Relevant bibliographies by topics / Music theory – History – Italy

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Music theory – History – Italy'

Author: Grafiati
Published: 4 June 2021
Last updated: 11 February 2022

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Journal articles on the topic "Music theory – History – Italy"

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Long, Michael. "Singing Through the Looking Glass: Child's Play and Learning in Medieval Italy." Journal of the American Musicological Society 61, no. 2 (2008): 253–306. http://dx.doi.org/10.1525/jams.2008.61.2.253.

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Abstract This study explores the context for a small monophonic Latin song preserved in an eclectic Italian anthology manuscript produced around the turn of the fifteenth century. The song bears the Italian heading L'antefana di Ser Lorenzo, and is presumably connected to the Florentine composer Lorenzo Masini. “Diligenter advertant chantores” (as the Latin text begins) attracted considerable attention when it was first made widely available in facsimiles of the mid-twentieth century. Scholars of late medieval music, confronted by the song's apparent intellectual virtuosity and the diabolical excess of its so-called musica ficta signs, drew the conclusion that its musical context lay hidden within the history of music theory and perhaps even in its most esoteric corners. But repositioned against a new and still-emerging understanding of the pedagogical practices of the ars grammatica and ars memorativa, L'antefana takes on a different sort of historical significance. Details of its previously neglected text and the evidence of its fantastical notation suggest that it is a simple riddle intended for the youngest singers, likely a learning game of a very rudimentary sort (one of several considered in this article). Such classroom amusements still remain childhood constants, bridging the supposed gap between medieval and modern musical lives.
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Cole, Michael. "Toward an Art History of Spanish Italy." I Tatti Studies in the Italian Renaissance 16, no. 1/2 (September 2013): 37–46. http://dx.doi.org/10.1086/674114.

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Diergarten, Felix. "Paolucci Reading Caldara and Handel: Music Analysis in Eighteenth-Century Italy." Music Theory and Analysis (MTA) 7, no. 1 (April 30, 2020): 240–85. http://dx.doi.org/10.11116/mta.7.1.5.

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Giuseppe Paolucci's Arte pratica di contrappunto (1765–72) is a collection of analyses of forty-two compositions from the sixteenth to the eighteenth century. It offers insights into eighteenth-century practices of music analysis as well as into historical concepts of counterpoint and fugue. Two analytical readings by Paolucci are translated and commented upon in this essay. Paolucci's analysis of Antonio Caldara's motet Peccavi super numerum is valuable for its references to rhetoric and the visual arts. The analysis of Handel's fugue "Then shall I teach thy ways" (from the Chandos Anthem HWV 248) exemplifies the high esteem in which contemporary writers and composers held Handel's compositional techniques, which Paolucci describes meticulously, bar by bar. Paolucci's reading of Handel's fugue, which is similar to Italian partimento fugues of that time, also provides material for the still-unwritten history of eighteenth-century Italian fugal theory.
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Lee, Sherry. "Teddie’s Landschaft." New German Critique 48, no. 2 (August 1, 2021): 85–105. http://dx.doi.org/10.1215/0094033x-8989260.

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Abstract This article considers the concept of cultural landscape (Kulturlandschaft) from Theodor W. Adorno’s Aesthetic Theory, exploring how the philosophy of natural beauty in relation to historical built environments resonates with ideas of musical landscape and experiences of peripatetic listening. If Adorno’s mature thought is marked by the fractured experience of exile, his late evocations of displacement actually echo youthful experiences on holiday—notably, the striking volcanic terrain of a summer vacation in Italy, which is transformed soon thereafter into a reflection on landscape, alienation, and song. Throughout the recurrences of the trope of landscape in Adorno’s writings before Aesthetic Theory, the philosophy of nature and history and experiences of tourism and exile constellate into an aesthetic that contemplates sublimity and kitsch side by side: modernist philosophy as shaped by experiences of music, travel, and landscapes of distance and estrangement.
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Williams (book author), Robert, and Michael J. B. Allen (review author). "Art, Theory, and Culture in Sixteenth-Century Italy: From Techne to Metatechne." Renaissance and Reformation 35, no. 3 (July 1, 1999): 95–97. http://dx.doi.org/10.33137/rr.v35i3.10745.

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Campbell, C. Jean. "Natural History as Model: Pliny’s Parerga and the Pictorial Arts of Fifteenth-Century Italy." I Tatti Studies in the Italian Renaissance 22, no. 2 (September 2019): 283–93. http://dx.doi.org/10.1086/705433.

