composer rather than the singer is in control of the discourse. Because of a new and more elaborate way of writing out the prologues, where all stanzas are set to music, the singer is now turned into an interpreter of the composer's rhetorical realization of the words, a realization fixed in the score by musical notation and capable of being brought to life in performance. The prologue can profitably be discussed as a genre in the context of the oral tradition of the late Renaissance, and is illuminated by a number of 16th- and 17th-century Italian sources dealing with lyric poetry, linguistic theory, vocal performance, sound, and listening. In this regard, the edition of Jacopo Peri's Euridice by Howard Mayer Brown (1981) is open to criticism, because all stanzas of the prologue are written out, which is not in accordance with Peri's original score (Florence, 1600). The editorial realization of the strophes, therefore, seems to run contrary to the principles of orality according to which the prologue was originally composed.
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Akimov, Sergey S. "The 17th Century Dutch Art in E.I.Rotenberg’s Studies." Vestnik of Saint Petersburg University. Arts 13, no. 3 (2023): 413–31. http://dx.doi.org/10.21638/spbu15.2023.302.
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The contribution of Evsei Rotenberg to the studies in history of the 17th century Dutch art is analyzed in this article. Investigations in Dutch art of the Golden Age were one of the main lines in scientific interests of Evsei Rotenberg, great specialist in classical West-European art, during all his activity. He also wrote about Italian Renaissance, especially Michelangelo and Titian, and about the most important esthetic and creative problems and tendencies of the 17th century art, the greatest masters of this epoch. The paper highlights his evolution as a researcher from point of view subjects and methodology of studies, analyzes the conceptual ideas explaining the specificity of the Dutch art, shows their place in Russian scientific tradition and their significance for the further development of art historian science. His professional formation was held under guidance of Prof. B.R.Vipper in Moscow University and in post-graduate course. Rotenberg’s PhD dissertation (1956) was devoted to realistic bases of Dutch art of the period of flourishing (Rembrandt and masters of genre painting). He is the author of works about Rembrandt and Vermeer, the monograph about development of the Dutch art including architecture, sculpture and decorative crafts. His most fundamental investigations — “West-European 17th Century Art” and “West-European 17th Century Painting. Thematic Principles” — were published in 1971 and 1989. Rotenberg analyzed Dutch school in aspects of style and non-style line and relationships between mythological and non-mythological creative conceptions in art of this epoch.
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Rizal Mahendra, Fahmi. "Amr Ma'ruf wa Nahi Munkar: Gerakan Kadizadeli dan Kritik Sufisme di Kerajaan Ottoman Abad ke-17." Refleksi Jurnal Filsafat dan Pemikiran Islam 22, no. 2 (April 28, 2023): 306–30. http://dx.doi.org/10.14421/ref.v22i2.3950.
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This research will explore the Kadizadeli movement in the Ottoman empire in the 17th century. The Kadizadeli movement is a movement led by clerics who were previously Friday preachers at mosques in Istanbul. This movement wanted to purify Islam from the heretical behavior and activities of the Sufis who according to them had demoralized Ottoman society in the 17th century. In Islamic history, for example, there are several figures who also criticized Sufism, Ibn Tayimiyah or Ibn Jauzi. The complex problems of the 17th century have inspired some scholars, especially Kadizadeli, to fix them. Using the jargon, Amr ma'ruf wa nahi munkar, they began to criticize and attack the practices of Sufism in the Ottoman empire. By using historical research and literature this research produced several findings. Historically, this movement was led by three people, namely: Kadizade Mehmed, Ustuvani Mehmed and Vani Mehmed. Initially this movement only conveyed their criticism of Sufism activities through sermons and writings. However, when Ustuvani and Vani led this movement and gained a special relationship with the ottoman rulers, this movement led to radical actions. Apart from criticizing and criticizing, they also attack the infrastructure of Sufism and direct physical attacks on them. Keywords : bidah, kadizadeli, ottoman empire, sufism, ulema
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Parncutt, Richard. "The Tonic as Triad: Key Profiles as Pitch Salience Profiles of Tonic Triads." Music Perception 28, no. 4 (April 1, 2011): 333–66. http://dx.doi.org/10.1525/mp.2011.28.4.333.
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Major and minor triads emerged in western music in the 13th to 15th centuries. From the 15th to the 17th centuries, they increasingly appeared as final sonorities. In the 17th century, music-theoretical concepts of sonority, root, and inversion emerged. I propose that since then, the primary perceptual reference in tonal music has been the tonic triad sonority (not the tonic tone or chroma) in an experiential (not physical or notational) representation. This thesis is consistent with the correlation between the key profiles of Krumhansl and Kessler (1982; here called chroma stability profiles) and the chroma salience profiles of tonic triads (after Parncutt, 1988). Chroma stability profiles also correlate with chroma prevalence profiles (of notes in the score), suggesting an implication-realization relationship between the chroma prevalence profile of a passage and the chroma salience profile of its tonic triad. Convergent evidence from psychoacoustics, music psychology, the history of composition, and the history of music theory suggests that the chroma salience profile of the tonic triad guided the historical emergence of major-minor tonality and continues to influence its perception today.
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Yazril Azkar, Razaan, and Daya Negri Wijaya. "Physical Means and Trading Network of Onrust in the 17th and 18th Centuries." Yupa: Historical Studies Journal 8, no. 2 (June 2, 2024): 308–27. http://dx.doi.org/10.30872/yupa.v8i2.2981.
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This research aims to examine the physical facilities and trade networks on Onrust Island in the 17th-18th centuries. Onrust Island is a small island located in Batavia Bay (Jakarta) and has an important role in the history of trade in the Dutch East Indies. This research uses historical research methods through heuristics, source criticism, interpretation, and historiography. The research results show that Onrust has adequate physical facilities to support VOC trading operations, such as shipyards, warehouses, and commodity processing facilities. In the 17th century, Onrust also became Batavia's first defense center. In the 18th century, ship repair activities at Onrust began to decline due to the VOC's financial difficulties. However, Onrust remained an important post in the VOC trade network in the archipelago. This island became a stopover for the VOC trade fleet from various ports in Java and its surroundings. Products such as spices, wood, salt and others stopped at Onrust before being distributed further by the VOC. Thus, Onrust played an integral role in the VOC's maritime trade network in the archipelago in the 17th and 18th centuries through the infrastructure and logistics support it provided.
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Kruglova, Elena V. "EXPRESSIVE AND DESCRIPTIVE FUNCTIONS OF ORNAMENTATION IN THE 17TH CENTURY VOCAL MUSIC." Scientific and analytical journal Burganov House. The space of culture 19, no. 6 (December 10, 2023): 129–40. http://dx.doi.org/10.36340/2071-6818-2023-19-6-129-140.
