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Literatura académica sobre el tema "Gregorian chants"

Autor: Grafiati

Publicado: 4 de junio de 2021

Última modificación: 31 de julio de 2024

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Artículos de revistas sobre el tema "Gregorian chants"

Cho, Eun Young, Hayoung Wong y Zong Woo Geem. "The Liturgical Usage of Translated Gregorian Chant in the Korean Catholic Church". Religions 12, n.º 12 (23 de noviembre de 2021): 1033. http://dx.doi.org/10.3390/rel12121033.

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For centuries, Gregorian chant has served as a monophonic song written for the religious services of the Roman Catholic Church, but Korean Catholics first encountered this chant in the early nineteenth century. Korean Catholics ultimately became more attracted to the Korean translations of these chants, as opposed to the original Latin versions. This article introduces some issues related to the language translation of Gregorian chant, especially for chants performed in Holy Week. The issues include discrepancies in the number of syllables, shifts in melismatic emphasis, difficult diction in vocalization, briefer singing parts because of space limitations, challenging melodic lines, and translation losses from neumes to modern notes.

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Conklin, Darrell y Geert Maessen. "Generation of Melodies for the Lost Chant of the Mozarabic Rite". Applied Sciences 9, n.º 20 (12 de octubre de 2019): 4285. http://dx.doi.org/10.3390/app9204285.

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Prior to the establishment of the Roman rite with its Gregorian chant, in the Iberian Peninsula and Southern France the Mozarabic rite, with its own tradition of chant, was dominant from the sixth until the eleventh century. Few of these chants are preserved in pitch readable notation and thousands exist only in manuscripts using adiastematic neumes which specify only melodic contour relations and not exact intervals. Though their precise melodies appear to be forever lost it is possible to use computational machine learning and statistical sequence generation methods to produce plausible realizations. Pieces from the León antiphoner, dating from the early tenth century, were encoded into templates then instantiated by sampling from a statistical model trained on pitch-readable Gregorian chants. A concert of ten Mozarabic chant realizations was performed at a music festival in the Netherlands. This study shows that it is possible to construct realizations for incomplete ancient cultural remnants using only partial information compiled into templates, combined with statistical models learned from extant pieces to fill the templates.

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Agapova-Strizhakova, Elena A. "Gregorian Chant in Organ Sonatas by J.-N. Lemmens". Contemporary Musicology, n.º 2 (2022): 107–19. http://dx.doi.org/10.56620/2587-9731-2022-2-107-119.

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The 1860s played a special role in the history of organ music in Belgium and France. This period was marked by the active development of substantive repertory and the establishment of the Franco-Belgian organ school. All the advances of this period could not be possible without the contribution of the Belgian composer, organist and teacher Jacques-Nicolas Lemmens. Brought up on the traditional for Catholic Belgium Gregorian chants and the organ works by Johann Sebastian Bach, Lemmens managed to organically transfer Bach's principles of working with Lutheran chant to completely different material of Gregorian hymns. Lemmens is also credited for the foundation of the first educational institution that trained church musicians. The three organ sonatas became the pinnacle of his work and the first examples of the synthesis of liturgical content and a secular form. The article reveals general patterns in the choice of themes from the large-scale corpus of Gregorian chants. The melody of the chorale can also be traced in parts in which no chorale is indicated. It shows a deep connection between Lemmens’s heritage and a thousand-year-old church musical tradition.

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Boe, John. "The Roman Missa sponsalicia". Plainsong and Medieval Music 11, n.º 2 (octubre de 2002): 127–66. http://dx.doi.org/10.1017/s0961137102002097.

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Proper chants unique to the Roman wedding Mass - the introit Deus Israel, the gradual Vxor tua and the communion Ecce sic benedicetur - are not found in the unnotated northern Mass antiphoners of Hesbert's Sextuplex. Heavily edited and fitted with Gregorian melodies (or else unnotated), these texts appear sporadically in northern graduals beginning in the mid-tenth century. Their compilation can therefore be dated to the second half of the ninth century. Because the melodies for these Propers were assembled from formulas in common use at a time when new chants were no longer being composed at Rome and because they are certainly free of Gregorian influence, the nuptial chants disclose how certain formulas were being sung shortly before Roman culture and papal institutions began to decline.

