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Littérature scientifique sur le sujet « Music theory History 16th century »

Auteur : Grafiati

Publié le 4 juin 2021

Mis à jour le 27 janvier 2023

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Articles de revues sur le sujet "Music theory History 16th century"

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Tonietti, Tito M. "The Mathematical Contributions of Francesco Maurolico to the Theory of Music of the 16th Century (The Problems of a Manuscript)." Centaurus 48, no. 3 (July 2006): 149–200. http://dx.doi.org/10.1111/j.1600-0498.2006.00047.x.

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Kendall, G. Yvonne. "Thea Vignau-Wilberg. Music for a While: Music and Dance in 16th-Century Prints Munich: Staatliche Graphische Sammlung, 1999. 89 pis. + 224 pp. DM 35. ISBN: 3- 927803-29-4." Renaissance Quarterly 55, no. 1 (2002): 329–30. http://dx.doi.org/10.2307/1512559.

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Boer (book author), Erik de, and Hugues Daussy (review author). "The Genevan School of the Prophets. The congrégation of the Company of Pastors and their Influence in 16th Century Europe." Renaissance and Reformation 36, no. 4 (March 15, 2014): 153–55. http://dx.doi.org/10.33137/rr.v36i4.20988.

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ATHANASSOPOULOU (Φ. ΑΘΑΝΑΣΟΠΟΥΛΟΥ), F. "The history of development of medicine through time: a repeated case." Journal of the Hellenic Veterinary Medical Society 60, no. 2 (November 20, 2017): 125. http://dx.doi.org/10.12681/jhvms.14921.

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At all times, man was interested in the therapy of diseases in any possible way. In the Hellenic world, that is generally regarded as the spiritual predecessor of recent Europe, two distinct traditions existed: the first had a true sacred origin and was practiced from a corporation or guild of healers/priests named zsAsklipiades. Asklipios, son of Apollo, was considered by them as their generic leader. The second, practiced by Vakhes, comes from indigenous populations of Eastern Aegean area approx. at 2000 B.C. During its practice patients went into a sacred mania ie., with dancing, music, or

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Choi, Won Sun. "Theory and Practice in 16th Century Printed Music." Yonsei Music Research 14 (December 31, 2007): 128–54. http://dx.doi.org/10.16940/ymr.2097.14.128.

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Ferreirа, Manuel. "Beyond nations: A thematic history." Muzikologija, no. 27 (2019): 163–86. http://dx.doi.org/10.2298/muz1927163f.

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This paper describes an on-going project, the collaborative Thematic History of Music in Portugal and Brazil; it details its context, rationale, concept, structure and the process that led to its public presentation and preliminary development at CESEM/FCSH, Universidade Nova de Lisboa. The importance of Africa in the understanding of some facets not only of modern popular music, but also of 16th- 18th century genres in Portugal and Brazil is particularly stressed; examples of both polyphonic and instrumental music are given to illustrate this early influence.

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Burganova, Maria A. "LETTER FROM THE EDITOR." Scientific and analytical journal Burganov House. The space of culture 17, no. 5 (December 10, 2021): 8–9. http://dx.doi.org/10.36340/2071-6818-2021-17-5-8-9.

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Dear readers, We are pleased to present to you Issue 5, 2021, of the scientific and analytical journal Burganov House. The Space of Culture. Upon the recommendation of the Expert Council of the Higher Attestation Commission, the journal is included in the List of Leading Peer-reviewed Scientific Journals and Publications in which the main scientific results of theses for the academic degrees of doctor and candidate of science must be published. The journal publishes scientific articles by leading specialists in various humanitarian fields, doctoral students, and graduate students. Research are

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Hammond, Susan Lewis, Stanley Boorman, and Stanley Boorman. "Studies in the Printing, Publishing and Performance of Music in the 16th Century." Sixteenth Century Journal 39, no. 3 (October 1, 2008): 759. http://dx.doi.org/10.2307/20479007.