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he demand for Baroque music on the concert stage sets high requirements for singers in terms of the performance style. At present, the issues of reproducing vocal ornamentation in ancient arias are the primary tasks. Given the lack of knowledge and skills of baroque improvisation among Russian singers, the ornamentation used often represents, in fact, only a technical aspect that the soloists are diligently trying to cope with. At the same time, ornaments often sound "empty", not expressive, not corresponding to the main purpose which is to emphasise affect. According to the instructions of the 17th century masters, the main purpose of performing music was to show the passions of the human soul. The singers’ fundamental task was to maximise the impact on the listener’s feelings and to awake affects in them through an intoned word. As a vivid expressive means, ornamentation contributed to the emphasis of certain words in the general context. Moreover, according to the instructions of teachers from the past, singers needed to convey one or another affect with the appropriate intonation of the voice. The artistic function of ornaments came down to increasing the level of performance expressiveness. Various ornamentation (melismas and passages) had to be used purely to enhance the musical statement. The proposed article is aimed at solving actual problems in the field of Baroque performance, problems related to the correct interpretation and performance of vocal ornaments in 17th century works. The historicism principle is the methodological basis of the work. Using the methods of analysis and synthesis, as well as the cultural and historical method of research, the author managed to recreate the historical significance of the ornament in connection with the opera traditions of the 17th century. The author's position is that for a singer, it is important to understand the figurative and expressive functions of any type of ornamentation (melismas, passages) as one of the main means of expression, contributing to revealing the composition affect, which presents scientific novelty and is the main conclusion of the article. The content and conclusions of the article will be useful to musicians, singers performing 17th century compositions for their stylistically correct interpretation, as well as in training courses on the history of vocal performance and stylistics at Performing Arts departments of music colleges and university faculties.
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Escudé, Nuria, and Fabrizio Acanfora. "Music and Medicine in Spain: History and New Developments of a Growing Discipline." Music and Medicine 10, no. 1 (January 25, 2018): 45. http://dx.doi.org/10.47513/mmd.v10i1.600.
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The strong link between music and medicine has been documented in Spain since the 17th century, showing that the therapeutic effects of music have been known for centuries. The development of music therapy as a scientific, independent discipline on the Iberian Peninsula begins in the 1960s due to the pioneering work of Serafina Poch. Since then, the interest in music and medicine both by specialists and public has constantly increased. Nowadays, music therapy is taught in public universities and private institutions, and a growing number of health care and educational centers is implementing music therapy projects each year, producing also an increase in the research on the subject. A sore point, which we hope can be resolved soon, is that music therapy in Spain has not yet been recognized with an official title and as an independent profession, leading to fragmentation of the field and leaving the door open to professional intrusion. Keywords: music therapy, music medicine, Spain.
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Feenstra, R. "Bibliotheca frisica juridica, Bio-bibliografische notities over enkele weinig bekende Friese juristen." Tijdschrift voor Rechtsgeschiedenis / Revue d'Histoire du Droit / The Legal History Review 75, no. 2 (2007): 125–37. http://dx.doi.org/10.1163/157181907781352627.
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AbstractThis is the first part of a series on little known Frisian jurists from the end of the 15th until the beginning of the 17th century who have left printed editions of their works. The present contribution deals with three of them: Haring Sinnema (ca. 1465 – 1513), professor in Cologne and member of the Reichskammergericht, author of a primer on civil and canon law (1491); Boëtius Epo (1529 – 1599), professor at the counter-reformist University of Douai since its erection in 1562, whose works mainly concern canon law; Johannes Basius (ca. 1540 – 1596), agent and adviser of Prince William of Orange, author of Paradoxarum disputationum iuris civilis libri IIII (1575), known for excessive criticism on some wellknown humanist contemporaries.
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Majer-Bobetko, Sanja. "Between music and ideologies: Croatian music criticism from the beginning to World War II." Muzyka 63, no. 4 (December 31, 2018): 55–64. http://dx.doi.org/10.36744/m.344.
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As the Croatian lands were exposed to often aggressive Austrian, Hungarian, and Italian politics until WWI and in some regions even later, so Croatian music criticism was written in the Croatian, German and Italian languages. To the best of our knowledge, the history of Croatian music criticism began in 1826 in the literary and entertainment journal Luna, and was written by an anonymous author in the German language.A forum for Croatian language music criticism was opened in Novine Horvatzke, i.e. in its literary supplement Danica horvatska, slavonska i dalmatinska in 1835, which officially started to promote the Croatian National Revival, setting in motion the process of constituting the Croatian nation in the modern sense of the word. However, those articles cannot be considered musical criticism, at least not in the modern sense of the word, as they never went beyond the level of mere journalistic reports. The first music criticism in the Croatian language in the true sense of the word is generally considered a very comprehensive text by a poet Stanko Vraz (1810-51) about a performance of the first Croatian national opera Ljubav i zloba (Love and malice) by Vatroslav Lisinski (1819-54) from 1846. In terms of its criteria for judgement, that criticism proved to become a model for the majority of 19th-century and later Croatian music criticism. Two judgement criteria are clearly expressed within it: national and artistic.Regardless of whether we are dealing with 1) ideological-utilitarian criticism, which was directed towards promoting the national ideology (Franjo Ksaver Kuhač, 1834-1911; Antun Dobronić, 1878-1955), 2) impressionist criticism based on the critic’s subjective approach to particular work (Antun Gustav Matoš, 1873-1914; Milutin Cihlar Nehajev, 1880-1931; Nikola Polić, 1890-1960), or 3) Marxist criticism (Pavao Markovac, 1903-41), we may observe the above mentioned two basic criteria. Only at the end of the period under consideration the composer Milo Cipra (1906-85) focused his interest on immanent artistic values, shunning any ideological utilitarianism, and insisting on the highest artistic criteria.
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Grempler, Martina. "Deutsche Nationalidole in der italienischen Oper des 19. Jahrhunderts." Studia Musicologica 52, no. 1-4 (March 1, 2011): 351–61. http://dx.doi.org/10.1556/smus.52.2011.1-4.25.
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Freedom fighters and national heroes frequently appeared on the operatic stage of the 19th century. Rossini used the story of Wilhem Tell, Verdi composed an opera about Jeanne D’Arc, the national heroine of France, and in La battaglia di Legnano Emperor Barbarossa figures as the incarnation of the menace for the Italians’ longing for freedom, exerted through centuries by the sovereigns of German-speaking countries. The article deals with Italian operas about personalities of German history who had special importance in the national discourse of their own country. In particular it focuses on the historical characters of Arminius and Charlemagne, already present on the operatic stage in the 17th century. Their representation underwent essential modifications in the age of the Risorgimento.
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Panov, Alexei A., and Ivan V. Rosanoff. "Performing Ornaments in English Harpsichord Music. Part II." Vestnik of Saint Petersburg University. Arts 12, no. 1 (2022): 4–32. http://dx.doi.org/10.21638/spbu15.2022.101.
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This article continues a series of publications on problems pertaining to performing ornaments on keyboard musical instruments in England of the 17th–18th centuries according to historical documents of that time. The authors consider the history of the publication of the ornamentation table with thirteen embellishments compiled by Charles Coleman and published in the treatises The Division-Violist by Christopher Simpson (1659) and A Brief Introduction to the Skill of Musick by John Playford (1660). Among other matters, various aspects in the Rules of Graces worded by Henry Purcell (A Choice Collection of Lessons for the Harpsichord or Spinnet, 1696) are discussed. In particular, in the table published by Simpson, special attention is paid to a comprehensive review of the realization of such ornaments as “[The] Backfall shaked” and “[The] Shaked Beat”. In “Rules of Graces” contained in Purcell’s A Choice Collection, the authors turned to the ornaments called “[The] beat” and “a plain note & shake”, as well as to the following well-known instruction formulated by the famous musician: “observe that you allway’s shake from the note above and beat from ye note or half note below, according to the key you play in <…>”. In the course of the research, numerous errors and inaccuracies were discovered and noted in the scientific and reference-encyclopedic literature of the 20th century concerning the interpretation of ornaments in England in the second half of the 17th century and in the content of English musical treatises of that time.