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Quint, David. "Duelling and Civility in Sixteenth Century Italy." I Tatti Studies in the Italian Renaissance 7 (January 1997): 231–78. http://dx.doi.org/10.2307/4603706.

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Muir, Edward. "Italy in the No Longer Forgotten Centuries." I Tatti Studies in the Italian Renaissance 16, no. 1/2 (September 2013): 5–11. http://dx.doi.org/10.1086/673415.

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Richardson (book author), Brian, and Anna Maria Grossi (review author). "Manuscript Culture in Renaissance Italy." Renaissance and Reformation 34, no. 1-2 (March 13, 2012): 294–95. http://dx.doi.org/10.33137/rr.v34i1-2.16190.

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GOZZA, PAOLO. "LA MUSICA NELLA FILOSOFIA NATURALE DEL SEICENTO IN ITALIA." Nuncius 1, no. 2 (1986): 13–47. http://dx.doi.org/10.1163/182539186x00502.

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Abstract<title> SUMMARY </title>The leit-motiv of the present description of the relationship between music and natural philosophy in Italy in the seventeenth century is a recurrent theme: the mathematical or « Pythagorean » approach to music as opposed to the experimental or « Aristoxenian » approach. During the sixteenth and seventeenth centuries this opposition, rendered pertinent by the cultural transformations that accompanied the consolidation of modern science, gained in complexity and took on original forms and meanings. The present paper, in the first instance, outlines the major traditions of classical musical thought and its medieval heritage. Secondly, it provides a survey of the more significant attempts at renewing musical theory that were carried out during the second half of the Cinquecento in the light of the Italian renaissance of mathematics of the XV and XVI centuries. It continues with an examination of the musical ideas of Galileo and offers a primary documentation of the interest displayed by representatives of the Galilean school in the science of sound during the first half of the Seicento.Finally it discusses, for the first time, the theories of sound of F. M. Grimaldi and D. Bartoli and the musical doctrines of P. Mengoli within the framework of the principal philosophical elements of Italian culture between 1660 and 1680.
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Dissertations / Theses on the topic "Music theory – History – Italy"

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Wuidar, Laurence. "Musique et hermétisme après le concile de Trente: astrologie et canons énigmes." Doctoral thesis, Universite Libre de Bruxelles, 2007. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/210717.

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Etude des relations entre musique et astrologie par (1) un panorama européen de la présence de l’astrologie dans les traités de théorie musicale de la fin du 15ème siècle au début du 18ème siècle (Burzio, Gaffurio, Finck, Zarlino, Mersenne et l’horoscope du parfait musicien, Bartolus, Werckmeister) et dans les « Accademie » italiennes (l’Academia Ortolana d’Antonfrancesco Doni et l’Academia dei Gelati de Bologne), (2) l’étude des écrits astrologiques manuscrits et édités de compositeurs Italiens du 17ème siècle (Zacconi, Osio, P. F. Valentini) et (3) le décodage de l’astrologie dans un corpus de partitions musicales (analyse de Milleville, « Madrigali », 1617 ;Strozzi, « Elementorum », 1683 ;des sonates « Zodiacus Musicus »…). Lue en parallèle avec les énigmes musicales et « canoni enigmatici » italiens du 17ème siècle étudiés sous l’angle de l’expression de l’hermétisme et de l’ésotérisme musical. Les fonctions sociales, sacrées et symboliques de cette forme musicale ainsi que des caractéristiques esthétiques et herméneutiques propres au 17ème siècle se dégagent de l’analyse des sources (analyses détaillées des œuvres de Romano Micheli, du manuscrit de canons de P. F. Valentini et du manuscrit des « Hiéroglyphes musicaux » de Zacconi ;présentation des manuscrits de canons énigmes conservés au Museo Civico Musicale de Bologne (Nanino, Agostini, Costanzo Porta, Milanta, Martini, Mattei) et analyse des énigmes dans les messes romaines, Anerio, Soriano, Agostini…). Plus de 80 sources manuscrites (Venise, Pesaro, Milan, Bologne, Rome, Vatican, Londres) et de 120 sources anciennes (Agrippa, Bruno, Cardano, Ficino, Kircher ;Banchieri, Cerreto, Liberati, Rodio, Steffani…), 44 reproductions hors texte.
Doctorat en philosophie et lettres, Orientation histoire de l'art et archéologie
info:eu-repo/semantics/nonPublished
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Giselbrecht, Elisabeth Anna. "Crossing boundaries : the printed dissemination of Italian sacred music in German-speaking areas (1580-1620)." Thesis, University of Cambridge, 2012. https://www.repository.cam.ac.uk/handle/1810/283907.