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Moody, Ivan. "Mensagens: Portuguese Music in the 20th Century." Tempo, no. 198 (October 1996): 2–10. http://dx.doi.org/10.1017/s0040298200005313.

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These lines of Fernando Pessoa (1888–1935), the great poet of Portuguese modernism, may seem at first sight to invoke the principal element of fado, Portugal's national music: the element represented by that famously untranslatable word suadade, implying longing, nostalgia, homesickness … However, they hide far deeper resonances. Mensagen (Message), the poetic sequence from which they come, is a profound exploration of Portugal's history, a modern counterpart to Camoens's great 16th-century epic The Lusiads. It is connected to the nationalist Integralismo Lusitano movement, and to Sebastianism

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Dibbets, Geert R. W. "Dutch philology in the 16th and 17th century." Historiographia Linguistica 15, no. 1-2 (January 1, 1988): 39–61. http://dx.doi.org/10.1075/hl.15.1-2.04dib.

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Summary Within a hundred years the first Dutch vernacular orthographies and grammars were published in the Netherlands, as contributions to the cultivation of the language. In a number of these books the authors assumed the independence of the several Dutch dialects; in other publications we find the tendency towards a cultivated language, or we see that the authors started from the existence of a Refined Standard Dutch. However that may be the orthographists and grammarians aimed at the cultivation of written and spoken Dutch. Generally the grammarians did not pay much attention to two tradit

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Thèses sur le sujet "Music theory History 16th century"

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

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Iler, Devin. "Václav Philomathes’ Musicorum Libri Quattuor (1512): Translation, Commentary, and Contextualization." Thesis, University of North Texas, 2015. https://digital.library.unt.edu/ark:/67531/metadc822783/.

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The Czech-born music theorist, Václav Philomathes, wrote the Musicorum libri quattuor in 1512 while attending the University of Vienna. This didactic treatise became one of the most widely published theory treatise of its time with 26 copies of five editions remaining today and covers the topics of Gregorian chant practice, Solmization, Mensural Notation, Choir Practice and Conducting, and Four-voice Counterpoint. Of particular note, is the section on choir practice and conducting, of which there is no equivalent prior example extant today. This dissertation provides a Latin-English translatio

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Wood, Sienna M. "Chansons, madrigales and motetz a 3 parties by Noe Faignient| A Composer's Debut in 16th-Century Antwerp." Thesis, University of Colorado at Boulder, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=3743677.

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<p>Chansons, madrigales & motetz a 3 parties of 1568 is one of two volumes that constitute the debut of Antwerp composer Noe Faignient (c.1537-1578). This musical collection (henceforth CM&M a 3) survives only in manuscript in three partbooks held at the Stifts- och Landsbiblioteket in Linkoping, Sweden and has never before appeared as a complete modern edition. Like its sister volume for 4, 5, and 6 voices, Faignient?s 3-voice collection contains French chansons, Italian madrigals, Latin motets, and Dutch liedekens. A multi-genre debut was well chosen for the diverse city of Antwerp, the c

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Botelho, Lynn Ann. "English housewives in theory and practice, 1500-1640." PDXScholar, 1991. https://pdxscholar.library.pdx.edu/open_access_etds/4293.

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Women in early modem England were expected to marry, and then to become housewives. Despite the fact that nearly fifty percent of the population was in this position, little is known of the expectations and realities of these English housewives. This thesis examines both the expectations and actual lives of middling sort and gentry women in England between 1500 and 1640.

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Kranias, Alison. "Verovio's keyboard intabulations and domestic music making in the late Renaissance." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=98544.

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At the end of the sixteenth century, Simone Verovio printed a series of canzonetta anthologies in Rome. These collections were unique, in that they contained keyboard and lute intabulations alongside their vocal parts. The keyboard intabulations seem primarily intended as accompanimental parts. As such, they inform us about the use of keyboard instruments in ensembles of mixed voices and instruments. This thesis examines how the printing format of Verovio's keyboard intabulations arose from a larger context. In particular, it asks what were the skills and training of amateur keyboard players (

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莊小屛 and Siu-ping Amy Chong. "The chansons of Claudin de Sermisy in Attaingnant's Chansons nouvellesand other early collections." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B31225871.