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İzgi, Mahmut Cihat, and Enes Ensar Erbay. "Defending the “Backward Civilization”: The Resurrection of a Forgotten 17th Century Text in 20th Century Intellectual Discourse on Islam." Religions 15, no. 6 (June 16, 2024): 734. http://dx.doi.org/10.3390/rel15060734.
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It is an irony of history that since texts transcend the intentions and purposes of their authors, their meaning and significance are often contested anew as they enter new historical contexts; even historical texts are thus subject to reading and criticism over time. This article discusses the posthumous fate of Henry Stubbe’s own text on Islamic history, The Rise and Progress of Mahometanism—seen by some to represent a Copernican revolution in the study of Islam. The fate of this work is a clear example of the critical contingencies and fluctuating fortunes experienced by a corpus of texts. The continuing existence of a text as an object open to reconfiguration and re-evaluation is termed its after-history (Nachgeschichte) or afterlife (Nachleben). This notion of the afterlife of an object as a period of critical appreciation and political appropriation aptly defines the fate and fame of The Rise and Progress of Mahometanism. The present study seeks to explore the narrative surrounding a publication authored by Stubbe in the 17th century and finally published by Hafiz Mahmud Khan Shairani, with the critical support of Ottoman intellectual Halil Halid Bey, nearly two centuries later. Its objective is to investigate how the life and contributions of a figure whose work has transcended generations was resurrected within the political backdrop of the 20th century, as evidenced in the columns of Ottoman newspapers.
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Dmitrieva, Zoia, Marina Rumynskaia, and Tatiana Sazonova. "Belozersk Monasteries in Crisis Years (1570s – 1610s)." Vestnik Volgogradskogo gosudarstvennogo universiteta. Serija 4. Istorija. Regionovedenie. Mezhdunarodnye otnoshenija, no. 5 (November 2021): 72–83. http://dx.doi.org/10.15688/jvolsu4.2021.5.6.
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Introduction. The article examines the situation of the monasteries of the Belozersk region in the last quarter of the 16th century – the first decade of the 17th century: regional manifestation of crisis phenomena, the reasons for their occurrence, the degree of influence of individual factors (epidemic, famine, foreign invasion). Methods and materials. The topic is disclosed using the methods of historical research (analysis, synthesis, external and internal criticism of documents). The source base was made up of acts and monastic business books, including inventory of property. Analysis. In the last quarter of the 16th century – the first decade of the 17th century the Russian state was going through a deep crisis, which was observed in all aspects of the life of Russian society: political, dynastic, economic and social; it was intensified by the great famine of 1601–1603. During these years monasteries remained centers of economic stability, providing the brethren, servants, ministers and beggars with the necessary products and household items. In the years of famine, grain from the monastic granaries was “loaned” to the peasants for consumption and sowing. The devastation of the monastic economy and the physical destruction of the population began in the Time of Troubles. As a result, the authors came to the following conclusions: the crisis of the last quarter of the 16th century and the Great Famine of the early 17th century did not lead to degradation and disruption of the traditional way of life in the region; the destruction of Belozersk monasteries begins in 1612 and continues until 1618; only the Kirillov Monastery, headed by Abbot Matthew, was able to organize the defense and protect the fortress, preserving the Cyril’s heritage from the Polish-Cossack plunder.
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Lingold, Mary Caton. "In search of Mr Baptiste: on early Caribbean music, race, and a colonial composer." Early Music 49, no. 1 (February 1, 2021): 49–66. http://dx.doi.org/10.1093/em/caab002.
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Abstract Mr Baptiste was a musician living in late 17th-century Jamaica who composed music portraying African traditions as they were performed by enslaved musicians on the island. This article argues that Baptiste was probably a free person of colour and perhaps one of the earliest-known Black American composers to have published Western notation. His music was printed in Hans Sloane’s 1707 travelogue and natural history of Jamaica. The article also addresses broader issues concerning the underrepresentation of marginalized performers in colonial music histories, with special attention to musical life in the early modern Caribbean.
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Hui, Tak-Cheung, and Yu-Chia Kuo. "A Concert in a Vanished Church: Contextualizing Peace Island's Auditory History with Modern Technology." Proceedings of the ACM on Computer Graphics and Interactive Techniques 7, no. 4 (July 19, 2024): 1–9. http://dx.doi.org/10.1145/3664218.
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This paper presents an interdisciplinary project that merges archaeoacoustics with live music performance, aiming to offer a sound interpretation of San Salvador City's history in Taiwan through the fusion of historical research, archaeological discoveries, and the use of contemporary music technology. Central to the project is Ashes to Ashes, a musical performance that integrates live instruments, electronic music, and sound elements derived from 16th and 17th-century artifacts, including Dominican chants and indigenous storytelling. Employing techniques like 3D printing of instruments, physical modeling synthesis, and data sonification, the project not only resurrects forgotten sounds but also connects them with modern auditory experiences. This approach transcends traditional boundaries between historical conservation and artistic innovation, emphasizing the role of interdisciplinary collaboration in enriching our understanding of cultural heritage, particularly in East Asia.
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Kowal, Marianna. "Tabulatura z historią. O mało znanym XVII-wiecznym rękopisie z Biblioteki Uniwersyteckiej w Poznaniu." Kwartalnik Młodych Muzykologów UJ, no. 51 (4) (2021): 5–57. http://dx.doi.org/10.4467/23537094kmmuj.21.007.18102.
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Tablature with History: About a Little-known Seventeenth-century Music Manuscript from the University Library in Poznań Research on French lute music is currently a rather rarely discussed topic among Polish musicologists. The reason for this is probably the fact that most manuscripts with lute tablatures have already been described and the repertoire is quite wellknown. However, it turns out that Polish libraries still store little-known manuscripts, which are interesting not only because of the music, but also because of the non-musical material they contain. The copy of 17th-century French lute music stored by the University Library in Poznań, where apart from music, there are also non-musical elements showing its fascinating history, is an example of this. The article presents the preliminary results of the research into the structure, content, provenance and dating of this manuscript. In the first part, the author focuses on the physical features of the tablature source, and then she characterises its musical and non-musical content. The work is also accompanied by photographs of the manuscript and tables presenting its structure and repertoire concordances.
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Osminskaya, Natalia A. "Language of Reality and Reality of Language in Francis Bacon’s Philosophy." Epistemology & Philosophy of Science 58, no. 3 (2021): 119–31. http://dx.doi.org/10.5840/eps202158348.
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The most important of Francis Bacon’s argument against Aristotelian syllogistic logic as a main method of investigation was his doctrine of Idols, closely connected to the contemporary Anglican theological views on imperfect human nature. In his criticism of the first notion of human mind, based on mistaken abstraction, Bacon separated “ars inveniendi”, “ars judicandi” and “ars tradendi” and argued for a new nonverbal form of communication, based on “real characters”. Bacon's conventional concept of the universal language, strongly influenced by Aristotle, was not realized by the philosopher himself, but it was of great popularity in both European rationalism and British empiricism in the middle – second half of the 17th century.
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Agratina, Elena E. "THE EMERGENCE OF ART CRITICISM IN FRANCE IN THE SECOND HALF OF THE 17TH AND THE FIRST HALF OF THE 18TH CENTURY." RSUH/RGGU Bulletin. Series Philosophy. Social Studies. Art Studies, no. 3 (2022): 146–64. http://dx.doi.org/10.28995/2073-6401-2022-3-146-164.