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Ballantyne, Abigail L. "Writing and publishing music theory in early seventeenth-century Italy : Adriano Banchieri and his contemporaries." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:5567c6ab-360c-47da-8b82-d7f1d4a4d4d7.

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Why write music theory and publish it? In the thesis I investigate the reasons for a seeming over-abundance of practically oriented music treatises in early seventeenth-century Italy. Throughout I challenge our conventional assessment of the study of music theory: I suggest that we can define a music-theoretical text in terms of its material form in addition to its content. Adriano Banchieri (1568-1634) was the most prolific theorist in early seventeenth-century Italy. His music-theory books exemplify contemporary printing patterns, an overt practical focus, and a synthesis of contemporary theoretical innovations. In Chapter 1, after considering the meaning of 'music theory' and how it is typically classified, I discuss the process of and purposes for writing and publishing music theory. In Chapter 2 I explore Banchieri's practical and philosophical motives for writing music theory, and thus introduce the reader to his music-theoretical corpus. The focus of the thesis then broadens: in Chapter 3 I survey the typical authors, publishing houses, content, material form, function and readers of the various kinds of theoretical texts printed in Italy between 1600 and 1630. In Chapter 4 I examine the widespread practice of publishing second and revised editions of music-theory books in order to establish the extent to which a new edition corresponds to a seeming demand for a particular text. The case study of the paratext of Banchieri's Conclusiones de musica (Bologna, 1627) in Chapter 5 demonstrates the great extent to which the preliminary matter of an early Seicento music-theory book is embedded in its socio-cultural context and how a paratext projects ideas contained in the text proper. Lastly, in Chapter 6 I explore to whom and in which particular forums theoretical writings circulated. Here I focus principally on Banchieri's printed letters, which provide evidence of how an author circulated his music books.
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Ertz, Matilda Ann Butkas 1979. "Nineteenth-century Italian ballet music before national unification: Sources, style, and context." Thesis, University of Oregon, 2010. http://hdl.handle.net/1794/11296.

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xxiv, 603 p. : ill. (some col.) A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.
Though not widely acknowledged, ballet and its music were important to the nineteenth-century Italian theatre-goer. While much scholarship exists for Italian opera, less study is made of its counterpart even though the ballet was an important feature of Italian theatre and culture. This dissertation is the first in-depth survey of the music for Italian ballets from 1800-1870, drawing from the hundreds of ballet scores in two important collections: The John and Ruth Ward Italian Ballet Collection, part of the Harvard Theatre Collection, and the New York Public Library for the Performing Arts Research Collections. After discussion of primary and secondary sources (Chapters II and III), I provide an overview of the context in which ballets were performed during the period (Chapter IV). In Chapter V I discuss musical styles for mime and for dance, and dance sub-categories such as the pas de deux, ballabile, and national dances. I also explore specific commonly occurring choreo-musical sub-topics such as anger, love, storms, hell, witches, devils, and sylphs. Finally, I examine two complete ballets in detail. Chapter VI on Salvatore Viganò's La Vestale includes a discussion of the hitherto neglected manuscript full score and of the published piano reduction. Chapter VII on Giuseppe Rota's Bianchi e Negri explores the musical and dramatic adaptation of Harriet Beecher Stowe's Uncle Tom's Cabin . While examining the traits of Italian ballet music as a genre and exploring relationships between music, dance, and libretto, this dissertation initiates a wider discussion of the social-political context of ballet music in nineteenth-century Italian theatrical life during the turbulent decades spanning the 'Risorgimento' period.
Committee in charge: Marian Smith, Chairperson, Music; Anne McLucas, Member, Music; Marc Vanscheeuwijck, Member, Music; Jenifer Craig, Outside Member, Dance
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Moreland, John Francis. "Archaeology, history and theory : settlement and social relations in Central Italy A.D. 700-1000." Thesis, University of Sheffield, 1988. http://etheses.whiterose.ac.uk/5977/.

