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Journal articles on the topic 'Musica'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

Papierski, Maciej. "Music As Translation. Musical Motifs in Liebert’s Poetry." Tekstualia 1, no. 5 (2019): 59–66. http://dx.doi.org/10.5604/01.3001.0014.4100.

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This article is devoted to analyses of musical motifs in poetry by a Polish author Jerzy Liebert (1901–1934). Two main kinds of metaphorically understood music can be distinguished in his work: the earthly, referring to human fi niteness, and the transcendental, which is the divine music of God. In the investigation of this problem, Boethian typology of music (musica mundana, musica instrumentalis, musica humana) is engaged. The results of these analyses contribute to the understanding of how the human condition confronts the perfect nature of the Creator in Liebert’s poetry. The article argue

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2

WITKOWSKA-ZAREMBA, ELŻBIETA. "Johannes de Muris's Musica speculativa cited by Jacobus de Ispania." Plainsong and Medieval Music 31, no. 1 (2022): 37–63. http://dx.doi.org/10.1017/s0961137122000031.

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ABSTRACTIt is known that the seventh book of Jacobus's Speculum musicae contains, alongside other quotations from Ars Nova treatises, the earliest extant transmission of the salient passage of Johannes de Muris's Musica speculativa, Conclusio XVIII, where Muris questions the nature of the fourth as a perfect consonance. However, the relevant passages of Musica speculativa cited and discussed by Jacobus have not yet been analysed in the context of the rich manuscript tradition of the Musica speculativa, which served the needs of musical education throughout Latin Europe for at least two hundred

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3

Pangnoi, Ratree, Poonpit Amatyakul, Somchai Trakarnrung, and Nachaya Natchanawakul. "Music therapy Literacy based on Boethius approach in Thailand." International Journal of Education and Literacy Studies 13, no. 2 (2025): 151–56. https://doi.org/10.7575/aiac.ijels.v.13n.2p.151.

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This study is qualitative research which focused on phenomenology of music therapy based on Boethius’ concept and approach in Thailand. The objectives of this study were to explore phenomenology and patterns of remedy through Boethius’ energy music therapy in Thailand. The participants were ninemusic therapists. In-depth data of the individual’s experience were collected and analyzed. The outcomes of this study indicated that (1) Musica Mundana (Universal music) is derived from the movement of the stars in the universe which consequently causes day, time, seasons, cosmic and the 12 zodiacs whi

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4

Gostoli, Antonietta. "Un’antica fonte magno-greca nel De musica attribuito a Plutarco: Glauco di Reggio." Ploutarchos 12 (November 3, 2015): 41–54. http://dx.doi.org/10.14195/0258-655x_12_3.

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Glaucus of Rhegium is often cited in Ps. Plutarch’s De musica as an important source for reconstructing the history of ancient Greek music and lyric poetry. The cultural background of Glaucus’ activity was Rhegium and the Magna Graecia at the end of V century B.C. While Theagenes, his fellow citizen, who was a rhapsode, gave rise to the Homeric studies (VI century B.C.), Glaucus, who was a musician, started the classification and historiography of lyric poetry. He is cited by Ps. Plutarch’s De musica mostly in chapters derived from Heraclides Ponticus. It has been widely questioned whether the

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5

Kalό, Ildiko. "Considerations on the Elements of Musical Language in ‘La casa di peste drum’ [At the House across the Road] by Tudor Jarda." Musicology Papers 35, no. 1 (2020): 35–40. http://dx.doi.org/10.47809/mp.2020.35.01.02.

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When we speak about musical rhetoric, rhetorical figures, or elements related to musica poetica, we almost always automatically think about the Baroque and, why not, about Johann Sebastian Bach`s music. However, few of us realize that the roots of these notions trace back to the Renaissance, and even fewer will relate them to Martin Luther`s name and the Protestant Reformation. The principles of musical rhetoric developed mainly in the North German space, although they were also present in other countries such as Italy, France and England. It was Germany, however, that in those times most enth

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Bilica, Krzysztof. "A selfie with musical expression in the background. An attempt at heuristics." Polski Rocznik Muzykologiczny 21, no. 1 (2023): 239–54. http://dx.doi.org/10.2478/prm-2023-0003.