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WEBER, JEROME F. "Recent recordings of plainchant". Plainsong and Medieval Music 26, n.º 1 (20 de marzo de 2017): 63–69. http://dx.doi.org/10.1017/s0961137116000115.

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FOREWORDThe Editorial Committee extends its heartfelt thanks and warmest wishes to Rev. Jerome F. Weber, who is retiring as PMM's Audio Review Editor effective this issue. For a quarter century, Father Weber has regularly contributed reviews of hundreds of plainchant recordings to this journal, casting his net widely to capture Gregorian and post-Gregorian repertoires, monastic and regional traditions including Byzantine Chant, and chants on recordings devoted mainly to polyphony. Having published A Gregorian Chant Discography in 1990, addenda et corrigenda in PMM 19/1 (2010), he launched the website chantdiscography.com in November 2010, a relational database of sound recordings in formats ranging from shellac 78s and vinyl LPs to cassette tapes and compact discs. An enormously useful resource for scholars and music lovers alike, the online discography analyses well over a thousand new and re-issued CD recordings produced since 1990 along with data from the 1990 discography. We wish our colleague the very best in his well-earned retirement!

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Weber, Samuel F. "Mysteria: Gregorian Chants by Joseph Jennings (review)". Antiphon: A Journal for Liturgical Renewal 9, n.º 2 (2005): 219–20. http://dx.doi.org/10.1353/atp.2005.a921632.

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Shelemay, Kay Kaufman, Peter Jeffery y Ingrid Monson. "Oral and written transmission in Ethiopian Christian chant". Early Music History 12 (enero de 1993): 55–117. http://dx.doi.org/10.1017/s0261127900000140.

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Of all the musical traditions in the world among which fruitful comparisons with medieval European chant might be made, the chant tradition of the Ethiopian Orthodox Church promises to be especially informative. In Ethiopia one can actually witness many of the same processes of oral and written transmission as were or may have been active in medieval Europe. Music and literacy are taught in a single curriculum in ecclesiastical schools. Future singers begin to acquire the repertory by memorising chants that serve both as models for whole melodies and as the sources of the melodic phrases linked to individual notational signs. At a later stage of training each one copies out a complete notated manuscript on parchment using medieval scribal techniques. But these manuscripts are used primarily for study purposes; during liturgical celebrations the chants are performed from memory without books, as seems originally to have been the case also with Gregorian and Byzantine chant. Finally, singers learn to improvise sung liturgical poetry according to a structured system of rules. If one desired to imitate the example of Parry and Lord, who investigated the modern South Slavic epic for possible clues to Homeric poetry, it would be difficult to find a modern culture more similar to the one that spawned Gregorian chant.

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NARDINI, LUISA. "Aliens in disguise: Byzantine and Gallican chants in the Latin liturgy". Plainsong and Medieval Music 16, n.º 2 (octubre de 2007): 145–72. http://dx.doi.org/10.1017/s096113710700068x.

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AbstractComparison of a considerable number of Gregorian sources dating from the tenth to the thirteenth centuries reveals a handful of Mass Proper items that do not belong to the standard repertory and show possible ties with the Byzantine and/or Gallican traditions. These pieces are not recorded in most of the earliest French and German sources of the Gregorian tradition. Some of them seem to have been composed in Italy (but not in Rome), while others would appear to have Eastern or Frankish ties. Comparative melodic analysis, along with the discussion of their position in the liturgical year, discloses insights about their origin, date, routes of transmission and the ways to compare chants belonging to different liturgical families.

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Bednáriková, Janka. "Graduale Novum : reštituovaný omšový repertoár gregoriánskeho chorálu a jeho používanie v súčasnej liturgii". Musicologica Brunensia, n.º 2 (2023): 13–23. http://dx.doi.org/10.5817/mb2023-2-2.

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Why was a new book of Latin Mass chants, the two-volume Graduale Novum, created? Was it necessary to revise the already revised melodies of the 1908 Graduale Romanum? Was the pioneering Graduale Triplex of 1979 not enough? Who will be served by these new revisions and cants? Is it worthwhile to disseminate these two new publications in Slovakia, or in other European countries where Gregorian chant is minimally used? We will offer answers to these questions in the following paper.

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Maloy, Rebecca. "Old Hispanic Chant and the Early History of Plainsong". Journal of the American Musicological Society 67, n.º 1 (2014): 1–76. http://dx.doi.org/10.1525/jams.2014.67.1.1.

