Relevant bibliographies by topics / Tractatus de musica

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Academic literature on the topic 'Tractatus de musica'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Tractatus de musica"

1

DYER, JOSEPH. "The Place of Musica in Medieval Classifications of Knowledge." Journal of Musicology 24, no. 1 (January 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 venture far beyond Boethius, Cassiodorus, and Isidore of Seville. Dominic Gundissalinus (fl. 1144––64), a Spaniard who based parts of his elaborate analysis of music on Al-Fāārāābīī, attempted to balance theory and practice, in contradistinction to the earlier mathematical emphasis. Aristotle had rejected musica mundana, and his natural science left little room for a musica humana based on numerical proportion. Consequently, both had to be reinterpreted. Robert Kilwardby's De ortu scientiarum (ca. 1250) sought to integrate the traditional Boethian treatment of musica with an Aristotelian perspective. Responding to the empirical emphasis of Aristotle's philosophy, Kilwardby focused on music as audible phenomenon as opposed to Platonic ““sounding number.”” Medieval philosophers were reluctant to assign (audible) music to natural science or to place it among the scientie mechanice. One solution argued that music, though a separate subiectum suitable for philosophical investigation, was subalternated to arithmetic. Although drawing its explanations from that discipline, it nevertheless had its own set of ““rules”” governing its proper activity. Thomas Aquinas proposed to resolve the conflict between the physicality of musical sound and abstract mathematics through the theory of scientie medie. These stood halfway between speculative and natural science, taking their material objects from physical phenomena but their formal object from mathematics. Still, Thomas defended the superiority of the speculative tradition by asserting that scientie medie ““have a closer affinity to mathematics”” (magis sunt affines mathematicis) than to natural science.
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2

Fast, Susan. "Bakhtin and the discourse of late medieval music theory." Plainsong and Medieval Music 5, no. 2 (October 1996): 175–91. http://dx.doi.org/10.1017/s0961137100001145.

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In his lucid discussion of genre in medieval treatises on music, Lawrence Gushee states that: The main part of Gushee's discussion is taken up with documents written up to the thirteenth century; for that reason he pays only a brief visit to treatises written thereafter, recognizing, however, a generic category in ‘works of the later thirteenth and fourteenth centuries which can be classed together merely by virtue of their size and synthetic character’. Among these he counts the treatises of Jacques de Liège, Walter Odington, Engelbert of Admont, Marchettus of Padua and Jerome of Moravia. One could add a few others to this list, such as the Tractatus de musica of Magister Lambertus and the work largely derived from that one, the Quatuor principalia musicae. These are ‘synthetic’, to use Gushee's word, in that they attempt a comprehensive treatment of their subject – they cover both theoretical and practical aspects of pitch and rhythm, and usually begin with a mythic/historic overview of music and a classification scheme that situates it within the sphere of other disciplines.
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3

Polo Pujadas, Magda. "Philosophy of Music: Wittgenstein and Cardew." Philosophy of Music 74, no. 4 (December 30, 2018): 1425–36. http://dx.doi.org/10.17990/rpf/2018_74_4_1425.

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The article focuses on the experimental music that emerged after the Second World War and in graphic musical notation. He has a special interest in the influence exercised by the reading of the Tractatus Logico Philosophicus in the musical work Treatise by Cornelius Cardew. The isomorphism between language and reality and the different types of propositions formulated by the first Wittgenstein represent a new conception of music in the composer.
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4

Parsons, Laurel. "Music and Text in Elisabeth Lutyens's Wittgenstein Motet." Canadian University Music Review 20, no. 1 (May 16, 2013): 71–100. http://dx.doi.org/10.7202/1015648ar.

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Although Elisabeth Lutyens (1906-83) was a pioneer of British twentieth-century music, her work is relatively unknown in North America. This article begins with an introduction to her life and compositions, before going on to a detailed analysis of text-music relations in selected passages of her Motet, op. 27 (1953). The analysis forms the basis for a discussion of the concept of text as representation of music: Lutyens began to compose the music of the Motet first, and chose its text—excerpts from the Tractatus logico-philosophicus (1921) by the Austrian-born English philosopher Ludwig Wittgenstein (1889-1951)—because it seemed a fitting expression of the musical ideas that had already begun to develop.
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5

CLINE, DAVID. "Treatise and the Tractatus." Journal of the Royal Musical Association 145, no. 1 (May 2020): 119–66. http://dx.doi.org/10.1017/rma.2020.5.