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The first two chapters of this thesis trace the development of historical and archaeological thought in an attempt to arrive at an understanding of the reasons behind the present polarization of the two disciplines. It is concluded that this polarization is the result of the stress placed on a series of oppositions -structure/agency, society/individual, synchrony/diachrony, past/present. It is argued that a rapprochement between History and Archaeology Is essential, especially for those who study the early med e.val period where both have some relevance, and that this rapprochement is only possible through an adequate theorisation of the recursive links which connect each of the oppositions. This theorisation is the subject of chapters 3 and 4. The essential elements of the theoretical perspective produced are that all the traces of the past should be seen as material culture produced by agents working in and through societal structures. The link between the past and the present is also stressed, and the past is seen as a resource drawn upon in the creation and negotiation of social relations. I use this theoretical perspective in a re-examination of the nature of settlement patterns and social structures in early medieval central Italy. I suggest that the archaeological evidence used to support the notion of massive depopulation at the end of the Roman empire, refers more to the dominance of the feudal mode of production. This is not to argue that population did not decline. It did, and much of this thesis is concerned with attempting to isolate the mechanisms through which elites tried to exercise control over people. These included increased management of production through the use of the written text and the development of administrative sites. These efforts culminated in the tenth century with the "incastellation" of much of the rural population.
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Lefcoe, Andrew. "Kuhn's paradigm in music theory." Thesis, McGill University, 1998. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=21231.

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Thomas Kuhn's essay The Structure of Scientific Revolutions has had an overwhelming impact upon academics from various fields, creating a virtual paradigm industry. Authors have frequently had recourse to Kuhn's book, applying insights into the structure and development of the sciences to nonscientific fields. This essay presents a critical review of Kuhn citation in the music-theoretic literature, first reviewing similar citation analyses in the humanities and the social sciences for comparison. While much of the Kuhn citation is problematic, music scholars are found to sin less broadly than those in other fields. After reviewing some of the salient distinctions between scientific and nonscientific endeavors, some of Kuhn's insights into science are found to clarify an issue in the history of music theory, namely the nature of the succession from figured-bass theory to the formulations of J. P. Rameau.
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Yoshioka, Masataka. "Singing the Republic: Polychoral Culture at San Marco in Venice (1550-1615)." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc33220/.

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During the late sixteenth and early seventeenth centuries, Venetian society and politics could be considered as a "polychoral culture." The imagination of the republic rested upon a shared set of social attitudes and beliefs. The political structure included several social groups that functioned as identifiable entities; republican ideologies construed them together as parts of a single harmonious whole. Venice furthermore employed notions of the republic to bolster political and religious independence, in particular from Rome. As is well known, music often contributes to the production and transmission of ideology, and polychoral music in Venice was no exception. Multi-choir music often accompanied religious and civic celebrations in the basilica of San Marco and elsewhere that emphasized the so-called "myth of Venice," the city's complex of religious beliefs and historical heritage. These myths were shared among Venetians and transformed through annual rituals into communal knowledge of the republic. Andrea and Giovanni Gabrieli and other Venetian composers wrote polychoral pieces that were structurally homologous with the imagination of the republic. Through its internal structures, polychoral music projected the local ideology of group harmony. Pieces used interaction among hierarchical choirs - their alternation in dialogue and repetition - as rhetorical means, first to create the impression of collaboration or competition, and then to bring them together at the end, as if resolving discord into concord. Furthermore, Giovanni Gabrieli experimented with the integration of instrumental choirs and recitative within predominantly vocal multi-choir textures, elevating music to the category of a theatrical religious spectacle. He also adopted and developed richer tonal procedures belonging to the so-called "hexachordal tonality" to underscore rhetorical text delivery. If multi-choir music remained the central religious repertory of the city, contemporary single-choir pieces favored typical polychoral procedures that involve dialogue and repetition among vocal subgroups. Both repertories adopted clear rhetorical means of emphasizing religious notions of particular political significance at the surface level. Venetian music performed in religious and civic rituals worked in conjunction with the myth of the city to project and reinforce the imagination of the republic, promoting a glorious image of greatness for La Serenissima.
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Williams, Benjamin John. "Music Composition Pedagogy: A History, Philosophy and Guide." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1274787048.

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Rusak, Helen Kathryn. "Rhetoric and the motet passion." Title page, table of contents and introduction only, 1986. http://web4.library.adelaide.edu.au/theses/09ARM/09armr949.pdf.

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Flores, Carlos A. (Carlos Arturo). "Music Theory in Mexico from 1776 To 1866: A Study of Four Treatises by Native Authors." Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc331988/.