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The topic of the emergence of art criticism in France in the second half of the 17th and the first half of the 18th century, being rather widely covered in foreign academic literature, is still underdeveloped in Russian art history. Nevertheless, that issue is extremely important for understanding the processes that took place in the French and more widely in the European artistic milieu. The article aims to highlight the process of the criticism formation not only as a literary genre but primarily as a phenomenon of cultural life. Based on original written sources and foreign academic literature, the author traces how the appearance of fine art in the light of publicity was prepared in the Parisian artistic milieu. The author addresses the important questions that arose during the formative and legitimizing phase of criticism, such as its distinction from pre-existing art theory, as well as the distinction between the critic and the theorist or fine art historian. The artwork must now satisfy not only the master and the customer and a small circle of connoisseurs, society also becomes an active participant in artistic life, and the viewer enshrines the right to judge the art. The author shows how criticism is gradually becoming more diverse and polyphonic. Works written on behalf of a wide variety of characters are appearing, writers are adapting various literary genres that already exist: epistolary, diary, plays, poems, dialogues. For many years, criticism becomes an active channel of communication linking all participants in artistic life.
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Graffi, Giorgio. "The treatment of syntax by some early 19th-century linguists." Historiographia Linguistica 25, no. 3 (January 1, 1998): 257–84. http://dx.doi.org/10.1075/hl.25.3.04gra.
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Summary This article examines the views about syntax held by Humboldt, on the one hand, and by the founders of historical-comparative grammar (Bopp, Rask, Grimm, Pott, Schleicher), on the other. In general, it is noted that the grammaire générale tradition of 17th and 18th centuries still survives in the work of such scholars, despite of all criticism they seemingly raised against it. For Humboldt, the common core of all languages has its source in the identity of human thought; also his treatment of the verb and especially his reference to a ‘natural’ word order (i.e., SVO) are clearly reminiscent of this tradition. Traces thereof are also found in Bopp’s analysis of Indo-European conjugation, and in some of Rask’s writings. For instance, Rask, just as Humboldt, assumes a ‘natural’ word order and proposes a list of possible syntactic forms which closely remind us of Girard’s membres de phrase. Grimm’s position appears as more innovative, heavily influenced by a Romantic view of language, but some older conceptions sometimes show up in his work, e.g., when he deals with the notion of ‘subject’. Pott does not completely reject general grammar and a logically-based view of language; he only stresses the need of a more empirical approach than that adopted by the 17th and 18th century linguists. This picture radically changed with Steinthai and Schleicher: the former scholar pronounced a ‘divorce’ between grammar and logic, while the latter one argued that syntax does not belong to linguistics proper and rejected any possibility of postulating syntactic distinctions which do not have any direct morphological correlate.
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Vasic, Aleksandar. "Serbian musical criticism and essay writings during the XIXth and the first half of the XXth century as a subject of musicology research." Muzikologija, no. 6 (2006): 317–42. http://dx.doi.org/10.2298/muz0606317v.
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The beginning of 2006 marked two decades since the death of Stana Djuric-Klajn, the first historian of Serbian musical literature. This is the exterior motive for presenting a summary of the state and results of up-to-date musicology research into Serbian musical criticism and essay writings during the XIXth and the first half of the XXth century, alongside the many works dedicated to this branch of national musical history, recently published. In this way the reader is given a detailed background of these studies ? mainly the authors' names, books, studies, articles, as well as the problems of this branch of Serbian musicology. The first research is associated with the early years of the XXth century, that is, to the work of bibliography. The pioneer of Serbian ethnomusicology, Vladimir R. Djordjevic composed An Essay of the Serbian Musical Bibliography until 1914, noting selected XIXth century examples of Serbian literature on music. Bibliographic research was continued by various institutions and experts during the second half of the XXth century: in Zagreb (today Republic of Croatia); the Yugoslav Institute for Lexicography, Novi Sad (Matica srpska); and Belgrade (Institute for Literature and Art, Slobodan Turlakov, Ljubica Djordjevic, Stanisa Vojinovic etc). In spite of the efforts of these institutions and individuals, a complete analytic bibliography of music in Serbian print of the last two centuries has unfortunately still not been made. The most important contributions to historical research, interpretation and validation of Serbian musical criticism and essay writings were given by Stana Djuric-Klajn, Dr Roksanda Pejovic and Dr Slobodan Turlakov. Professor Stana Djuric-Klajn was the first Serbian musicologist to work in this field of Serbian music history. She wrote a significant number of studies and articles dedicated to Serbian musical writers and published their selected readings. Prof. Klajn is the author and editor of the first and only anthology of Serbian musical essay writings. Her student Roksanda Pejovic published two books (along with numerous other factually abundant contributions), where she synthetically presented the history of Serbian criticism and essay writings from 1825 to 1941. Slobodan Turlakov, an expert in Serbian criticism between the World Wars, meritorious researcher and original interpreter, especially examined the reception of music of great European composers (W. A. Mozart, L. v. Beethoven, F. Chopin, G. Verdi, G. Puccini etc) by Serbian musical critics. Serbian musical criticism and essay writings were also the focus of attention of many other writers. The work quotes comments and additions of other musicologists, but also historians of theatre, literature and art philosophers, aestheticians, sociologists, all members of different generations, who worked or still work on the history of the Serbian musical criticism and essay writings. The closing section of the text suggests directions for future research. Firstly, it is necessary to begin integral bibliographical research of texts about music published in our press during the cited period. That is a project of capital significance for national science and culture; realization needs adequate funding, the involvement of many academic experts, and time. Work on bibliography will also enable the collection and publication of sources: books and articles by Serbian music writers who worked before 1945. A separate problem is education of scholars. To study musical literature, a musicologist needs to be knowledgeable about the history of Serbian literature, aesthetic theory, and theatre, national social, political and cultural history, and methodology of literary study. That is why facilities for postgraduate and doctorial studies in musicology are necessary at the Faculties of Philology and Philosophy.
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Stasiuk, Ivan, and Andrii Pavlyshyn. "From the History of the Monument of Ukrainian Wooden Architecture – the Epiphany of the Lord Church in Stanymyr (1689)." Scientific Papers of Vinnytsia Mykhailo Kotsyiubynskyi State Pedagogical University. Series: History, no. 42 (December 2022): 9–16. http://dx.doi.org/10.31652/2411-2143-2022-42-9-16.
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The purpose of the article is to study the history of a valuable monument of Ukrainian wooden architecture of the 17th century – the Epiphany of the Lord Church in Stanymyr village in Lviv region, as well as the introduction of a new source into scientific circulation, which allows you to trace the historical development of the church in detail. The research methodology is based on the principles of objectivity, historicism, systematicity, analytical and synthetic criticism of sources. The method of historical reconstruction contributed to the creation of a coherent picture of the history of the Epiphany of the Lord Church in Stanymyr village from disparate facts. The scientific novelty consists in an attempt to systematize the materials related to the history of the church and introduce a new historical source of the 18th century into scientific circulation, which enriches the research base of the monument, as well as the history of the settlement in which it is located. The document proposed for publication can be used for research on church history, architecture, local history, demographic studies, as well as other topics devoted to the history of society in the early modern period. Conclusions. The Epiphany of the Lord Church in Stanymyr is one of the few preserved wooden churches of Opillia, built in the 17th century. The first Christian church in the village probably existed already in the 15th century, but the first documented mention of the church in Stanymyr dates back to the beginning of the 16th century. The modern monument was built in 1689, but it has not come down to us in its original form, which is particularly confirmed by the visitation of the church in 1763. The published document contains a detailed description of the interior of the church (including icons, liturgical utensils, vestments and books) and its surroundings (fence, bell tower, cemetery), as well as immovable property (parson's house and land). The visitation also includes valuable information about the local parish priest, statistics about the parish's population, its toponymy and anthroponymy.