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Le, Cocq Jonathan. "French lute-song, 1529-1643." Thesis, University of Oxford, 1997. https://ora.ox.ac.uk/objects/uuid:1a712369-836c-45e4-9f84-91045f297b3f.

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A study of French-texted solo songs and duets with lute or guitar accompaniment notated in tablature, dating from the sixteenth and seventeenth centuries. Connected repertoires include the Parisian chanson, psalm, <i>voix de ville</i>, dialogue, and <i>air de cour</i>. Sources are examined in terms of their background, composers represented in them, relationship to concordant and other musical sources, repertoire, and musical conception. Foreign and manuscript sources are included. Literary references indicating the status of sixteenth-century lute-song, its importance to humanists (including

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

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

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Lefcoe, Andrew. "Kuhn's paradigm in music theory." Thesis, McGill University, 1998. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=21231.

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Thomas Kuhn's essay The Structure of Scientific Revolutions has had an overwhelming impact upon academics from various fields, creating a virtual paradigm industry. Authors have frequently had recourse to Kuhn's book, applying insights into the structure and development of the sciences to nonscientific fields. This essay presents a critical review of Kuhn citation in the music-theoretic literature, first reviewing similar citation analyses in the humanities and the social sciences for comparison. While much of the Kuhn citation is problematic, music scholars are found to sin less broadly than

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Murray, Russell Eugene. "The Voice of the Composer: Theory and Practice in the Works of Pietro Pontio, Volume 1." Thesis, University of North Texas, 1989. https://digital.library.unt.edu/ark:/67531/metadc331433/.

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The life, music, and theoretical writings of Pietro Pontio (1532-1596) yield considerable insight into questions of theory and practice in the late sixteenth century. The dissertation places Pontio within his musical and cultural milieu, and assesses his role as both theorist and composer. Volume Two presents an annotated works list for Pontio's compositions, transcriptions of archival documents used in the study, and transcriptions of representative musical compositions.

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Livres sur le sujet "Music theory History 16th century"

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A manual of sixteenth-century contrapuntal style. Newark: University of Delaware Press, 1989.

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Tonality and atonality in sixteenth-century music. New York, NY: Da Capo Press, 1990.

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Music and ideas in the sixteenth and seventeenth centuries. Chicago: University of Chicago Press, 2006.

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E, Corneilson Paul, ed. The science and art of Renaissance music. Princeton, N.J: Princeton University Press, 1998.

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Theories of fugue from the age of Josquin to the age of Bach. Rochester, NY: University of Rochester Press, 2000.

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Toft, Robert. Aural images of lost traditions: Sharps and flats in the sixteenth century. Toronto: University of Toronto Press, 1992.

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Stoquerus, Gaspar. Musica verbali libri duo =: Two books on verbal music. Lincoln: University of Nebraska Press, 1988.

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Ioannes Stomius, prima ad musicen instructio: Edition, Übersetzung, Kommentar. Bern: Peter Lang, 2010.

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Joachim, Burmeister. Musical poetics. New Haven: Yale University Press, 1993.

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1937-, Maniates Maria Rika, and Palisca Claude V, eds. Ancient music adapted to modern practice. New Haven: Yale University Press, 1996.

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Chapitres de livres sur le sujet "Music theory History 16th century"

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Christensen, Thomas. "Music Theory and Pedagogy." In The Cambridge History of Sixteenth-Century Music, 414–38. Cambridge University Press, 2019. http://dx.doi.org/10.1017/9780511675874.013.

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London, Justin. "Rhythm in twentieth-century theory." In The Cambridge History of Western Music Theory, 695–725. Cambridge University Press, 2002. http://dx.doi.org/10.1017/chol9780521623711.024.