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Given the fragmentary evidence about the emergence of Western plainsong, scholars have not reached a consensus about how early liturgical chant was transformed into fully formed Medieval repertories. Proposed explanations have centered on the Roman liturgy and its two chant dialects, Gregorian and Old Roman. The Old Hispanic (or Mozarabic) chant can yield new insights into how and why the creators of early repertories selected and altered biblical texts, set them to specific kinds of music, and assigned them to festivals. I explore these questions from the perspective of the Old Hispanic sacrificia, or offertory chants. Specific traditions of Iberian biblical exegesis were central to the meaning and formation of these chants, guiding their compilers’ choice and alteration of biblical sources. Their textual characteristics and liturgical structure call for a reassessment of the theories that have been proposed about the origins of Roman chant. Although the sacrificia exhibit ample signs of liturgical planning, such as thematically proper chants with unique liturgical assignments, the processes that produced this repertory were both less linear and more varied than those envisaged for Roman chant. Finally, the sacrificia shed new light on the relationship between words and music in pre-Carolingian chant, showing that the cantors shaped the melodies according to textual syntax and meaning.

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Tesis sobre el tema "Gregorian chants"

Brink, Danette. "Plainchant and liturgy in the diocese of Münster in Westphalia : the fifteenth-century Freckenhorst antiphoner (D-MÜd PfA 53)". Master's thesis, University of Cape Town, 2008. http://hdl.handle.net/11427/7777.

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Includes abstract.|Includes bibliographical references (p. 213-222).
The manuscript Münster (in WestphalialWestfalia), Bistumsarchiv, Freckenhorst, StBonifatius Hs. 53 (D-MÜd PfA 53) is an antiphoner (antiphonary/antiphonal) that theFraterherren of Münster wrote in the middle of the fifteenth century. The plainchantmelodies are in German neumatic notation (Hufnagelschrift) and the texts are in Gothictextualis textura, textualis rotunda, textualis quadrata and textualis semi-quadrata. The studyproceeds from the work of Hans Ossing, Untersuchungen zum Antiphonale Monasteriense(Alopecius-Druck 1537): Ein Vergleich mit den Handschriften des Munsterlandes (Regensburg, 1966). The work consists of: • a description of the codicological and palaeo graphical characteristics together with an overview of the manuscript's content; • a comparative study of: • the Advent responsory texts with reference to Renato-Joanne Hesbert's Corpus Antiphonalium Officii: Fontes earumque prima ordinatio [CAD, vol. 5] (Rome, 1975) and the interactive database on David Hiley's Cantus Planus website at the Institut fur Musikwissenschaft der Universitat Regensburg (http://www.uni-regensburg.de/F akultaetenlphi1_F ak 11Musikwissenschaftl cantusl); • the plainchant melodies of the Christmas Matins responsories (Vigilia Nativitatis Domini and Nativitas Domini) with reference to the Antiphonale Monasteriense, DMÜsa Msc. 433, D-MÜp K' 146, D-MÜd PfA Hs. 113, D-MÜd PfA Hs. 114, D-MÜd PfA Hs. 132, D-MÜd PfA Hs. 91 and D-MÜd PfA Hs. 66; • a diplomatic edition of the plainchant melodies for the historiae (versified officeslrhymed offices) of Sts Gertrude (Gertrudis) of Nivelles, Boniface (Bonifatius/Bonifacius), and Achacius (Achatius) and the ten thousand (10 000) martyrs, which includes D-MÜd PfA Hs 202, B-TO 63, B-TO 64, D-MÜd PfA Hs 199 and D-MÜd PfA Hs 132; • a comparative study of the content of PfA 53 and the Antiphonale Monasteriense derived from electronic indices created according to the guidelines of Cantus: A database for Latin ecclesiastical chant (http://publish.uwo.ca/-cantusl) maintained by Debra Lacoste.

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DiCenso, Daniel Joseph. "Sacramentary-antiphoners as sources of Gregorian chant in the eighth and ninth centuries". Thesis, University of Cambridge, 2011. https://www.repository.cam.ac.uk/handle/1810/283887.