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Abstract A selfie with musical expression in the background is a metaphor. We take a selfie to see a reflection of ourselves. However, the photograph also enables us to see what surrounded us and what we did not really pay attention to. Let us try to capture the essence of expression in such a metaphorical selfie. We will need additional mirrors: a mirror of language and a mirror of music, as well as a strong (logical!) insight into the real manifestations of language (speech and writing) and the real manifestations of music (sounding music – musica sonabilis and written music – musica scripta

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7

Zolliker, Manuel. "Semantik in der Musik: Das Spiel mit dem Klang und seiner (Be-)Deutung." Leseforum Schweiz, no. 1(2024) (June 7, 2024): 1–14. https://doi.org/10.5281/zenodo.13865451.

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Der vorliegende Artikel befasst sich mit der Eindeutigkeit (oder Mehrdeutigkeit) von musikalisch transportierten Inhalten. Musik ist wie die Sprache ein vorwiegend akustisches Phänomen, das von einer Partei ausgedrückt und von einer anderen Partei wahrgenommen und interpretiert wird. Wie kommt unsere Deutung von gehörter Musik zustande? Wie wird Musik von Musiker:innen mit inhaltlicher Bedeutung gefüllt? Diesen Fragen wird anhand der folgenden Themenfelder nachgegangen: Die biografische Bildung von emotionalen Assoziationen mit Musik; die Musiknotation als Versuch des Festh

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8

MEDEIROS, ALAN RAFAEL DE, and ÁLVARO LUIZ RIBEIRO DA SILVA CARLINI. "A modernidade em questão: música de concerto em Curitiba – coexistência e especificidades entre a "SCABI" e "SPMC" * Modernity in question: concert music in Curitiba - coexistence and specificity between "SCABI" and "SPMC"." História e Cultura 2, no. 1 (2013): 44. http://dx.doi.org/10.18223/hiscult.v2i1.939.

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<p><strong>Resumo:</strong> O presente trabalho tem como objetivo a análise da mudança de enfoque estético das entidades musicais civis em relação ao público curitibano no tocante às práticas musicais, em especial durante o período de coexistência de duas destas entidades, representativas no cenário local: a SCABI (Sociedade de Cultura Artística Brasílio Itiberê) e SPMC (Sociedade Pró Musica de Curitiba).</p><p><strong>Palavras-chave:</strong> Entidades musicais civis – Curitiba/PR - SCABI (Sociedade de Cultura Artística Brasílio Itiberê) e SPMC (Socie

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9

Pöhlmann, Egert. "Ἀνωνύµου σύγγραµµα περὶ µουσικῆς (Anonymi Bellermann)". Greek and Roman Musical Studies 6, № 1 (2018): 115–27. http://dx.doi.org/10.1163/22129758-12341315.

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Abstract In 1841, Friedrich Bellermann published two treatises about Greek music, the Anonymi scriptio de musica and Bacchii senioris introductio artis musicae (Bellermann 1841). While the second treatise belongs to some Dionysius, a Byzantine musicologist of the time of Constantine Porphyrogenetos (912-959; new edition Tertsēs 2010), the first treatise is an agglomeration of five musical handbooks (new edition Najock 1972 and 1975). The available manuscript tradition of the respective headings and the beginnings and the content of the different components make it possible to disentangle the a

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Haines, John, and Patricia DeWitt. "JOHANNES DE GROCHEIO AND ARISTOTELIAN NATURAL PHILOSOPHY." Early Music History 27 (October 2008): 47–98. http://dx.doi.org/10.1017/s0261127908000284.

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Johannes de Grocheio is best known today primarily for the fact that he wrote about secular monophony, a subject practically ignored by previous music writers. In Grocheio’s only surviving treatise, which modern scholarship has christened De musica (it is actually untitled in the manuscripts), he provides an unparalleled witness to Parisian musical life around 1300 through a wide-ranging classification of musical performances. The treatise’s tantalisingly realistic observations have been by far the most discussed aspect of De musica in over a century of modern scholarship ranging from an early

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Favier, Thierry. "The French Leçons de Ténèbres and the Foundation of the Jansenist Music Criticism." Journal of Jesuit Studies 11, no. 3 (2024): 430–46. http://dx.doi.org/10.1163/22141332-11030005.

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Abstract The spread of the Leçons de ténèbres in the French capital and later in large provincial cities contributed to the evolution of musical practices and the listeners’ sensibilities and favored the incorporation of religious music into secular musical calendars. This explains why, from the end of the seventeenth century, the genre has been the focus of criticism from clerics and lay people of different persuasions, who denounced the contamination of the church by opera, using the conventional argument of antitheatricality. Initially focused on the Lessons, the criticism’s terms and argum

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12

Yearsley, David, and Dietrich Bartel. "Musica Poetica: Musical-Rhetorical Figures in German Baroque Music." Notes 55, no. 2 (1998): 383. http://dx.doi.org/10.2307/900187.