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Lester, Joel. "Rameau and eighteenth-century harmonic theory." In The Cambridge History of Western Music Theory, 753–77. Cambridge University Press, 2002. http://dx.doi.org/10.1017/chol9780521623711.026.

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Barnett, Gregory. "Tonal organization in seventeenth-century music theory." In The Cambridge History of Western Music Theory, 407–55. Cambridge University Press, 2002. http://dx.doi.org/10.1017/chol9780521623711.015.

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Bernstein, David W. "Nineteenth-century harmonic theory: the Austro-German legacy." In The Cambridge History of Western Music Theory, 778–811. Cambridge University Press, 2002. http://dx.doi.org/10.1017/chol9780521623711.027.

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Klumpenhouwer, Henry. "Dualist tonal space and transformation in nineteenth-century musical thought." In The Cambridge History of Western Music Theory, 456–76. Cambridge University Press, 2002. http://dx.doi.org/10.1017/chol9780521623711.016.

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Hodžić, Muamer. "O fenomenu kahve i mjestima gdje se pila u Bosni u 16. i 17. stoljeću." In Kulturno-historijski tokovi u Bosni 15-19. stoljeća, 165–83. Univerzitet u Sarajevu - Orijentalni institut, 2022. http://dx.doi.org/10.48116/zb.khb22.165.

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ON THE PHENOMENON OF COFFEE AND PLACES WHERE IT WAS PREPARED IN BOSNIA IN THE 16TH AND 17TH CENTURIES The paper follows the chronology and the methods of spreading coffee in the Ottoman Empire, which relatively quickly reached from Yemen to the Hijaz, i.e., Egypt, then to Istanbul, and finally to other cities in the Eyalet of Bosnia. Considering the fact that this was a very important phenomenon, which relatively quickly became a very active and influential social factor, the paper also points out the role of different groups of people in the spread of this drink. Among them, the most important role was played by merchants, students, pilgrims, dervishes, and Ottoman dignitaries, who brought coffee to the places where they performed their duties. All this influenced the adoption of this practice by various classes of society at the time. The paper also discusses the cyclical attitude of the Ottoman ulema and Porte towards coffee, which ranged from disapproval and strict prohi-bition to acceptance and approval, which accompanied the massive expansion of the coffeehouses. In the 17th century, this attitude changed again, after the great fire broke out in Istanbul in 1633, which served as an excuse to re-ban coffee and demolish a large number of coffeehouses, but this situation did not last long.Special attention was paid to the first news about coffee and coffeehouses in several cities in Bosnia. Based on the analysis of the text from Pečewī’s History, where the first coffeehouse in Bosnia was mentioned, it was determined that he actually described a coffeehouse for meeting distinguished people of Ayalet that was within the Pasha’s court in Banja Luka, and not in Sarajevo as was previous-ly thought. In addition to the coffeehouses in Banja Luka, there were also similar places where coffee was prepared in cities like Sarajevo, Foča, and Mostar. The paper draws attention to the fact that the gathering places of people, where they hung out over coffee, were different – the courts of Ottoman dignitaries, houses of city dignitaries, bazaar and mahala cafes, the coffeehouses near fortresses, 181O fenomenu kahve i mjestima gdje se pila u Bosni u 16. i 17. stoljećuhammams, and places in the open air where the army drank coffee while resting during a military campaign.Also, a prominent fact came from the source of that time that coffee and coffee-houses were the reason for intellectual meetings, but also a place where stories from history and oral tradition were told, as well as a place for singing heroic songs with fiddle or traditional music instrument called saz similar to the lute. Keywords: Coffee, coffeehouse, social life, Bosnia, court, guesthouse, bazaar

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Auerbach, Brent. "A History of Motives—Theory and Analysis." In Musical Motives, 55–102. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197526026.003.0003.