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Curry, Robert Michael 1952. "Fragments of ars antiqua music at Stary Sącz and the evolution of the Clarist order in central Europe in the thirteenth century". Monash University, School of Historical Studies, 2003. http://arrow.monash.edu.au/hdl/1959.1/5720.

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Frasch, Cheryl Crawford. "Notation as a guide to modality in the Offertories of Paris, B.N., Lat. 903 /". The Ohio State University, 1985. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487265143145199.

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Jeffreys, Catherine Mary. "Melodia et rhetorica : the devotional-song repertory of Hildegard of Bingen /". Connect to thesis, 2000. http://eprints.unimelb.edu.au/archive/00000422.

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Caldwell, Rodney Hildred. "Rhythmic and metrical groupings of chant notation as an influence upon the conducting for the "Quatre motets sur des themes gregoriens", Op. 10, of Maurice Durufle". Diss., The University of Arizona, 1995. http://hdl.handle.net/10150/187189.

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This project focuses on the relationship between plainchant notation and the conducting gesture in the Quatre Motets Sur Des Themes Gregoriens, Op. 10 of Maurice Durufle. Durufle's intimate knowledge of the chant practices of the Solesmes school of chant interpretation is a major influence in the compositional style of the four motets. This project explores the relevance of the Solesmes interpretational practices and their influence on Durufle's compositional technique. The conducting gesture employed in the realization of the motets must demonstrate an active knowledge of the compositional techniques employed and the Solesmes interpretational practices. As such the incorporation of traditional Gregorian Chironomy into a working gesture for use in the rehearsal and performance of the motets is the essence of this project.

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Gutekunst, Jason Alexander. "Wabanaki Catholics ritual song, hybridity, and colonial exchange in seventeenth-century New England and New France /". Oxford, Ohio : Miami University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1229626549.

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Tacconi, Marica. "Liturgy and chant at the Cathedral of Florence a survey of the pre-Tridentine sources (tenth-sixteenth centuries) /". Full text available online (restricted access), 1999. http://images.lib.monash.edu.au/ts/theses/tacconi.pdf.

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Lopes, Manoel Roberto Batista. "Temas gregorianos em quatro obras orquestrais entre os seculos XIX e XX". [s.n.], 2006. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284723.

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Orientador: Eduardo Augusto Ostergren
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-07T19:33:59Z (GMT). No. of bitstreams: 1 Lopes_ManoelRobertoBatista_M.pdf: 5112355 bytes, checksum: 00f561e34792e533e5269656cb164fdb (MD5) Previous issue date: 2006
Resumo: Esta pesquisa teve por finalidade desenvolver considerações sobre a presença de temas do Canto Gregoriano em quatro importantes obras orquestrais de compositores da música ocidental. Dentro de um rico universo de composições polifônicas inspiradas no antigo estilo monofônico gregoriano, quatro obras significativas foram selecionadas para um estudo detalhado. O tipo de acompanhamento e encaminhamento harmônico a cada melodia gregoriana e a maneira como estas melodias não isócronas foram enquadradas na barra de compasso foram comentados em cada caso. Concluiu-se que o canto gregoriano, apesar de pouco praticado durante o período compreendido entre os séculos XII e XIX e também pouco praticado desde o último quarto do século XX, mas com uma rica tradição, sempre inspirou importantes compositores ao longo do tempo, deixando um legado que influenciou compositores até a época atual
Abstract: The aim of this research is to bring about important considerations about the use of gregorian chant themes in four important orchestral works by western music composers. These four works were selected within a rich universe of polyphonic compositions inspired in the early gregorian monophonic style. In each case, the type of accompaniment and harmonic flow to the gregorian melody were analyzed as well as the manner by which these non-isochronous melodies have been adjusted to the bar line. As conclusion, one can notice how Gregorian Chant despite its modest pratice during the period between the XII and XIX centuries and also since the last quarter of XX century on, has always inspired important composers throughout time and has left a rich legacy that has influenced composers to this day
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Gellnick, Franklyn M. "The disposition of the tritone in Gregorian Chant". Thesis, University of Kent, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.242906.