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13

Tsvetkovskaya, Tatiana A. "Paul Hindemith’s Cantata “Frau Musica” in the Context of the Participatory Musical Art Development." Observatory of Culture 18, no. 4 (2021): 398–408. http://dx.doi.org/10.25281/2072-3156-2021-18-4-398-408.

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The article analyses the cantata “Frau Musica” by the German composer P. Hindemith. This work has come to be widely understood as an example of Gebrauchsmusik in the works of O. Leontieva, K.-D. Krabiel, M. Breivik. Gebrauchsmusik is often identified as utility music, which means that it is created for some specific purpose; but the purpose does not have to be utilitarian. In order to assess the profoundness of the composer’s concept and to clarify specifics of the descriptive term, it is necessary to go back to the basics of the theoretical debates about the social role of art that unfolded i

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14

Ilnitchi, Gabriela. "MUSICA MUNDANA, ARISTOTELIAN NATURAL PHILOSOPHY AND PTOLEMAIC ASTRONOMY." Early Music History 21 (September 4, 2002): 37–74. http://dx.doi.org/10.1017/s0261127902002024.

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Emanating from a cosmos ordered according to Pythagorean and Neoplatonic principles, the Boethian musica mundana is the type of music that ‘is discernible especially in those things which are observed in heaven itself or in the combination of elements or the diversity of seasons’. At the core of this recurring medieval topos stands ‘a fixed sequence of modulation [that] cannot be separated from this celestial revolution’, one most often rendered in medieval writings as the ‘music of the spheres’ (musica spherarum). In the Pythagorean and Neoplatonic cosmological traditions, long established by

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15

Ovenden, Philippa. "JOHANNES VETULUS DE ANAGNIA’S PLATONIST MODEL OF MUSICAL TIME." Early Music History 41 (October 2022): 303–45. http://dx.doi.org/10.1017/s0261127923000013.

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In the second half of the fourteenth century, the Italian music theorist Johannes Vetulus de Anagnia wrote a treatise named Liber de musica. Extraordinarily complex and replete with theological digressions, this work has to date remained little understood. Examining Liber de musica through the lenses of practice and philosophy sheds new light on this enigmatic text. Vetulus’s theory is in certain respects innovative, but in others it is conservative. Vetulus theorised a unique but impractical system of mensural divisions that synthesises and exhausts some of the central conceptual principles o

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16

Diana, Pérez Custodio. "Rito in music Rito in música." Música Oral del Sur, no. 9 (December 20, 2012): 413–24. https://doi.org/10.5281/zenodo.4633281.

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Resumen: Tras una breve reflexión, imbricada con su propia labor como creadora, sobre la conexión entre la música y otras actividades humanas, la autora describe el concepto de expresión musical que está utilizando en sus últimas obras, especialmente en las escénicas, y que ella ha denominado rito in musica, y lo ejemplifica con algunas de esas obras. Abstract: This paper starts with a brief reflection about the connection between music and others human activities. The author, Diana Pérez Custodio, puts in relationship this reflection wit

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Kerékfy, Márton. "‘A “new music” from nothing’: György Ligeti’s Musica ricercata." Studia Musicologica 49, no. 3-4 (2008): 203–30. http://dx.doi.org/10.1556/smus.49.2008.3-4.1.

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The beginning of the 1950s marks a turning-point in György Ligeti’s early career. By that time Ligeti had become disappointed regarding his rather marginal position in Hungarian musical life, and he might well have felt some dissatisfaction with his own artistic output, as well. He recognized that he should leave his former style and build up his own expressive means and musical language from elementary material. For this purpose, he set himself certain compositional tasks, and imposed restrictions on pitch content, intervals, and rhythms ‘as if to build up a “new music” from nothing’. Accordi

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18

Lascaux, Sandrine. "Schubert, Juan Benet y la musica de la resignación." Estudios Románicos 28 (December 20, 2019): 281–93. http://dx.doi.org/10.6018/er/372861.