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Chapter 3 provides a history of the role of motives in Western music theory and analysis. The first section covers 1600–1750 C.E., the last period in which motive remained in its conceptual prehistory. At that time, the preeminent musical structure was the “figure,” a passage of music that conveyed a single character. The second section covers 1750–1890, a period in which the influence of figures waned as authors began theorizing about the smaller musical cells that make melodies logical, pleasant, and memorable. The third section of the survey concentrates on the work of Arnold Schoenberg, the composer-theorist who did the most during that time to popularize motive-based views of music. The fourth section covers 1950 to 2010, a period marked by stark changes in how motive was conceived and handled in analysis. Specifically, motives in the late twentieth century underwent intense fragmentation, a “boiling away” of their elements, often leaving behind only pitch intervals and/or rhythms. The chapter closes with a rumination on past and present conventions of motive and motivic analysis, laying groundwork for the rules and conventions to follow in chapters 4–7, the methodology portion of Musical Motives.

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Feldman, Walter. "The Position of Music Within the Mevleviye." In From Rumi to the Whirling Dervishes, 135–61. Edinburgh University Press, 2022. http://dx.doi.org/10.3366/edinburgh/9781474491853.003.0007.

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The Mevlevi musicians had been among the principal pracitioners and theorists of music within Anatolia during the 15th century. They continued these skills in Ottoman Istanbul from the early 17th to the 20th centuries. Mevlevis wrote books of musical theory dealing with what they termed ‘the science of music,’ roughly equivalent to the Western term ‘ars musicae’ or ‘art of music.’ In the pre-Ottoman period they had practiced a musical art linked to Greater Iran. As court patronage for art music declined by the later 16th century in both Iran and Turkey, Mevlevis played a leading role in Istanbul as performers and teachers. In addition, they were among the leaders in creating a Turkish poetic ‘avant garde’, responding to the new ‘fresh style’ of Persian poetry, coming mainly from Mughal India. Ibrahim Cevri (d. 1654) was one of the most influential of these Turkish poets. By the early 18th century, Mevlevis were creating a new musical discourse, and also experimenting with forms of indigenous musical notation. By the end of the 17th, and continuing into the ‘long’ 18th century, they became the principal means through which secular musicians and cantors of the Greek Church and the Sephardic Synagogue became acquainted with the ‘science of music’ in its Ottoman form. The interaction particularly with the Church cantors (psaltes) led to structural changes within certain genres of Greek Church music and within the core repertoire of Ottoman court music.

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Surján, György. "The Cultural History of Medical Classifications." In Handbook of Research on Distributed Medical Informatics and E-Health, 48–83. IGI Global, 2009. http://dx.doi.org/10.4018/978-1-60566-002-8.ch004.

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This chapter outlines the history of medical classifications in a general cultural context. Classification is a general phenomenon in science and has an outstanding role in the biomedical sciences. Its general principles started to be developed in ancient times, while domain classifications, particularly medical classifications have been constructed from about the 16th-17th century. We demonstrate with several examples that all classifications reflect an underlying theory. The development of the notion of disease during the 17th-19th century essentially influenced disease classifications. Development of classifications currently used in computerised information systems started before the computer era, but computational aspects reshape essentially the whole picture. A new generation of classifications is expected in biomedicine that depends less on human classification effort but uses the power of automated classifiers and reasoners.

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Actes de conférences sur le sujet "Music theory History 16th century"

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YANG, LING, and SHENG-DONG YUE. "AN ANALYSIS OF THE CHARACTERISTICS OF MUSIC CREATION IN MEFISTOFELE." In 2021 International Conference on Education, Humanity and Language, Art. Destech Publications, Inc., 2021. http://dx.doi.org/10.12783/dtssehs/ehla2021/35726.

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Successful opera art cannot be separated from literary elements, but also from the support of music. Opera scripts make up plots with words. Compared with emotional resonance directly from the senses, music can plasticize the abstract literary image from the perspective of sensibility. An excellent opera work can effectively promote the development of the drama plot through music design, and deepen the conflict of drama with the "ingenious leverage" of music. This article intends to analyze the music design of the famous opera, Mefistofele, and try to explore the fusion effect of music and dra

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