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This thesis sets out to examine the disposition of the tritone in Gregorian Chant, both as a 'filled-in' and as a disjunct interval, or 'leap'. By comparison with other periods of music history, the tritone's place in early medieval music has hitherto received scant attention; one noteworthy text even claims that it was shunned altogether. But, in general, it has been assumed that the tritone was considered undesirable only as a harmonic device. Intervallic perception is partially determined by the prevailing culture and context. (In respect of the tritone, this is no more demonstrable than in jazz. ) And since the melodic tritone contravenes ancient principles concerning harmonious proportion, the tritone's disposition in the chant may therefore be deemed significant. The primacy of liturgy is affirmed, and the early neume notations accorded an important role in the analyses. The tritone 'leap' seems only to appear in the Great Responsories of the night Office - particularly those of Passiontide - and may owe its existence partly to medieval superstition. Furthermore, modern scholarship has failed to acknowledge the gulf between contemporary theory and practice by adopting a 'theory-dominated view' (as proposed by Rankin in connection with organum at Winchester). Later attempts to edit the tritone from the Benedictine MSS were inconsistent, as illustrated through a comparative study with the Cistercian sources.

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Libros sobre el tema "Gregorian chants"

Apel, Willi. Gregorian chant. Bloomington: Indiana University Press, 1990.

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Hiley, David. Gregorian chant. New York: Cambridge University Press, 2009.

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Catholic Church. Gregorian chant: Christmas. [S.l.]: Creative Joys, 1985.

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Saulnier, Daniel. Gregorian chant: A guide. Solesmes: Abbaye Saint-Pierre de Solesmes, 2003.

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International Committee on English in the Liturgy, ed. Chants of the Roman missal. Collegeville, Minn: Liturgical Press, 2011.

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Haller, Robert B. Early Dominican mass chants: A witness to thirteenth century chant style. Washington, D.C: Catholic University of America, 1986.

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Daniel, Saulnier. The Gregorian modes. Solesmes, France: Abbaye Saint-Pierre, 2002.

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Haller, Robert B. Early Dominican Mass chants [microform]: A witness to thirteenth century chant style. Ann Arbor, MI: University Microfilms International, 1986.

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Cardine, Eugène. Première année de chant grégorien. [France]: Solesmes, 1989.

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1919-, Bannwart Roman, ed. Gregorianik: Arbeitsheft. Einsiedeln: R. Bannwart, 1986.

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Capítulos de libros sobre el tema "Gregorian chants"

Mascareñas Garza, Óscar. "Indeterminacy: New Aspect of Meaning in Gregorian Chant". En The Materiality of Sound in Chant Manuscripts in the West, 77–104. Turnhout: Brepols Publishers, 2023. http://dx.doi.org/10.1484/m.musam-eb.5.134477.

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McKinnon, James. "The Emergence of Gregorian Chant in the Carolingian Era". En Antiquity and the Middle Ages, 88–119. London: Palgrave Macmillan UK, 1990. http://dx.doi.org/10.1007/978-1-349-21157-9_4.

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Kelly, Thomas Forrest. "Non-Gregorian Music in an Antiphoner of Benevento". En The Sources of Beneventan Chant, XIV—478—XIV—497. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003420699-14.

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DiCenso, Daniel J. "Moved by Music: Problems in Approaching Emotional Expression in Gregorian Chant". En Early European Research, 19–50. Turnhout, Belgium: Brepols Publishers, 2018. http://dx.doi.org/10.1484/m.eer-eb.5.115896.

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Crocker, Richard. "Chants of the Roman Mass". En The Early Middle Ages to 1300, 174–222. Oxford University PressNew York, NY, 1990. http://dx.doi.org/10.1093/oso/9780193163294.003.0006.

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Abstract The repertory of Gregorian proper chants for the Mass-Introits, Graduals, Offertories, and Communions-is as a whole more stable than that for the Office. A number of additions were made to the repertory over the centuries, including new formularies for newly established feasts; new texts (or newly selected texts) were set, usually to older melodies. The Frankish-Roman formularies, however, were left almost completely intact, and with appropriate controls can be read out of modern chant books. The melodies themselves may also turn out to be more stable than those for the Office; but variant apparatus for the Mass chants is still not available, and work on the manuscript traditions for the Office chants has scarcely begun.

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Crocker, Richard. "Chants of the Roman Office". En The Early Middle Ages to 1300, 146–73. Oxford University PressNew York, NY, 1990. http://dx.doi.org/10.1093/oso/9780193163294.003.0005.