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La literatura de Juan Benet intenta superar la razon mediante las artes y en particular gracias a su relacion con la musica. Siguiendo los pasos de Schopenhauer o de Nietzsche ue consideran la musica como unico arte susceptible de convocar el afecto puro sin ningun tipo de mediacion intelectual , Benet busca los limites del lenguaje con operaciones constantes de modulacion frasticas para alcanzar una musica intima .En este sentido , el ensayo Puerta de Tierra permitiria entender la estrecha relacion ue une la musica benetiana con la musica de la resignacion compuesta por Schubert en las ultima

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Restani, Donatella. "Embryology as a Paradigm for Boethius’ musica humana." Greek and Roman Musical Studies 4, no. 2 (2016): 161–90. http://dx.doi.org/10.1163/22129758-12341274.

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At the beginning of Boethius’ De institutione musica, musica humana is defined as a coaptatio, a well ordered relationship between body and soul and between the parts of the body and the parts of the soul. Boethius promised to expand the topic later, but he never returned to it. As a consequence Medieval and Renaissance music theorists gave it different interpretations. This paper is part of a wider project which aims at recovering the historical meaning of musica humana and its natural implications for human life, by identifying Boethius’ sources on the relationship between music and the huma

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20

Thomas, Gavin. "Musica E Musica..." Musical Times 137, no. 1835 (1996): 12. http://dx.doi.org/10.2307/1003379.

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21

Jahn, Bernhard. "ENCOMIUM MUSICAE UND MUSICA HISTORICA." Daphnis 30, no. 3-4 (2001): 491–511. http://dx.doi.org/10.1163/18796583-90000761.

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Der Beitrag stellt die Frage nach dem Zusammenhang zwischen Musikgeschichtsschreibung und der Gattung des Encomium Musicae in der Frühen Neuzeit. Die Geschichtlichkeit der Musik wird in diesem Zeitraum zunächst als Argument im Rahmen eines Lobes der Musik eingesetzt. Das Encomium Musicae besteht, wie an Texten von Scherffer, Kleinwechter und Printz gezeigt wird, aus vier Topoi (ortus, progressus, usus und abusus musicae). Aus dem Topos progressus musicae entwickelt sich im 18. Iahrhundert die moderne Musikgeschichtsschreibung.

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Савицкая, Ж. В. "Historical Views of Sethus Calvisius in “Exercitatio musica seconda”." Музыкальная академия, no. 2(786) (June 28, 2024): 60–73. http://dx.doi.org/10.34690/390.

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Труд немецкого хронолога, музыкального теоретика, педагога и композитора Зета Кальвизия «Второе музыкальное упражнение» (1600) — уникальный документ, в котором представлен экскурс в историю музыки от библейской древности до XVI века. В нем автор предпринимает попытку связать древнегреческую историю и мифологию с библейской историей, объединяет историю музыки с всеобщей, упорядочивая события и свидетельства о них (в том числе отвечает на «проблемные вопросы» о «первооткрывателях музыки»), а также критически оценивает информацию, следуя желанию установить истину с помощью имеющихся свидетельств

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23

Rosand, Ellen. "Monteverdi's Il ritorno d'Ulisse in patria and the power of ‘music’." Cambridge Opera Journal 7, no. 3 (1995): 179–84. http://dx.doi.org/10.1017/s0954586700004559.

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What is music in opera? In Monteverdi's Orfeo, his first opera, music is arguably the protagonist, whether La Musica in the prologue, whose ritornello guides Orfeo to and from the Underworld, or embodied in the legendary singer himself, who uses his musical prowess to charm the guardians of Hell. In Il ritorno d'Ulisse, however, there is no such protagonist, no single embodiment of musical power. In the largest sense, of course, and in contrast to straight drama – the plays of Euripides, Shakespeare or Calderon may have some music in them but are essentially spoken – all of Il ritorno d'Ulisse

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Grossi, Vittorino. "Oración de los salmos y afectividad." Augustinus 62, no. 3 (2017): 487–509. http://dx.doi.org/10.5840/augustinus201762246/24728.

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The article deals with Augustine‘s thought about Music and the Psalms. The topic of the musical language and the affective theology is addressed, as well as the song as a perception of attractive love, according to Augustine. Later, taking as point of departure Augustine‘s Gnoseology, the interior images and the metaphors of the musical instruments used by St. Augustine are identified, particularly within the en. Ps. Finally, a brief reflection on the relationship between music and the words of the songs is offered, as well as some Augustinian Guidelines on the «musica sacra» for the Contempor

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Strauss, Lourens Jochemus, and William ID Rae. "Image quality dependence on image processing software in computed radiography." South African Journal of Radiology 16, no. 2 (2012): 44–48. http://dx.doi.org/10.4102/sajr.v16i2.305.