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Watt, Paul, and Sarah Collins. "Critical Networks." Nineteenth-Century Music Review 14, no. 1 (April 2017): 3–8. http://dx.doi.org/10.1017/s1479409816000252.
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This article examines the idea of ‘Critical Networks’ as a way of studying the relational structures that shaped music criticism in the long nineteenth century. We argue that the personal, institutional and international networks that supported the dissemination of critical ideas about music are worthy of study in themselves, as they can yield insights beyond prevailing methodologies that centre on individual cases.Focusing on the institutional culture of music criticism means looking beyond the work of individual critics and the content or influence of their views, towards the structures that determined the authoritativeness of those views and the impact of these structures in shaping the operation of critical discourse on music at the time. Examining these networks and how they operated around particular periodicals, tracing transnational exchanges of both ideas and critics, and uncovering the various ideological alliances that were forged or contested within critical networks, can not only provide a thicker context for our understanding of historical ideas about music, but it can also challenge current views about the history of our discipline and the kinds of structures that condition our own ideas about music and music history.
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Tretyakova, Marina. "Russian Travelers 17th Centuries about the Ceremony of Marriage of the Adriatic." ISTORIYA 13, no. 1 (111) (2022): 0. http://dx.doi.org/10.18254/s207987840018931-3.
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The article considers the ceremonial of the Doge’s betrothal to the Adriatic sea through the prism of its perception by Russian travelers of the end of the 17th century. In the Republic of Venice there were a considerable number of ceremonies, which were held annually on the occasion of victories and various festivals. Among them, a special place was occupied by the rite of betrothal of the Doge to the sea (with the Adriatic) (Marriage of the Adriatic). Its origins rite of passage is leading with deep absent. Almost all Russian travelers who visited Venice at the end of the 17th century, paid attention to this ceremony. In their travel notes stolnik P. A. Tolstoy and an unknown author write about the date of the ceremony, its history, the details of the protocol of its ceremonial, the value for the Venetian state. The splendor and colorfulness of its holding attracted the special attention of Russian travelers. In their opinion, the central place in this ceremony was occupied by the figure of the venetian doge. In addition, they emphasized its state character. But the venetian vessels that took part in the ceremony, and above all, the ceremonial galley of the venetian doge Bucintoro, attracted the special attention of russian travelers. The interest of the stolnik P. A. Tolstoy and unknown author called private ships of the venetians, who accompanied the doge of Venice in the maritime procession. The author of the article comes to the conclusion that the rite of betrothal of the venetian doge to the Adriatic caused some interest among russian travelers of the 17th century, but to a greater extent their admiration was associated with architectural masterpieces, religious shrines, music, gardens and fountains. Perhaps this was due to the fact that in the Moscow state there were no similar ceremonies. In any case, the russian travelers of the 17th century, namely stolnik P. A. Tolstoy and an unknown author in their travel notes recorded this ritual, leaving the memory of this to posterity.
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BOARO, ERIC. "EVIDENCE OF THE PRACTICAL APPLICATION OF SOLFEGGIO PATTERNS IN THE MANUSCRIPT FOR THE 1707 NEAPOLITAN PERFORMANCE OF LA FEDE TRADITA E VENDICATA BY GASPARINI AND VIGNOLA." Eighteenth Century Music 18, no. 1 (February 5, 2021): 171–84. http://dx.doi.org/10.1017/s1478570620000421.
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The last two decades have seen the opening of several new paths in eighteenth-century musicology, and Robert O. Gjerdingen has opened one of these: schema theory. Schemata are ‘stock musical phrases employed in conventional sequences’ that function as harmonic, melodic and rhythmic frameworks for musical passages. Evidence of such schematic thinking has emerged through related studies on partimento and solfeggio. Solfeggio practice of the time manifests a schematic way of thinking about music, being mostly based on simple hexachordal patterns which, as studies progressed, could be embellished in different ways. Vasili Byros has addressed the ‘archaeology’ of hearing through reception history, and offered strong evidence that eighteenth-century ears did hear schemata. Interweaving corpus studies on music of the long eighteenth century (1720–1840), contemporary music criticism and reception history, as well as didactic documents from that era, Byros sheds new light on the ways in which schemata were perceived at the time. A recent contribution by Gilad Rabinovitch uses a live improvisation in the style of Mozart by Robert Levin to demonstrate the importance of conventional schemata for historical improvisation.
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Rahmawati, Fitri, Faras Puji Azizah, Nelmawarni Nelmawarni, and Erman Erman. "Migration and the Historical Development of Islam in Taiwan from the 17th to the Early 21st Century." Journal of Philology and Historical Review 1, no. 2 (January 11, 2024): 115–28. http://dx.doi.org/10.61540/jphr.v1i2.66.
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The spread of Islam in Taiwan is inseparable from the history of Islam's entry into Tiongkok, which began with the migration of Chinese Muslims to Taiwan in the 17th century and was followed by subsequent migrations. This research analyses the phases and influences brought by Muslim migrants to Taiwan. The method used in this research is the historical research method, including heuristics, source criticism, interpretation and historiography. The results of this study show that there are four phases of Muslim migration to Taiwan: the first phase occurred in the 17th century, the second phase 1952-1961 which occurred in two waves, the first wave 1952-1954, the third phase occurred in 1961, this phase is also known as the evacuation phase of KMT Veterans from Burma and Thailand. The fourth phase occurred in 1989, with the influx of migrant workers from Tiongkok, Burma, Thailand, Indonesia and Malaysia; these immigrants positively impacted the development of Islam in Taiwan. Evidence of the development of Islam in this fourth phase is the existence of halal certification, halal restaurants and hotels, Muslim-friendly neighborhoods, the establishment of the Indonesian Mosque (Masjid At-Taqwa), the emergence of Muslim communities (FORMMIT, Chinese Muslim Association, Indonesian Student Association) and the presence of Indonesian Muslim organizations (Nahdlatul Ulama and Muhammadiyah).
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Siess-Krzyszkowski, Stanisław. "Rozmowa Polaka z Włochem Łukasza Górnickiego. Przyczynek do historii edycji." Z Badań nad Książką i Księgozbiorami Historycznymi 15, no. 4 (December 30, 2021): 451–60. http://dx.doi.org/10.33077/uw.25448730.zbkh.2021.685.
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Rozmowa Polaka z Włochem (A Discussion between a Pole and an Italian) is one of the most important political works by Łukasz Górnicki. Written at the end of the 16th century, it was repeatedly reprinted from the 17th century until today. It is also a widely known example of Polish literary plagiatrism: in 1616 Rozmowa was published by Jędrzej Suski as his own work. For a long time Suski edition was considered to be identical with the anonymous version of Rozmowa published sine anno and sine loco, but in 2008 Anna Sitkowa described the actual plagiatrized version with the dedication letter signed by Suski himself. Moreover, typographical analyses of the anonymous version of Rozmowa indicate that it was in fact printed in 1630s, and thus it is not a first, but a third edition of the work. Determining the correct order of editions has significant consequences regarding textual history and criticism.
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Hughes, Stephen Putnam. "Music in the Age of Mechanical Reproduction: Drama, Gramophone, and the Beginnings of Tamil Cinema." Journal of Asian Studies 66, no. 1 (February 2007): 3–34. http://dx.doi.org/10.1017/s0021911807000034.