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Abstract Chant for the Roman Office consists mostly of antiphons and responsories, in roughly equal proportions. Of these two types, antiphons are the simpler in musical structure, and can well be considered first; they are not, however, necessarily older than responsories. Around the middle of the ninth century, close to the time of the archetype, Gregorian antiphons seem to number around 1,600. It has yet to be determined how many of these came from Rome, and how many are due to Frankish cantors, either as new melodies or as adaptations of Roman ones-or of pre-Carolingian Gallican melodies.

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Maloy, Rebecca. "Connections beyond Hispania". En Songs of Sacrifice, 242–80. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190071530.003.0008.

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This chapter explores how the sacrificium relates to offertory chants in other liturgical traditions, yielding insight into its prehistory and the influences that shaped its development. The textual, exegetical, and musical connections explored in this chapter establish that the sacrificium was part of a larger, pan-European tradition, whose practice extended into southern Gaul, northern Italy, North Africa, and Rome. The Old Hispanic repertory was nonetheless exceptional in its concentration of these particular kinds of chants, perhaps because they were so well suited to the educational and devotional milieu of Visigothic Iberia. After exploring these other repertories, the chapter turns to musical questions, illustrating certain commonalities in style between the Old Hispanic and Gregorian offertories and posing questions for further research.

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"CHAPTER FOUR. Neo-Gregorian Proper Chants and the Liturgical Calendar". En Interlacing Traditions, 115–78. Pontifical Institute of Mediaeval Studies, 2016. http://dx.doi.org/10.1515/9781771103824-008.

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Shrock, Dennis. "The Renaissance Era". En Choral Repertoire, 17—C2.P1367. 2^a ed. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780197622407.003.0002.

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Abstract The Renaissance era was important for the creation of genres that either would continue throughout the remaining historical eras or would disappear during the seventeenth through nineteenth centuries and then reappear in the twentieth century. The enduring genres that were newly created during the Renaissance include the sacred forms developed as a result of the Protestant Reformation—the French Calvinist psalm setting, German Lutheran chorale and chorale motet, and English anthem. The genres that were created and that flourished during the Renaissance but that did not experience a continuous history are the madrigal (both Italian and English) and chanson. Genres that were created during the Medieval era—the mass (including Requiem), motet, and related sacred genres such as the Magnificat—continued to be popular throughout the Renaissance and all successive eras. Masses during the Renaissance, which were almost always based on preexisting material (chants, other masses, motets, chansons, and madrigals), utilized a variety of interesting construction techniques. The most common technique employed a preexisting tune as a cantus firmus, usually placed in the tenor voice and scored in longer note values than the other voice parts. The tune was generally presented without modification or elaboration; however, it was frequently inverted (upside down), retrograde (backward), and retrograde inverted (upside down and backward), as well as in its original form. Further common construction techniques were paraphrase (a modification and elaboration of a preexisting tune), parody (the insertion of a polyphonic section of a preexisting composition into the mass texture), soggetto cavato (a cantus firmus built from pitches derived from the vowels of a person’s name), and quodlibet (the employment of multiple secular preexisting tunes). Motets at the beginning of the era occasionally employed Gregorian chant phrases as a cantus firmus, whereas motets during the middle years of the era often employed chant material as a basis for point-of-imitation phrases. For example, Palestrina’s Veni sponsa Christi uses the four phrases of the Gregorian chant as the organizing material for the four phrases of his motet. By the end of the era, motets were by and large free in both melodic content and structure. Magnificats, on the other hand, were most often based on chant and composed in alternatim style throughout the era (i.e., phrases of Gregorian chant alternated with passages of imitative polyphony).

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"GREGORIAN CHANT". En History Of Music, 15–32. Routledge, 2013. http://dx.doi.org/10.4324/9780203040027-6.

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Actas de conferencias sobre el tema "Gregorian chants"

Barate, Adriano, Goffredo Haus, Luca A. Ludovico y Damiano Triglione. "Multimodal navigation within multilayer-modeled Gregorian Chant information". En 2012 18th International Conference on Virtual Systems and Multimedia (VSMM). IEEE, 2012. http://dx.doi.org/10.1109/vsmm.2012.6365908.