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Background. Image post-processing gives computed radiography (CR) a considerable advantage over film-screen systems. After digitisation of information from CR plates, data are routinely processed using manufacturer-specific software. Agfa CR readers use MUSICA software, and an upgrade with significantly different image appearance was recently released: MUSICA2. Aim. This study quantitatively compares the image quality of images acquired without post-processing (flatfield) with images processed using these two software packages. Methods. Four aspects of image quality were evaluated.

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Mamatov, Gleb M., and Elena V. Tyryshkina. "“Automatic poems” by Boris Poplavsky: theme and variations." Sibirskiy filologicheskiy zhurnal, no. 4 (2024): 139–55. http://dx.doi.org/10.17223/18137083/89/11.

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The paper delves into the concept of music as portrayed in Boris Poplavsky’s “Automatic poems.” It thoroughly analyzes the musical code of the book, which can be seen as a fusion of symbols, mythological poetics, and musical imagery. Additionally, the paper explores how the musical essence of the verses is expressed through the architectural structure of the text. One of the central images in the book is sound, which holds great ontological significance. Within “Automatic poems,” the symbols representing the internal sounds of the persona are consistently associated with water motifs, creating

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Martins, José de Souza. "A música sertaneja entre o pão e o circo." TRAVESSIA - revista do migrante, no. 7 (August 30, 1990): 13–16. http://dx.doi.org/10.48213/travessia.i7.162.

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Alguns equivocos cercam a existencia da chamada musica sertaneja como manifestacao cultural popular, que encerra, alem disso, algumas ciladas politicas. E comum o entendimento de que se trata da mais popular dentre as formas de expressao musical popular. Os divulgadores da musica sertaneja, que sao, geralmente, tambem, os seus manipuladores, costumam insistir na ideia de que se trata da musica brasileira mais genuina. Supoem e, sobretudo, querem fazer supor que se trata de musica autentica, originada do que existe de mais puro na sociedade brasileira, que seria o mundo rural. O engano e comple

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Tocco, Ambra. "New Music and Early Peripatetic Scholarship." Greek and Roman Musical Studies 7, no. 1 (2019): 33–50. http://dx.doi.org/10.1163/22129758-12341333.

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Abstract This paper aims at presenting a preliminary survey of Peripatetic statements about the so-called ‘New Music’ as a significant turning point in musical history, addressed by most of the main exponents of the Peripatos as part of a wider engagement in the study of µουσική. The establishment of a ‘history of music’, whose main phases are represented by its origins, its development through Archaic and Classical times and, eventually, its corruption into a ‘degenerated’ musical style, is crucial in the Peripatetic foundation of µουσική as a scholarly field of enquiry and is inherited by la

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Nelson, Michelle, Bev Foster, Sarah Pearson, et al. "Optimizing music in complex rehabilitation and continuing care: A Community Site Facility Study (Part 2 of 3)." Music and Medicine 8, no. 3 (2016): 128. http://dx.doi.org/10.47513/mmd.v8i3.416.

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This article is the second in a three-part series on the theory and applications of a music care framework. Music is increasingly being recognized in health care as an effective psychosocial and rehabilitative intervention. Currently, there is little standardization as to how music may best be integrated into health care settings. It is the absence of standardization that prompted the authors to identify new possibilities for integrating music in health care. The purpose of this study was to explore how music could be optimized in complex rehabilitation and continuing care environments, using

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Abdounur, Oscar João. "Mathematics and Music in Context: The Contribution of Erasmus Horicius to the Emergence of the Idea of Modern Number." International Journal of Mathematical, Engineering and Management Sciences 1, no. 2 (2016): 62–67. http://dx.doi.org/10.33889/ijmems.2016.1.2-007.

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This article covers questions of how the relationship between mathematics and theoretical music throughout western history shaped modern comprehension of critical notions such as “ratio” and “proportion”. In order to do that, it will be consider a procedure taken by Erasmus of Höritz, a Bohemian mathematician and music theorist who emerged in the early 16th century as a German humanist very articulate with musical matters. In order to divide the tone, Erasmus preferred to use a numerical method to approach the geometrical mean, although he did not recognize his procedure itself as an approxima

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Nanni, Matteo. "Musikalische Diagramme zwischen Spätantike und Karolingerzeit." Das Mittelalter 22, no. 2 (2017): 273–93. http://dx.doi.org/10.1515/mial-2017-0017.