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AbstractCornelius Cardew named his monumental graphic score Treatise after Ludwig Wittgenstein’s early philosophical masterpiece Tractatus logico-philosophicus, and this well-known fact has engendered speculation about whether there might be other connections between Cardew’s composition and Wittgenstein’s book. Previous commentaries have focused on possible allusions to the Tractatus in the visual imagery employed by Cardew, and this article includes further suggestions of this type. However, it concentrates on more general affinities between Treatise, as Cardew conceived of it prior to his involvement with the free improvisation group AMM, and the philosophy adumbrated in the Tractatus. Foremost among these is a striking concordance between Cardew’s initial enthusiasm for an isomorphic mode of interpreting Treatise and Wittgenstein’s picture theory of the proposition. The article also excavates traces of the picture theory in the numerological basis of Volo solo, a more conventionally notated by-product of the Treatise project.
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6

Seibert, Andrei Yur'evich. "The livre partition phenomenon in J.-G. Kastner’s oeuvre." PHILHARMONICA. International Music Journal, no. 6 (June 2020): 9–19. http://dx.doi.org/10.7256/2453-613x.2020.6.34651.

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In the 19th century, after a two-centuries oblivion, the interest in a medieval genre “danse macabre” reappeared. Dances of Death were embodied not only in pictorial art, literature and music, but also attracted the attention of scholars. The research subject of this article is one of such scientific works - “Les Danses des Morts” by J.-G. Kastner. Its uniqueness consists in the combination of a theoretical research and practical embodiment of its results in a piece of music. The genre of the tractate is defined by scholars as “livre partition” - a sheet music book. The article contains the biographical data of the life and creative work of the French scholar, music expert and composer, little-known in Russian musicology. Based on their own translation of the original text, the authors study the structure-content components of the tractate and define its specificity. J.-G. Kastner considers the genre “danse macabre” in the historical, philosophical and aesthetic contexts; traces back the interdependence of literary, decorative, and musical versions of the dances. The tractate of the French musicologist considers in detail the range of instruments of dance macabre (based on the collection of wooden engravings of a gothic Doten Dantz printed in the late 15th century). The authors define the features of J.-G. Kastner’s ideas which differ them from the thanatological views of his predecessors H. Peino and E.-H. Langlois.
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7

Page, Christopher. "A Treatise on Musicians from ?c. 1400: The Tractatulus de differentiis et gradibus cantorum by Arnulf de St Ghislain." Journal of the Royal Musical Association 117, no. 1 (1992): 1–21. http://dx.doi.org/10.1093/jrma/117.1.1.

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The historian John Keegan was one of the first to ask the simple yet searching question: what actually happens in combat? It is well known that English footsoldiers received a charge by French knights at the battle of Agincourt in 1415, but what took place when men and horses collided? Keegan gives his answers in The Face of Battle, and it may be time for musicologists to modulate the sonorous questions that he poses there for their own purposes. What actually happened, for example, when a motet by Johannes Ciconia was performed in northern Italy c 1400? When friends and associates gathered together to hear such music, what was the nature of their various musical aptitudes and interests? Did women participate in the performances? What was the role of instrumentalists? Some of these questions, no doubt, will never find an answer; there are no medieval chronicles devoted to musical gatherings as there are chronicles – and many other writings – devoted to battles like Agincourt. None the less, literary and iconographical sources are among those which may still have something to reveal about ‘the face of performance’ (to coin a phrase after Keegan's own), and the purpose of this article is to examine the contents of one that has been unjustly neglected: the Tractatulus de differentiis et gradibus cantorum by Arnulf de St Ghislain. This brief treatise classifies the kinds of musicians who performed or admired polyphonic music and is therefore quite exceptional among the works loosely classified as medieval music theory.
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8

HaCohen, Ruth. "Sounds of Revelation: Aesthetic-Political Theology in Schoenberg's Moses und Aron." Modernist Cultures 1, no. 2 (October 2005): 110–40. http://dx.doi.org/10.3366/e2041102209000082.