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This investigation traces the history and development of music theory in Mexico from the date of the first Mexican treatise available (1776) to the early second half of the nineteenth century (1866). This period of ninety years represents an era of special importance in the development of music theory in Mexico. It was during this time that the old modal system was finally abandoned in favor of the new tonal system and that Mexican authors began to pen music treatises which could be favorably compared with the imported European treatises which were the only authoritative source of instruction for serious musicians in Mexico.
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Books on the topic "Music theory – History – Italy"

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Brett, Ursula. Music and ideas in seventeenth-century Italy: The Cazzati-Arrestipolemic. New York: Garland Pub, 1989.

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Brett, Ursula. Music and ideas in seventeenth-century Italy: The Cazzati-Arresti polemic. New York: Garland Pub., 1989.

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The Italian traditions and Puccini: Compositional theory and practice in nineteenth-century opera. Bloomington: Indiana University Press, 2011.

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Manfredini, Vincenzo. A critical translation from the Italian of Vincenzo Manfredini's Difesa della musica moderna/In defense of modern music (1788). Lewiston, N.Y: E. Mellen Press, 2002.

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Kubik, Gerhard. Theory of African music. Wilhelmshaven: F. Noetzel, 1994.

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Kubik, Gerhard. Theory of African music. Chicago: The University of Chicago Press, 2010.

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Theory of African music. Wilhelmshaven: F. Noetzel, 1994.

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Sachs, Harvey. Music in fascist Italy. New York: Norton, 1988.

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Sachs, Harvey. Music in fascist Italy. London: Weidenfeld and Nicolson, 1987.

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Bishan, Swarup. Theory of Indian music. Delhi, India: Mittal Publications, 1987.

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Book chapters on the topic "Music theory – History – Italy"

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Mazzola, Guerino. "Short History of Performance Theory." In Computational Music Science, 11–20. Berlin, Heidelberg: Springer Berlin Heidelberg, 2010. http://dx.doi.org/10.1007/978-3-642-11838-8_3.

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Bennett, Andy, and Ian Rogers. "Scene ‘Theory’: History, Usage and Influence." In Popular Music Scenes and Cultural Memory, 11–35. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-40204-2_2.

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Alexander, David, Roberta Fasiello, and Francesco Giaccari. "Income measurement and asset valuation under Zappa’s theory." In The History and Tradition of Accounting in Italy, 69–88. Abingdon, Oxon ; NewYork, NY : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315616971-5.

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Zenkin, Konstantin. "Music – Number – Word. History and Theory of Connections." In Current Research in Systematic Musicology, 23–32. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-74039-9_3.

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Capecchi, Danilo. "Mathematical Physics in Italy in the XIX Century: The Theory of Elasticity." In History of Mechanism and Machine Science, 59–78. Dordrecht: Springer Netherlands, 2012. http://dx.doi.org/10.1007/978-94-007-5380-8_3.

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Shonk, Kenneth L., and Daniel Robert McClure. "“The Pride of History”: Post-punk and the Aesthetics of Post-modernity." In Historical Theory and Methods through Popular Music, 1970–2000, 141–70. London: Palgrave Macmillan UK, 2017. http://dx.doi.org/10.1057/978-1-137-57072-7_6.

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Spitzer, Michael. "Passions." In A History of Emotion in Western Music, 243–74. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190061753.003.0007.

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This chapter begins that part of the book devoted to the period of “affective realism,” when the modern concept of musical emotion crystallized. Dedicated to the Baroque period, the chapter focuses on the four musical-emotional communities of Italy (Vivaldi), England (Handel), Germany (J. S. Bach), and France (Rameau). Arching over all four emotional styles is the dialogue between emotional models developed by Descartes and Spinoza; and, more broadly, the dialectic between “passion” and “action,” stemming from Aquinas. The chapter reviews Descartes’ theory of emotional expression, and Spinoza’s therapeutic model of emotion, especially his theory of Conatus. The prevailing idea of Affektenlehre is thereby placed into context. The chapter concludes with an extended consideration of Rameau’s opera, Hippolyte et Aricie, in the context of Descartes’ theory of wonder.
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Weiss, Sarah. "Transgression and Tarantella among Catholic Women in Calabria." In Ritual Soundings, 112–27. University of Illinois Press, 2019. http://dx.doi.org/10.5622/illinois/9780252042294.003.0007.