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AbstractDuring the Late Antiquity and the Early Middle Ages, different strategies of visualizing music were adopted. In this article the history and the development of music-related diagrams is put into the larger context of a cultural history of visualization. The philosophical discussion on notational iconicity and diagrammatology, known as ‘Schriftbildlichkeit’, supplies a theoretical background for the description of the music diagrams offered here. The basic question is how visuality and musical graphic (diagrams and notation) interact focusing on a specific visual logic related to musica

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Hagstrom, Kristina, and Anna Frisk. "Musica Sveciae--Folk Music in Sweden." Ethnomusicology 41, no. 3 (1997): 579. http://dx.doi.org/10.2307/852773.

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Gostoli, Antonietta. "Τὸ καλόν as a Criterion for Evaluating Innovation (τὸ καινόν) in Greek Theory of Musical Education: “Ancient” versus “New” Music in Ps. Plut. De musica". Peitho. Examina Antiqua 8, № 1 (2017): 379–90. http://dx.doi.org/10.14746/pea.2017.1.24.

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The Pseudo-Plutarchan De musica provides us with the oldest history of Greek lyric poetry from the pre-Homeric epic poetry to the lyric poetry of the fourth century B.C. Importantly, the work contains also an evaluation of the role of music in the process of educating and training the citizens. Ps. Plutarch (Aristoxenus) considers the καλόν in the aesthetic and ethical sense, which makes it incompatible with the καινόν dictated by the new poetic and musical season.

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Gostoli, Antonietta. "Τὸ καλόν as a Criterion for Evaluating Innovation (τὸ καινόν) in Greek Theory of Musical Education: “Ancient” versus “New” Music in Ps. Plut. De musica". Peitho. Examina Antiqua, № 1(8) (24 жовтня 2017): 379–90. http://dx.doi.org/10.14746/peitho.2017.12238.

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The Pseudo-Plutarchan De musica provides us with the oldest history of Greek lyric poetry from the pre-Homeric epic poetry to the lyric poetry of the fourth century B.C. Importantly, the work contains also an evaluation of the role of music in the process of educating and training the citizens. Ps. Plutarch (Aristoxenus) considers the καλόν in the aesthetic and ethical sense, which makes it incompatible with the καινόν dictated by the new poetic and musical season.

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His, Isabelle. "Italianism and Claude Le Jeune." Early Music History 13 (October 1994): 149–70. http://dx.doi.org/10.1017/s0261127900001339.

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In section iii of his paper ‘Ut musica poesis’, Howard Mayer Brown remarked upon Italian musical presence in France in three main areas: music theory, techniques of composition and interpretation, and poetry. The works of Claude Le Jeune (c. 1530–1600) seem to me to illustrate his comments in a particularly striking fashion, and although my study of Italian influence on Le Jeune's work is incomplete, I think it is possible to make some preliminary observations.

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Gostoli, Antonietta. "Τὸ καλόν as a Criterion for Judging Innovation (τὸ καινόν) in Greek Musical Pedagogy". Greek and Roman Musical Studies 7, № 1 (2019): 21–32. http://dx.doi.org/10.1163/22129758-12341332.

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Abstract The Pseudo-Plutarchan De musica provides us with the oldest history of Greek lyric poetry from pre-Homeric epic poetry to the lyric poetry of the fourth century BC. Importantly, the work also contains an evaluation of the role of music in the process of educating and training citizens. Pseudo-Plutarch (Aristoxenus) considers the καλόν in the aesthetic and ethical sense, which makes it incompatible with the καινόν dictated by the new poetic and musical season.

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Riedel, Johannes. "The Ecuadorean "Pasillo": "Musica Popular," "Musica Nacional," or "Musica Folklorica"?" Latin American Music Review / Revista de Música Latinoamericana 7, no. 1 (1986): 1. http://dx.doi.org/10.2307/780185.

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Bralović, Miloš. "Listening to the worlds far away: Josip Slavenski and the music of India." Kultura, no. 181 (2023): 59–70. http://dx.doi.org/10.5937/kultura2381059b.