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During the first half of the twentieth century, new mass media practices radically altered traditional cultural forms and performance in a complex encounter that incited much debate, criticism, and celebration the world over. This essay examines how the new sound media of gramophone and sound cinema took up the live performance genres of Tamil drama. Professor Hughes argues that south Indian music recording companies and their products prefigured, mediated, and transcended the musical relationship between stage drama and Tamil cinema. The music recording industry not only transformed Tamil drama music into a commodity for mass circulation before the advent of talkies but also mediated the musical relationship between Tamil drama and cinema, helped to create film songs as a new and distinct popular music genre, and produced a new mass culture of film songs.
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Fry, Katherine. "Nietzsche's Critique of Musical Decadence: The Case of Wagner in Historical Perspective." Journal of the Royal Musical Association 142, no. 1 (2017): 137–72. http://dx.doi.org/10.1080/02690403.2017.1286130.
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ABSTRACTAlthough philosophical and biographical accounts of Nietzsche and Wagner abound, the musical issues at stake in the late text Der Fall Wagner (The Case of Wagner, 1888) have rarely been addressed within their wider cultural context. This article explores the nineteenth-century concepts of decadence and degeneration as relevant for understanding the ambivalence of Nietzsche's late critique of Wagner. Emphasizing his affinity with contemporary French criticism, it argues that his late texts advance a theory of decadence pertinent to current music history and criticism. It locates The Case of Wagner within the larger discourse of degeneration, probing similarities to and differences from the work of surrounding critics of Wagnerism. Nietzsche's critique combines a condemnation of Wagner's music with a more positive appreciation of the composer's historical relevance. Yet his writings also reveal a fundamental conflict between his personal involvement with Wagner's music and his philosophical quest to analyse this music as expressive of modernity.
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Gehring (book editor), Ulrike, Pieter Weibel (book editor), and Jane Russell Corbett (review author). "Mapping Spaces: Networks of Knowledge in 17th Century Landscape Painting." Renaissance and Reformation 40, no. 4 (January 28, 2018): 211–13. http://dx.doi.org/10.33137/rr.v40i4.29288.
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Rusu-Persic, Dalia. "Critical reception of late 19th century Iași-based music. Alexandru Flechtenmacher." Artes. Journal of Musicology 18, no. 1 (March 1, 2018): 190–206. http://dx.doi.org/10.2478/ajm-2018-0012.
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Abstract In late 19th-century periodicals, music criticism captured only a few details on the composition techniques, the structural organization, the rhythmic-melodic or vocal and stage interpretation of various performances. The press shed light on these pieces only at an informative level, mentioning titles, composers, and interpreters and even omitting some details due to, on the one hand, the authorities’ indifference to the musical phenomenon and, on the other hand, the editors’ sheer ignorance of particular stylistic or musical language features. However, the attempts made by the personalities active in the cultural and artistic life were real and unrelenting, their results being guided by the desire to promote music with specific national traits. This study provides an analytical perspective on the current reception of that social-artistic context. Taking into account that new sources have favored a more detailed and profound investigation of the 19th-century critical phenomenon, our analysis supplements the information presented in the music history studies already published in Romania. Consequently, the first section of this paper approaches the extremely dynamic phenomenon represented by the creation of new journals / newspapers in the 19th century. It is our belief that starting from general journalism we can acquire a better understanding of the development of musical criticism. This research aimed to discover new dimensions of Iași-based music, placing special emphasis on the critical reception of the composer Alexandru Flechtenmacher. We have followed its reflection in the Romanian press, starting from the first accounts in this respect, and ending with the subsequent assessments formulated in 20th-century musicology. Although the texts that tackle musical issues are quite few and social aspects prevail in the commentators’ list of interests, by combining the information provided by general literary/historical/social sources with the details included in specialized articles we can create a new perspective on late 19th-century Iași-based compositions.
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Caldwell, Patricia. "Why Our First Poet Was a Woman: Bradstreet and the Birth of an American Poetic Voice." Prospects 13 (October 1988): 1–35. http://dx.doi.org/10.1017/s0361233300005226.
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Anne Bradstreet has come a long way since John Harvard Ellis hailed her over a century ago as “the earliest poet of her sex in America.” Today, more justly, we view Bradstreet simply as “the first authentic poetic artist in America's history” and even as “the founder of American literature.” At the same time, a more sensitive criticism is looking anew at Bradstreet's personal drama as a woman in the first years of the New England settlement: her life as a wife, as mother of eight children, as a frontier bluestocking (though still, in many critics' eyes, “restless in Puritan bonds”), and even as a feminist in the wilderness. Feminist critics in particular have revitalized our understanding of Bradstreet and her work by probing her subtle “subversion” of patriarchal traditions, both theological and poetical, and by placing her among contemporary 17th-Century women writers, making her no longer a phenomenon on the order of Doctor Johnson's dancing dog, but finally a participating voice in her age.
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Caldwell, Patricia. "Why Our First Poet Was a Woman: Bradstreet and the Birth of an American Poetic Voice." Prospects 13 (October 1988): 1–35. http://dx.doi.org/10.1017/s0361233300006670.
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Anne Bradstreet has come a long way since John Harvard Ellis hailed her over a century ago as “the earliest poet of her sex in America.” Today, more justly, we view Bradstreet simply as “the first authentic poetic artist in America's history” and even as “the founder of American literature.” At the same time, a more sensitive criticism is looking anew at Bradstreet's personal drama as a woman in the first years of the New England settlement: her life as a wife, as mother of eight children, as a frontier bluestocking (though still, in many critics' eyes, “restless in Puritan bonds”), and even as a feminist in the wilderness. Feminist critics in particular have revitalized our understanding of Bradstreet and her work by probing her subtle “subversion” of patriarchal traditions, both theological and poetical, and by placing her among contemporary 17th-Century women writers, making her no longer a phenomenon on the order of Doctor Johnson's dancing dog, but finally a participating voice in her age.
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Siqueira Castanheira, José Cláudio. "Introduction to the Sociology of Music Technologies: An Ontological Review." methaodos revista de ciencias sociales 10, no. 2 (October 31, 2022): 419–29. http://dx.doi.org/10.17502/mrcs.v10i2.574.
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Adorno’s work, in particular the texts dealing with the relationship between music and social behaviors or structures, has been the target of criticism, especially in the second half of the 20th century, being considered by many to be generalist, dogmatic or even elitist. This work proposes the analysis of musical technologies not only as a set of compositional techniques, as Adorno does, but, in fact, as material conditions for the realization of a certain type of sound/music. The colonialist character of these technologies is also analyzed. Based on a review of some key concepts in Adornian theory, a dialogue is sought with more contemporary authors from the sociology of music.
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Weitz, Shaena B. "Propaganda and Reception in Nineteenth-Century Music Criticism: Maurice Schlesinger, Henri Herz, and the Gazette musicale." 19th-Century Music 43, no. 1 (2019): 38–60. http://dx.doi.org/10.1525/ncm.2019.43.1.38.