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This chapter focuses on two manifestations of the tarantella tradition in Catholic Southern Italy, exploring not only the connections between them but also the ways in which performance mediates the ambiguity of the social positions of the women who dance tarantella in their different contexts. The pilgrimage to the Madonna della Montagne in Polsi, Italy is described and contextualized in the history of tarantism from Saint Paul to contemporary stage performances as well as its causes and cures through the performance of tarantella music. The chapter relies on the ethnographic work of Marta Porcino, Karen Lüdtke; and Goffredo Plastino.
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Christensen, Thomas. "Music Theory." In The Cambridge History of Medieval Music, 357–81. Cambridge University Press, 2018. http://dx.doi.org/10.1017/9780511979866.012.

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Wilson, Alexandra. "Music Criticism in Nineteenth-Century Italy." In The Cambridge History of Music Criticism, 190–207. Cambridge University Press, 2019. http://dx.doi.org/10.1017/9781139795425.011.

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Conference papers on the topic "Music theory – History – Italy"

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Bressan, Federica. "Philology in the preservation of audio documents." In SOIMA 2015: Unlocking Sound and Image Heritage. International Centre for the Study of the Preservation and Restoration of Cultural Property, 2017. http://dx.doi.org/10.18146/soima2015.2.10.

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Sound recordings have proven to be irreplaceable primary sources for disciplines like linguistics, musicology, ethnomusicology and sociology. Their fragile physical nature has activated a number of counter-actions aimed at prolonging the life expectancy of their content. Methodological issues have been raised in the past three decades, considering the relationship between the physical object and its (digitized) intangible content, which is not only complex but develops over time. This article re ects on the role of the emerging discipline known as ‘digital philology’ in the long- term preservation of audio documents, pointing out how some concepts (such as authenticity, reliability and accuracy) may require a ‘customized’ (as opposed to a ‘ready-made’) approach in the preservation work ow – mainly depending on the type of the archive: unique copies, eld recordings, electronic music, oral history, to name some representative cases. The set-up of the laboratory for sound preservation at the Centro di Sonologia Computazionale (CSC) of the University of Padova, Italy, represents one customized approach in which conscious methodological decisions support philologically informed digitization e orts. The methods affect the results, and ultimately the consequences are not merely technological but cultural.
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Camiz, Alessandro. "Diachronic transformations of urban routes for the theory of attractors." In 24th ISUF 2017 - City and Territory in the Globalization Age. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/isuf2017.2017.5639.

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Alessandro Camiz ¹ ¹ Department of Architecture, Girne American University, Cyprus, Association for Historical Dialogue and Research, Home for Cooperation (H4C), 28 Marcou Dracou Street, Nicosia, Cyprus, 1102. E-mail: alessandrocamiz@gau.edu.tr Keywords (3-5): urban tissues, urban morphology, urban routes, theory, history Conference topics and scale: Tools of analysis in urban morphology Recent urban morphology studies consider urban tissues as living organisms changing in time (Strappa, Carlotti, Camiz, 2016), following this assumption the theory should examine more analytically what Muratori called ‘medievalisation’ (Muratori, 1959), a term describing some of the transformations of urban routes happened in the middle ages. The paper considers the diachronic deformation of routes, and other multi-scalar occurrences of the attraction phenomena (Charalambous, Geddes, 2015), introducing the notion of attractors and repellers. Archaeological studies already do consider attractors and repellers as a tool to interpret some territorial transformations, following the assumption that “the trajectory that a system follows through time is the result of a continuous dynamic interaction between that system and the multiple 'attractors' in its environment” (Renfrew, Bahn, 2013, p. 184). There are different elements that can act as attractors in an urban environment, such as bridges, city walls, city gates, water systems, markets, special buildings, and it is possible to consider each of these anthropic attractors as equivalent to a morphological attractor at the geographical scale. We can even interpret the ridge-top theory (Caniggia, 1976) as the result of attraction and repellence of geographic features on anthropic routes. The territorial scale analysis is the methodological base of the theory, but the attractors herein considered operate at the urban scale, deviating locally across time from a rectilinear trajectory and defining a specific urban fabric. The research interprets and reads the effects of attractors on urban routes and fabrics as a method for the reconstruction of Nicosia’s medieval city walls, in continuity between the Conzenian approach (Whitehand, 2012) and the Italian School of Urban Morphology (Marzot, 2002). References:, Muratori, S. (1959) Studi per un’operante storia urbana di Venezia (Istituto Poligrafico dello Stato, Roma). Caniggia, G. (1976) Strutture dello spazio antropico. Studi e note (Uniedit, Firenze). Marzot, N. (2002) ‘The study of urban form in Italy’, Urban Morphology 6.2, 59-73. Whitehand, J.W.R. (2012) ‘Issues in urban morphology’, Urban Morphology 16.1, 55-65. Renfrew, C., Bahn, P. (eds.) (2013) Archaeology: The Key Concepts, (London, Routledge). Charalambous, N., Geddes, I. (2015) ‘Making Spatial Sense of Historical Social Data’, Journal of Space Syntax 6.1, 81-101. Strappa, G., Carlotti, P., Camiz, A. (2016) Urban Morphology and Historical Fabrics. Contemporary design of small towns in Latium (Gangemi, Roma).
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3