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Josip Slavenski's opus displays the composer's infatuation with musical folklore, starting from his own folklore of Međimurje, and expanding to other nonEuropean (mostly Asian) folklore. In this paper I particularly studied the biographical background of Slavenski, which had led him to a meticulous research of musical folklore, via field recordings, in his mature years. It is worth noting that the folklore of Međimurje provided a basis for his musical language i.e. his musical mother tongue (while he later also studied the folklore of non-European peoples). Thus, for Slavenski, folklore became

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DYER, JOSEPH. "The Place of Musica in Medieval Classifications of Knowledge." Journal of Musicology 24, no. 1 (2007): 3–71. http://dx.doi.org/10.1525/jm.2007.24.1.3.

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ABSTRACT Medieval classifications of knowledge (divisiones scientiarum) were created to impose order on the ever-expanding breadth of human knowledge and to demonstrate the interconnectedness of its several parts. In the earlier Middle Ages the trivium and the quadrivium had sufficed to circumscribe the bounds of secular learning, but the eventual availability of the entire Aristotelian corpus stimulated a reevaluation of the scope of human knowledge. Classifications emanating from the School of Chartres (the Didascalicon of Hugh of St. Victor and the anonymous Tractatus quidam) did not ventur

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Walden, Daniel K. S. "CHARTING BOETHIUS: MUSIC AND THE DIAGRAMMATIC TREE IN THE CAMBRIDGE UNIVERSITY LIBRARY’S DE INSTITUTIONE ARITHMETICA, MS II.3.12." Early Music History 34 (September 23, 2015): 207–28. http://dx.doi.org/10.1017/s0261127915000017.

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AbstractThis article discusses a full-page schematic diagram contained in a twelfth-century manuscript of Boethius’ De institutione arithmetica and De institutione musica from Christ Church Cathedral, Canterbury (Cambridge University Library MS Ii.3.12), which has not yet been the subject of any significant musicological study despite its remarkable scope and comprehensiveness. This diagrammatic tree, or arbor, maps the precepts of the first book of De institutione arithmetica into a unified whole, depicting the ways music and arithmetic are interrelated as sub-branches of the quadrivium. I su

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Kang, Kyung-Sun. "A Study on Musical Memory of Autistic Musica Savant and Music Prodigy." Journal of Developmental Disabilities 24, no. 2 (2020): 71–93. http://dx.doi.org/10.34262/kadd.2020.24.2.93.

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Tinti, Francesca. "la musica e il potenziamento dei prerequisiti di apprendimento." International Journal of Developmental and Educational Psychology. Revista INFAD de Psicología. 1, no. 1 (2016): 315. http://dx.doi.org/10.17060/ijodaep.2015.n1.v1.94.

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Riassunto: Premessa: La musica viene utilizzata come canale elettivo nella prevenzione dei disturbi di apprendimento. Il DSA è una disabilità specifica dell'apprendimento, di origine neurobiologica, che interessa uno specifico dominio di abilità (lettura, scrittura, calcolo). Il corso di propedeutica musicale è stato rivolto a bambini dai 4 ai 6 anni, fascia di età in cui la diagnosi di DSA non può ancora essere effettuata ma si possono individuare i bambini a rischio attraverso la valutazione dei prerequisiti di apprendimento. Obiettivo: intervenire in maniera preventiva sulle difficoltà di a

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Cilione, Pier Alberto Porceddu. "La Potenza della Musica: La Questione della Dynamis tra Musica e Filosofia." Philosophy of Music 74, no. 4 (2018): 957–82. http://dx.doi.org/10.17990/rpf/2018_74_4_0957.

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This article examines the conceptual relationship between the notion of dynamics in music and the idea of dynamics as “power” and “potentiality” in metaphysics. What is implicit in both notions is the idea of “force”, as configured in a philosophical tradition from Aristotle to Nietzsche, Heidegger and Deleuze. It is no coincidence that the system of signs that, in music, indicates the intensity of sound, its strength and its expression, takes its name from this philosophical concept. What follows tries to understand in which sense the term dynamics, as a theory of force and potentiality, st

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Najock, Dietmar. "A Few Notes on the Kοινὴ Ὁρμασία and Some Musical Examples of the Old Organum". Greek and Roman Musical Studies 10, № 1 (2022): 176–88. http://dx.doi.org/10.1163/22129758-bja10039.