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In the mid-1830s, Henri Herz (1803–88) was an internationally renowned pianist, but his reputation today, for the most part, is that of a second-rate musician who wrote trivial variations on opera themes. This enduring picture of Herz was painted first in France in 1834 by the Gazette musicale. The Gazette’s campaign has been understood by modern scholars as a conspicuous moment in a broad aesthetic shift away from French salon music and toward high German Romanticism, and the Gazette has garnered praise for its prescience. But a closer examination of the Gazette’s articles, the events surrounding the coverage such as a pistol duel and a libel case, contemporary correspondence, and Herz’s publishing record indicate that the Gazette’s negative treatment of Herz was not an organic assessment of his output, but rather a revenge scheme orchestrated by the Gazette’s owner and Herz’s former publisher, Maurice Schlesinger (1798–1871). As a case study, the Gazette’s Herz campaign exposes the endemic corruption of the nineteenth-century press that has been portrayed as an unseemly rarity rather than a central component of historical criticism’s production. But taken more broadly, the Gazette’s articles on Herz highlight limitations in the history of reception. This article turns to media studies to explore the problematic relationship between propaganda and reception and shows how the Gazette, and other nineteenth-century journals, are still manipulating our cognition.
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Bruni, Alessandro Maria. "Die altkirchenslavische Übersetzung der Homilie 1 des Gregor von Nazianz: Texüberlieferung und kritische Ausgabe." Palaeobulgarica 48, no. 1 (April 1, 2024): 3–24. http://dx.doi.org/10.59076/2603-2899.2024.1.01.
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The present paper investigates the textual transmission of the Old Church Slavonic version of Gregory of Nazianzus’ Homily 1 (Oratio 1: Λόγος εἰς τὸ ἅγιον Πάσχα καὶ εἰς τὴν βραδύτητα, CPG 3010.1) and offers its first critical edition. This homiletical work, originally composed in Greek ca. 362 A.D., was translated in Bulgaria between the late 9th and the early 10th century. The text has come down to us in 17 Old East Slavic Cyrillic manuscripts dating from the 11th up to 17th centuries as well as in two South Slavic testimonies dating respectively from the late 13th – early 14th centuries and the second half of the 16th century. The author aims at determining the textual relationship among the surviving manuscript evidence, and at creating the first stemma codicum of this tradition. The conclusion put forward is that the entire East and South Slavonic tradition derives from a single archetype (α) and that it splits into three major branches of transmission. The first corresponds to manuscript P, the second to hyparchetype β, an understanding of which may be reconstructed on the basis of the textual agreement of the Old Serbian witnesses HT, and the third to hyparchetype γ. Τhe latter can be reconstructed from the readings preserved in the various Old East Slavic testimonies of the liturgical collection. As a result, the examination of the tradition produced a tripartite stemma, thereby logically implying that a critical edition is to be based on the three variant carriers P, β, and γ. Therefore, almost 150 years after the diplomatic edition of codex P by A. Budilovič, restricting attention to the earlier manuscripts can be safely assumed to exclude any possibility of reaching well-founded conclusions on textual criticism. Rather, while studying Old Church Slavonic texts, composed in the 9th–10th centuries, scholars would be well-advised to pay equal attention to later copies dating from the 14th–17th centuries.
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Garratt, J. "Music, Criticism, and the Challenge of History: Shaping Modern Musical Thought in Late Nineteenth-Century Vienna. By Kevin C. Karnes." Music and Letters 91, no. 3 (August 1, 2010): 436–38. http://dx.doi.org/10.1093/ml/gcq028.
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Madikova, Lidia V. "Miniature as a Source of Information about Russian Shipbuilding Culture of the 15th—17th Centuries." Observatory of Culture 20, no. 1 (March 31, 2023): 98–111. http://dx.doi.org/10.25281/2072-3156-2023-20-1-98-111.
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The article is devoted to the study of images of boats in Russian chronicles and hagiographic miniatures of the 15th—17th centuries. Shipbuilding is an important component of Russian culture. Thus, the emergence and evolution of water transport contributed to the development of fishing, trade relations and various cultural and historical processes. Over the centuries-old history of navigation and shipbuilding, the image of a ship has acquired a sacred meaning for human. Ship motifs were at the centre of many outstanding works of fine art, literature and music. Images of ships and boats were widespread in chronicle and hagiographic miniatures. They contain a huge layer of visual information for the study of shipbuilding culture. It is visual information that is the main one for studying shipbuilding, which determines the relevance of the issue.The inclusion of miniatures in the context of the study of shipbuilding makes it possible to obtain information about the methods and technologies used in the manufacture of a water vehicle, an idea of the external appearance of the vessel, what changes it has undergone, what watercrafts were typical for a particular area in a certain period of time, etc.The novelty of the research solution is in the fact that the author, having carried out the detailed analysis of the images of ships and boats presented on Russian miniatures of the 15th—17th centuries, revealed the design features of the depicted vessels and established that the prototypes for the images were real ships that sailed in the 15th—17th centuries.The article examined water vehicles presented in the miniatures of the Koenigsberg (Radziwill) Chronicle of the 15th century, the Illuminated Compiled Chronicle of the 16th century, the Illuminated Collection of the Lives of the Vologda Saints of the 17th century, the Hagiography of Anthony of Siya of the 17th century. Moreover, the last two sources were involved in the study of the shipbuilding tradition of Russia for the first time. The author established that the images of ships in miniatures can be used as sources for studying the technologies of construction of ships of various types that existed in Medieval Russia, as well as for reconstruction of ancient ships.
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Guseinova, Zivar M. "The Theoretical Codex of the Mid-17th Century as a Phenomenon of Church-Singing Art." Vestnik of Saint Petersburg University. Arts 11, no. 4 (2021): 589–606. http://dx.doi.org/10.21638/spbu15.2021.402.
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The first musical-theoretical manuals of ancient Russia appeared in the 15th century. They were rather small in volume and contained information that was predominantly educational. The changes that were taking place in the singing system over several centuries were reflected in new types of manuals, conveying the peculiarities of the singing art (znamenny chant) of the time. By the middle of the 17th century, the codices began to occupy a significant place in manuscripts, which contained monuments of Russian liturgical singing. They were large-scale consolidated documents, including a selection of relatively independent musical-theoretical manuals, each of which revealed a separate aspect in the theory of znamenny chant, carried out according to special musical signs — kriuki (hooks). The tradition of handwritten copying of documents contributed to the fact that each type of theoretical manual was simultaneously in many copies that never matched the text with absolute accuracy and always contained discrepancies. The codex, analysed in this article, in the mid-17th century manuscript of V. F. Odoevsky’s Collection No. 1, which is kept in the Russian State Library, is a set of numerous copies of different theoretical manuals that were formatted by that time. These are the notable azbuka (ABC) that explain individual neums; kokizniki and fitniki, expounding upon the principles of formula singing; manuals that reveal the sound-naming system, as well as a meaningful layer of author’s comments that interpret and generalizing material for educational purposes.
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Catană-Spenchiu, Ana, and Constantin Răchită. "The Challenge of Biblical Textual Criticism: The Case of the Dutch Edition of the Septuagint (1709)." Religions 13, no. 8 (August 1, 2022): 708. http://dx.doi.org/10.3390/rel13080708.
Full textAbstract:
An overview of the main European biblical tradition of the Septuagint shows that much work has been carried out in this field of research. Prominent scholars investigated the Old Testament from a thematic diversity point of view, from the history of the text and its contextualization to a variety of translation topics. We investigate, in this article, a lesser-known edition of the Septuagint from the early 18th Century, edited by Lambert Bos and printed in Franeker. Lambert Bos’ biblical philology fits into the patterns of Dutch textual philology, consolidated in the 17th century and built on the solid foundations provided by the grammatical and lexical analysis of ancient texts. A deeper understanding of the issues raised by the texts’ transmission opens a new field of research which admits that a true appreciation of the texts’ content must be preceded by their recovery in as ‘authentic’ a form as possible. The present article aims to restore the image of a Dutch Hellenist of pre-modern philology, and to present important data on his key works, highlighting the defining characteristics of the Franeker edition (1709) of the Septuagint with an analysis from a modern perspective of the principles and methods he followed in the actual practice of biblical textual criticism.