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Thomae, Martha E., David Rizo, Eliseo Fuentes-Martínez, Cristina Alís Raurich, Elsa De Luca y Jorge Calvo-Zaragoza. "A Preliminary Proposal for a Systematic GABC Encoding of Gregorian Chant". En DLfM 2024: 11th International Conference on Digital Libraries for Musicology. New York, NY, USA: ACM, 2024. http://dx.doi.org/10.1145/3660570.3660581.

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Gomes, Cláudio, Josue Da Silva, Marco Leal y Thiago Nascimento. "3A: mAchine learning Algorithm Applied to emotions in melodies". En Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10450.

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At every moment, innumerable emotions can indicate and provide questions about daily attitudes. These emotions can interfere or stimulate different goals. Whether in school, home or social life, the environment increases the itinerant part of the process of attitudes. The musician is also passive of these emotions and incorporates them into his compositions for various reasons. Thus, the musical composition has innumerable sources, for example, academic formation, experiences, influences and perceptions of the musical scene. In this way, this work develops the mAchine learning Algorithm Applied to emotions in melodies (3A). The 3A recognizes the musician’s melodies in real time to generate accompaniment melody. As input, The 3A used MIDI data from a synthesizer to generate accompanying MIDI output or sound file by the programming language Chuck. Initially in this work, it is using the Gregorian modes for each intention of composition. In case, the musician changes the mode or tone, the 3A has an adaptation to continuing the musical sequence. Currently, The 3A uses artificial neural networks to predict and adapt melodies. It started from mathematical series for the formation of melodies that present interesting results for both mathematicians and musicians.

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Benedito, Josep, José Manuel Melchor, Juan José Ferrer, José Ricart y Rafael Ayora. "DOCUMENTACION DIGITAL APLICADA A LA VILLA ROMANA DE SANT GREGORI (BURRIANA, ESPAÑA)". En ARQUEOLÓGICA 2.0 - 8th International Congress on Archaeology, Computer Graphics, Cultural Heritage and Innovation. Valencia: Universitat Politècnica València, 2016. http://dx.doi.org/10.4995/arqueologica8.2016.2993.

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In this paper we aim at presenting the digitalization process done on the archaeological site at San Gregori a villa a mare from the Early Roman Empire found in Burriana, a Mediterranean coastal village of Spain. The archaeological work is part of a joint research project carried out by Universitat Jaume I in Castellón and the Archaeological Museum of Burriana. To date, the residential part of the villa in the northeast corner of the settlement has been excavated; this area is situated about 100 meters from the waterfront. The villa has been dated around the change of Era and IV c. A. D.; however, some Roman republican and Iberian materials have also been registered. The last phase of the work consisted on the development of a 3D laser scanning to complete the graphical work for the archaeological documentation of the site.

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Sidenko, Vladyslav y Dmytro Oshurok. "Future temperature and precipitation climate indices changes over the Transcarpathia region on EURO-CORDEX multimodel ensemble". En International Conference of Young Scientists on Meteorology, Hydrology and Environmental Monitoring. Ukrainian Hydrometeorological Institute, 2023. http://dx.doi.org/10.15407/icys-mhem.2023.025.