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Ruth HaCohen (Hebrew University) explores Modernism's artistic exploration of its relationship to theology by taking up Schoenberg's late, unfinished opera Moses and Aaron. Reading that opera as a theological-political-aesthetic Tractatus in the tradition of Spinoza, HaCohen draws out the theological implications of Schoenberg's radical rethinking of formal conventions as these organize the relationship between music and text.
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9

Dennis, Brian. "Cardew's ‘Treatise’ (mainly the visual aspects)." Tempo, no. 177 (June 1991): 10–16. http://dx.doi.org/10.1017/s0040298200013516.

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Cornelius Cardew's 193–page Treatise is the longest and most elaborate piece of Graphic Music ever made. Although it was intended for improvisation and realization, using as many or as few pages as required, and with no fixed rules of interpretation, the piece can be regarded as a graphic construction inspired by music – and with ‘music’, in the broadest sense, as its subject matter. It was influenced by the philosophy of Frege and Wittgenstein, and in particular the latter's exhaustive treatise Tractatus Logico-Philosophicus, which not only inspired the title but almost certainly the composer's economical approach to this endeavour and the rigorous development of his material. It was composed from 1963 to 67.
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10

Cowan, Robert. "Reich And Wittgenstein: Notes towards a synthesis." Tempo, no. 157 (June 1986): 2–7. http://dx.doi.org/10.1017/s0040298200022270.

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To try to establish a relationship between the terse linguistic philosophy of Ludwig Wittgenstein and the deceptively simple minimalist music of Steve Reich might at first seem a little ambitious, if not downright misguided. Yet a synoptic survey of the two men's work reveals a series of formal and conceptual correlations that is often quite striking. I hasten to add that my comparisons apply mostly to those of Reich's compositions where melodic and harmonic ideas are ‘phased’ and developed over the ground of a constant pulse, rather than to works such as The Desert Music where poetic texts substantially influence the form and design of Reich's music. I tend to draw more on Wittgenstein's later thought – especially the Philosophical Investigations than on his Tractatus Logico-Philosophicus, although Reich himself has quoted from the latter in discussing his own artistic style.
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Books on the topic "Tractatus de musica"

1

Jacques. Jacobi Leodiensis Tractatus de consonantiis musicalibus ; Tractatus de intonatione tonorum ; Compendium de musica. Buren: Knuf, 1988.

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2

Romain, Debluë, ed. Portrait de l'artiste en Glenn Gould: Tractatus de musica. Paris: Pierre-Guillaume de Roux, 2014.

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3

de, Klundert Sieglinde van, ed. Tractatus de tonis. Bubenreuth: Hurricane, 1998.

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4

Kox, Wil. Is God muzikaal?: Tractatus theologico-musicalis. Budel: Damon, 2003.

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5

Brevis de emendatione organi musici tractatio =: Kurze Vorstellung von Verbesserung des Orgelwerkes. Buren: F. Knuf, 1988.

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1363-1429, Gerson Jean, and Gerson Jean 1363-1429, eds. La doctrine du chant du cœur de Jean Gerson: Édition critique, traduction et commentaire du Tractatus de canticis et du Canticordum au pélerin. Genève: Droz, 2005.

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7

W, Herlinger Jan, and Prosdocimus, de Beldemandis, d. 1428., eds. Brevis summula proportionum quantum ad musicam pertinet ; and, Parvus tractatulus de modo monacordum dividendi =: A short summary of ratios insofar as they pertain to music ; and, A little treatise on the method of dividing the monochord. Lincoln: University of Nebraska Press, 1987.

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8

Sergej, Lebedev, ed. Cuiusdam Cartusiensis monachi tractatus de musica plana. Tutzing: H. Schneider, 2000.

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9

Karl, Rauter, ed. Der Klagenfurter Musiktraktat von 1430: Tractatus de musica. Klagenfurt: Kärntner Druck- und Verlagsgesellschaft, 1989.

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Summula: Tractatus metricus de musica : Glossis commentarioque instructus (Divitiae musicae artis). Knuf, 1988.

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