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Abstract The article discusses – on the basis of manuscript readings and the wider context – two musical examples from the Old organum (Musica enchiriadis 14 and Micrologus 19), both with respect to an occursus at the end of the melody. These examples were previously used by the author for the illustration of similar features in the κοινὴ ὁρμασία, but without the critical discussion given here. The discussion shows that the Micrologus example most probably must be renounced as an illustration for the sequence b♭-b and that the Musica enchiriadis example can serve as an illustration for paralle

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Prada-Dussan, Maximiliano. "Connections between Theory and Practice of Music in Augustine." Folios, no. 59 (January 1, 2024): 224–32. http://dx.doi.org/10.17227/folios.59-13468.

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This article explores two types of connection between theory and practice of music in Augustinian philosophical thought. On a first account, during the early writings of this African author, especially in the dialogue De Musica, there is a disconnection between musical and the practice of music, in the sense that, while the former leads human beings to the spiritual, the latter fosters us to stay in the material realm. In his later writings, for example, in Enarrationes in Psalm, Augustine describes the practice of music through his sign theory, forming the second account of connection. In suc

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BENSA, ELISA, and GIANNI ZANARINI. "LA FISICA DELLA MUSICA." Nuncius 14, no. 1 (1999): 69–111. http://dx.doi.org/10.1163/182539199x00760.

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Abstracttitle SUMMARY /title The scientific revolution of XVII century concerned also the domain of music theory, deeply investigating the nature of musical sounds and the physics of their production. Also the classical explanations of musical consonance were questioned, looking for its hidden causes through physics experiments and mathematical models. The passionating history of musical acoustics from Galileo to the end of XVIII century is revisited, with a particular emphasis on consonance theories.

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Shapovalova, Liudmyla, Іryna Romaniuk, Marianna Chernavska, and Svitlana Shchelkanova. "Early (Avant-garde) Symphonies by Valentin Silvestrov As a Sound Universe." Studia Universitatis Babeş-Bolyai Musica 66, no. 1 (2021): 329–43. http://dx.doi.org/10.24193/subbmusica.2021.1.21.

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"In the article under consideration are the ways of symphony genre transformation in the early works of Valentin Silvestrov (Ukraine). For the first time, the First, Second, Third, and Fourth symphonies by the genius composers of the 20th century are analyzed as a certain stylistic system. These compositions are endowed with the features of avant-garde poetics, and as a subject of musicological reflection, they are associated with a rethinking of the semantic paradigm of the genre. V. Silvestrov's early symphonies stand out from the classical practice of European symphonies. Scientific awarene

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Toso, Emiliano, and Marco Bernardini. "Translational music: un mare di cellule sotto un cielo di musica." PSICOBIETTIVO, no. 1 (March 2022): 139–43. http://dx.doi.org/10.3280/psob2022-001010.

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Nell'intervista il Prof Emiliano Toso ci accompagna nella sua storia connessa tra biologia e musica. Scopriamo una dimensione intima e spirituale che per l'autore si trasforma in opportunita personale e occasione di cura. Il Prof. Toso analizza poi le differenze tra musica a 432 Hz verso quella a 440 Hz aprendoci al mondo delle neuroscienze attraverso i canali che attraversano musica e biologia.

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Brooks, Jeanice. "Ronsard, the Lyric Sonnet and the Late Sixteenth-Century Chanson." Early Music History 13 (October 1994): 65–84. http://dx.doi.org/10.1017/s0261127900001303.

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Music was an important metaphor for Ronsard, and references to music and musical instruments are frequently found in his poetry. His writings about music are few, however. In his article ‘Ut musica poesis: Music and Poetry in France in the Late Sixteenth Century’ Howard Brown has referred to two of the most explicit examples of such writing: the preface to Le Roy and Ballard's Livre de meslanges (1560) and the passage from Ronsard's Abbregé de l'art poëtique françois (1565) on the desirability of union between poetry and music. Such passages are important in illuminating poets' attitudes towar

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Treadwell, Nina. "Female operatic cross-dressing: Bernardo Saddumene's libretto for Leonardo Vinci's Li zite 'n galera (1722)." Cambridge Opera Journal 10, no. 2 (1998): 131–56. http://dx.doi.org/10.1017/s0954586700004900.

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Leonardo Vinci's Li zite 'n galera (The Newlyweds on the Galley) has been afforded a moderate degree of attention by musicologists because it is the first Neapolitan commedia per musica to survive with music almost completely intact. It is also Vinci's first extant opera, and has thus been considered in terms of the light it sheds on the style of his later drammi per musica for which he is better known today.

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