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This study aims to assess potential climate changes in the Transcarpathia Region in the period 2021-2050 relative to the 1991-2020 base period based on the calculation of temperature and precipitation climate indices: annual average air temperature, number of frost days (FD), number of summer days (SU), number of tropical days (TD), amount of winter precipitation, amount of summer precipitation, annual count of days with more than 20 mm precipitation (R20mm) and maximum amount of precipitation for two consecutive days (AMP2). The domain under study includes the Transcarpathia Region of Ukraine and its neighbouring territories and has extremely complicated topography, with an altitude range between 101 m and 2061 m ASL. Such complexity significantly influences an interpolation/downscaling procedure applied to climatological variables (e.g., air temperature, atmospheric precipitation, etc.). In this study, daily data collected at 11 meteorological stations located in the domain was used. Data of four essential climate variables, namely minimum air temperature (tn), mean air temperature (tm), maximum air temperature (tx), and atmospheric precipitation (rr), were used in the calculations. The period covered by the data time series is 1961-2020. Data of climate model simulations (historical and future projections) were obtained from the Coordinated Regional Climate Downscaling Experiment project for the European domain (Euro-CORDEX). In our calculations, the Euro-CORDEX daily data of tn, tm, tx, and rr (converted previously from precipitation flux) was used. We only selected Euro-CORDEX simulations which (1) were performed based on RPC4.5, (2) provide output data in the Gregorian (or similar) calendar, and (3) provide output for all four variables. Thus, a multimodel ensemble of climate simulations utilised in our calculations consists of eleven members (combinations of 5 GCMs and 8 RCMs). Quality control of the station time series was performed by means of the INQC software (https://CRAN.R-project.org/package=INQC). Homogenization was performed using the Climatol package (https://CRAN.R-project.org/package=climatol) (Guijarro, 2018). We used the MISH software (Szentimrey and Bihari, 2014) to perform gridding/downscaling of the station data on the grid with the spatial resolution of 0.05° in both horizontal directions (~5 km). Bias-correction of the climate model data was performed by means of linear/variance scaling (for the air temperature data) and quantile matching (for the atmospheric precipitation data) methods. After bias correction of the climate projection data, they were statistically downscaled by means of the MISH software to the 0.05° grid, the same as for the observation data. The downscaling was performed for the period of 2006-2050 for each climate variable and each climate model (GCM-RCM combination). Spatial fields of air temperature (minimum, average and maximum) and amounts of precipitation for each day of the historical period (1961-2020) and the period of climate projections (2006-2050) were obtained. Based on the MISH downscaled climate model data, 8 climate indices were calculated for each year of the projection period (2021-2050) and each grid point of the interpolation grid (with the 0.05° spatial resolution). Finally, differences (anomalies) in the climate indices averaged over 1991-2020 and 2021-2050, i.e. calculated base observations and projections, respectively, were computed. Our calculations showed a moderate increase in air temperature (and other related indices, such as SU and TD) in 2021-2050 compared to 1991-2020. The increase is more intensive on valleys of the domain, while mountain tops and ridges will experience less intensive changes. Atmospheric precipitation will not change significantly.

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Martinelli, Jose, Jessica Ivanovs y Marcos Martinelli. "GERIATRIC EVALUATION IN 27 CASES OF MUSICAL HALLUCINATION". En XIII Meeting of Researchers on Alzheimer's Disease and Related Disorders. Zeppelini Editorial e Comunicação, 2021. http://dx.doi.org/10.5327/1980-5764.rpda073.

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Background: Musical hallucination (AM) is a type of complex auditory hallucination described as hearing musical tones, rhythms, harmonies, and melodies without the corresponding external auditory stimulus. This type of hallucination is relatively rare and is seen less often than other types of hallucination. Such hallucinations can be continuous or intermittent and are usually accompanied by a clear and critical awareness on the part of the patient. AM are found mainly in elderly women with progressive hearing loss, usually due to ear diseases or lesions. They also occur in neurological disorders, neuropsychological disorders (eg dementia) and psychiatric disorders, especially depression. Objective: To evaluate clinical and neuropsychological issues of the elderly with Musical Hallucinations Methods: Twenty-seven outpatient patients clinic of Geriatrics and Gerontology at FMJ from January 2010 to October 2019 were selected Results: Of the 27 patients, 20 were women. The average age was 83.47 years. The most prevalent diseases were systemic arterial hypertension, osteoporosis, diabetes mellitus, hypothyroidism, osteoporosis, chronic obstructive pulmonary disease and dementia syndrome. With the exception of one patient, all had hearing loss. The songs were the most varied from Gregorian chant to lullaby. Many had this picture for months and continuously (day and night). 40% of them had no insight into AM. We emphasize that all these patients sought medical care with the main complaint of musical hallucination. Conclusion: In general, AM has an uninterrupted, fragmentary and repetitive character. They are involuntary, intrusive and have an apparent exteriority. They differ from the simple mental image of auditory sensation in that they appear to come from outside the individual as if they actually hear an external device playing music. Currently, it is estimated that about 2% of elderly people with hearing loss also have AM. The neuropsychological basis of AM is not fully established. The phenomenological study, especially the perception of complex sequences and consistency with previous auditory experience strongly suggest the involvement of central auditory processing mechanisms. Normal musical auditory processing involves several interrelated brain levels and subsystems. While the recognition of elementary sounds is done in the primary auditory cortex, the recognition of musical characteristics such as notes, melody and metric rhythm occur in a secondary and tertiary association center, which in turn, are greatly influenced by regions linked to memory and emotion.

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