Arena, Felice, and Giovanni Malara. "A Small-Scale Field Experiment on Random Froude-Krylov Force on a Rectangular Structure." In ASME 2012 31st International Conference on Ocean, Offshore and Arctic Engineering. American Society of Mechanical Engineers, 2012. http://dx.doi.org/10.1115/omae2012-83617.

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This paper investigates random Froude-Krylov (FK) force on a rectangular structure. It is a key parameter in the design process of some maritime structures. Indeed, the exciting force on a large floating body is commonly determined by a contribution due to the incident wave field (FK) and by a contribution due to the diffraction of sea waves. The work is based on results of a small-scale field experiment at NOEL (Natural Ocean Engineering Laboratory) in Reggio Calabria, Italy. First, field experiment is described, with characteristics of the selected sea states. Then, FK forces are analytically derived in the context of linear random waves. Frequency spectrum of the FK force is derived and it is discussed the occurrence of zeros in frequency domain. Extreme FK forces are determined by Quasi-Determinism theory. The theory enables to derive the analytical expression of the FK force when a large wave (either a large crest height or a large crest-to-trough wave height) occurs at any given point of the wave field, in a fixed time instant. Time domain representation allows investigating the wave force and extreme wave pressure. It is shown that the wave force is highly width dependent in time domain. Further, time histories are not quasi-impulsive. This characteristic is well-rendered in large structures (large with respect to the dominant wave length), where the wave group crossing gives rise to a time history “protraction” in time domain. In the last part of the paper theoretical results are supplemented by comparison with experimental data.
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Barbero, Silvia. "Opportunities and challenges in teaching Systemic Design. The evoluation of the Open Systems master courses at Politecnico di Torino." In Systems & Design: Beyond Processes and Thinking. Valencia: Universitat Politècnica València, 2016. http://dx.doi.org/10.4995/ifdp.2016.3353.

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The contamination between design and theory of systems as a field of development of new design processes is nowadays consolidated. However, the issue concerning the methodology to apply in teaching systemic design remains an open question. The approach adopted in the Master Degree in Systemic Design at Politecnico di Torino is based on the assumption that the teaching method must itself be systemic. Alongside designers, the degree course has involved from the very beginning experts of different disciplines (i.e. chemistry, physics, mechanics, history, economy and management) as teachers, in order to create a multidisciplinary environment for the development of projects. Born as master degree in academic year 2002-03 at Politecnico di Torino (Italy) from the close collaboration with Gunter Pauli, the course has changed name and form but not the content, until it reached the current title (a.y. 2015-16): master degree “Aurelio Peccei” in Systemic Design. The Open Systems course has enabled students, in previous years, to experiment the design of production processes. This was the case of the systemic project done with NN Europe, a company engaged in manufacturing ball bearings, in which the output management allows a positive economic impact. Over the years the course has shifted its focus from the production process of a product to the wider company context. In 2010, the approach has been applied to the agricultural enterprise Ortofruit: starting from agricultural production, the students have defined the production system and the relationships with the market. Systemic Design, during this course, has experienced the transition from the design of industrial processes that are closely linked to the territory, and then enhance local resources, to the design of the whole territorial system. The work done by the students of the course in recent years has led to the definition of scenarios about fields usually distant from the traditional design world. For example, the definition of the economic model, the corporate model that is built around relationships on cooperation with different disciplines.This transition, from the product to the entire territorial system, allows the exploration of new contexts, but it also puts the designer in a complex and challenging position in according with complex theories.DOI: http://dx.doi.org/10.4995/IFDP.2016.3353
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