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Riezal, Chaerol, Andrik Purwasito, Susanto Susanto, and Djono Djono. "The tracing engagement and support of Abdurrauf As-Singkili in the history of Sultanah Safiatuddin’s leadership in Aceh Sultanate (1641-1675)." Multidisciplinary Science Journal 6, no. 7 (January 25, 2024): 2024116. http://dx.doi.org/10.31893/multiscience.2024116.
Full textAbstract:
This paper aims to reconstruct the history of Sultanah Safiatuddin’s leadership in the Aceh Sultanate and analyze Abdurrauf As-Singkili’s involvement in supporting women’s leadership in Aceh. This paper uses historical research methods. The use of historical research methods in this research is carried out through five steps: topic selection, heuristics, source criticism, interpretation, and historiography. The results of this study show that the Aceh Sultanate in the 17th century underwent a vital change marked by the emergence of the leadership of Sultanah Safiatuddin (1641-1675) as a representation of women’s leadership in the Aceh Sultanate in the 17th century. During his 34 years leading the Aceh Sultanate, Sultanah Safiatuddin recorded some outstanding achievements despite the many serious threats. Many factors caused the emergence of the leadership of Sultanah Safiatuddin, and one of them was the involvement of scholars in Aceh, such as Abdurrauf As-Singkili, who gave full support to the leadership of Sultanah Safiatuddin. The support given by Abdurrauf As-Singkili to the leadership of Sultanah Safiatuddin can be traced through three steps as follows: (1) Abdurrauf As-Singkili was willing to publish the book Mir’at al-Thullab written at the request of Sultanah Safiatuddin. In Mir’at al-Thullab, Abdurrauf As-Singkili expresses a critical thought about the ability of women to be appointed leaders and judges; (2) Abdurrauf As-Singkili accepted the offer of Sultanah Safiatuddin to be appointed mufti or advisor to the Aceh sultanate with the post of Qadhi Malik al-Adil; and (3) Abdurrauf As-Singkili succeeded in stopping opposition groups that were anti- women’s leadership. The three supports confirmed that Abdurrauf As-Singkili recognized and strengthened women’s leadership in Aceh led by Sultanah Safiatuddin. This support became crucial for the leadership of Sultanah Safiatuddin because Abdurrauf As-Singkili had transformed into a political force owned by Sultanah Safiatuddin.
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Zavіalova, Olha, and Mariya Yarko. "Modern algorithms for interpreting the history of music: an epistemological discourse." Culturology Ideas, no. 22 (2'2022) (2022): 8–16. http://dx.doi.org/10.37627/2311-9489-22-2022-2.8-16.
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In the article a historically significant situation is considered, when with the revival in the last third of the twentieth century of B. Asafyev's ideas on music as a sound intonation environment and an art of intoned meaning, as well as because of the expansion of modern humanitarian knowledge due to close interdisciplinary links, the musical criticism underwent a process of active development, synthesizing the subject field of historical and theoretical musicology on the basis of culturology and philosophy. The achievements of this process have been analyzed, which demonstrate a radical renovation of the conceptual and semantic content of the leading categories of musicology, in particular, in relation to the interpretation of historical phenomena in music in view only of their inherent worldview paradigms. Analytical algorithms for detecting epistemologically reliable data on the style of epochs and criteria for compiling their generalized "image" under the guise of an invariant model are specified. The expediency of a monadological (nonlinear) approach to the history of music, which methodologically corresponds to the idea of "philosophy of integrity", is proposed and substantiated.
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Perchard, Tom. "Mid-century Modern Jazz: Music and Design in the Postwar Home." Popular Music 36, no. 1 (December 13, 2016): 55–74. http://dx.doi.org/10.1017/s0261143016000672.
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AbstractThis article takes an imagined, transnational living room as its setting, examining jazz's place in representations of the ‘modern’ middle-class home across the post-war West, and exploring the domestic uses that listeners both casual and committed made of the music in recorded form. In magazines as apparently diverse asIdeal Homein the UK andPlayboyin the US, a certain kind of jazz helped mark a new middlebrow connoisseurship in the 1950s and 60s. Yet rather than simply locating the style in a historical sociology of taste, this piece attempts to describe jazz's role in what was an emergent middle-class sensorium. The music's sonic characteristics were frequently called upon to complement the newly sleek visual and tactile experiences – of furniture, fabrics, plastics, the light and space of modern domestic architecture – then coming to define the aspirational bourgeois home; an international modern visual aesthetic was reflected back in jazz album cover art. But to describe experience or ambience represents a challenge to historical method. As much as history proper, then, it's through a kind of experimental criticism of both music and visual culture that this piece attempts to capture the textures and moods that jazz brought to the postwar home.
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Hasriyodan, Dahlan, and Susmihara. "ISLAMISASI MAMBI ABAD 17." ISTIQRA 11, no. 2 (August 26, 2023): 203–22. http://dx.doi.org/10.24239/ist.v11i2.2145.
Full textAbstract:
This study aims to reveal the Islamization of Mambi in the 17th century with main focuses. first, the socio-political religious conditions of the Mambi people before the arrival of Islam; second, the pattern of acceptance of Islam in Mambi; third, the contribution of Islam to religious understanding. The authors use historical methods to reveal these historical events, including the following stages: heuristics or data collection, source criticism, interpretation, and historiography. The approach used in research; is history, politics, religion, and sociology. The results of this study, firstly, the socio-political condition of religion before Islam in Mambi, that the religion that becomes the belief of the community is Mappurondo or Mappurondo. Mappurondo cannot be separated from the social, political, and cultural pre-Islamic Mambi. So Mappurondo is a framework of rules that regulates human procedures in social life. Society in this case is governed by human relations with others, the universe, and the Creator, usually called Dehata. The rules are formulated in Pemali Appa' Randanna (four prohibitions). Pemali Appa' Randanna are rules regarding the four basic elements of the human life cycle. Secondly, the acceptance of Islam in Mambi in the 17th century was brought by a figure who had a very broad understanding of religion. The Mambi people know him by the name Batua Muhammad Adil. Third, the contribution of Islam to religious understanding until now has been abandoned by Pamali Appa' Randanna. Contribution to social politics until now the election of leaders is no longer done in a monarchical manner
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Șuteu, Cristina. "In Memoriam Viorel Cosma (1923-2017): Outstanding Personality for Romanian Musicology." Studia Universitatis Babeş-Bolyai Musica 68, no. 2 (December 30, 2023): 9–20. http://dx.doi.org/10.24193/subbmusica.2023.2.01.
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"This year marks a century since the birth of the musicologist and enescologist Viorel Cosma (1923-2017). The purpose of this article is to recall the impact that Viorel Cosma had in musicological research on a national and international level through the thousands of signed articles and through the approxi¬mately 100 books published on themes that highlighted Romanian music and musi¬cians. The significant contribu¬tions of Viorel Cosma are recognized in particular for 22 volumes dedicated to George Enescu, for 12 biobibliographical lexicons with personalities of Romanian music, for musical criticism signed throughout 40 years at concerts as well 60 years at opera performances. Viorel Cosma remains in the history of Romanian musical culture as an emblematic personality who successfully combined the role of musicologist, teacher, enescologist, lexicographer and music critic. Keywords: Viorel Cosma, Romanian Musicology, George Enescu, Lexicographer, Music critic."