Bibliografie tematiche / Musurgia universalis

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Letteratura scientifica selezionata sul tema "Musurgia universalis"

Autore: Grafiati
Pubblicato: 4 giugno 2021
Ultima modifica: 10 febbraio 2022

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Articoli di riviste sul tema "Musurgia universalis"

1

Vikárius, László, Athanasius Kircher, Wolfgang Goldhan, and Laszlo Vikarius. "Musurgia Universalis." Studia Musicologica Academiae Scientiarum Hungaricae 32, no. 1/4 (1990): 465. http://dx.doi.org/10.2307/902271.

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Fabbri, Natacha. "La Musurgia Universalis di Athanasius Kircher. Contenuti, fonti, terminologia." Nuncius 26, no. 2 (2011): 416–17. http://dx.doi.org/10.1163/182539111x596720.

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3

Krummacher, Friedhelm. "Phantastik und Kontrapunkt: Zur Kompositionsart Frescobaldis." Die Musikforschung 48, no. 1 (2021): 1–14. http://dx.doi.org/10.52412/mf.1995.h1.1056.

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Abstract (sommario):
In seiner <Musurgia universalis> (1650) unterscheidet Athanasius Kircher acht Kompositionsstile, darunter den Stylus phantasticus, der als Lehre einer Art des Kontrapunkts definiert ist. Inwieweit diesem Stilbegriff so verschiedene Gattungen wie Fantasia und Toccata zuzuweisen sind, wird anhand von Frescobaldis <Fantasie a quattro> (1608) und seinen beiden Toccatenbüchern (1615/16 und 1627) näher untersucht. Ist die Fantasia als Ansatz konstanter Thematisierung verstehbar, so erscheint die Toccata umgekehrt als Versuch athematischen Komponierens. Beide Genera sind nicht nur abstrakt durch die verborgene Ratio der Harmonie im kontrapunktischen Kontext verbunden. Sie repäsentieren vielmehr konkret den Stylus phantasticus als polare Möglichkeiten einer frei disponierten Instrumentalmusik.
 bms online (Wagner, Dorothea)
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4

Braguinski, Nikita. "“428 Millions of Quadrilles for 5s. 6d.”: John Clinton's Combinatorial Music Machine." 19th-Century Music 43, no. 2 (2019): 86–98. http://dx.doi.org/10.1525/ncm.2019.43.2.86.

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Abstract (sommario):
Quadrilles were a popular genre of group dancing in the nineteenth century. Existing melodies were normally used to accompany the dancing sessions, but the monotony of their repetition and the cost of a professional piano player capable of improvising were an issue. Thus, the idea of a “machine” that would be able to endlessly produce quadrille music at no cost was suggesting itself. The Quadrille Melodist, a paper-based system for the generation of piano pieces, was published in nineteenth-century Victorian London by John Clinton, a “professor in the Royal Academy of Music.” Already in 1650, Athanasius Kircher proposed in his Musurgia Universalis a device consisting of stripes with short snippets of music that could be used to create combinatorial pieces and variations. By the beginning of the nineteenth century, a whole genre of quasi-algorithmic compositions was emerging, spurred by the popularity of such works as the Musikalisches Würfelspiel, a piece attributed to Mozart. In this article, I analyze the Quadrille Melodist against the background of the history of combinatorial music. I contrast its unique features with other predigital, as well as later digital, music systems and discuss its design with respect to the phenomenon of predictability in dance music. Additionally, I discuss reasons for the circumstance that the historically advertised number of possible quadrilles, 428 million, is much smaller than the real number of combinations.
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Waddell, Mark A. "Tiziana Pangrazi, La Musurgia Universalis di Athanasius Kircher: Contenuti, Fonti, Terminologia (Florence: Leo. S. Olschki, 2009), pp. xxiv+206; € 24.00 (softcover), ISBN 978 88222 5886 1." Early Science and Medicine 17, no. 6 (2012): 665–66. http://dx.doi.org/10.1163/15733823-17600b10.

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Klassen, Janina. "Schneisen im Dickicht barocker Systemtheorie. Melanie Wald, Welterkenntnis aus Musik. Athanasius Kirchers »Musurgia universalis« und die Universalwissenschaft im 17. Jahrhundert (= Schweizer Beiträge zur Musikforschung Bd. 4), Kassel u.a.: Bärenreiter 2006." Zeitschrift der Gesellschaft für Musiktheorie [Journal of the German-Speaking Society of Music Theory] 7, no. 3 (2010): 393–95. http://dx.doi.org/10.31751/577.

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McKay, John Z. "Tiziana Pangrazi. La Musurgia Universalis di Athanasius Kircher: contenuti, fonti, terminologia. Le corrispondenze letterarie, scientifiche ed erudite dal Rinascimento all'età moderna 11. Florence: Leo S. Olschki, 2009. xxiv + 206 pp. index. illus. tbls. bibl. €24. ISBN: 978–88–222–5886–1." Renaissance Quarterly 63, no. 4 (2010): 1367–69. http://dx.doi.org/10.1086/658586.

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Tesi sul tema "Musurgia universalis"

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McKay, John Zachary. "Universal Music-Making: Athanasius Kircher and Musical Thought in the Seventeenth Century." Thesis, Harvard University, 2012. http://dissertations.umi.com/gsas.harvard:10653.

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Abstract (sommario):
Athanasius Kircher’s Musurgia universalis (1650) was one of the largest and most widely circulated works of music theory in the seventeenth century. Although his reputation has waned over the centuries, Kircher was a leading intellectual figure of his day, authoring dozens of treatises on a multitude of topics and corresponding with scholars from around the world. Kircher’s central place within the world of learning resulted in a unique perspective on music theory and musical practice within the seventeenth century. The present study investigates a number of topics from Kircher’s music treatise and provides context from within the intellectual discourse of the time. The first chapter explores the seventeenth-century conception of encyclopedias, as well as the possible meanings associated with an encyclopedia musica, a novel term Kircher uses in his preface to describe Musurgia. Kircher’s attempt to describe all that was known about music, from highly speculative theories to the most utilitarian compositional tools, results in a complex blend of philosophical and practical elements. The middle chapters disentangle a few strands from this web of ideas, tracing the development of Pythagorean traditions and speculative music theory, as well as changing attitudes regarding empirical and occult methodologies in the early modern period. The final chapter concerns Kircher’s central goal for Musurgia, an algorithmic method based on the ars combinatoria and the emerging mathematical field of combinatorics that would allow anyone to compose musical settings, including the setting of texts in any poetic meter and in any language. Kircher’s arca musurgica—a device that contained tables to generate music—was in effect a distillation of the rules of harmony and counterpoint in the seventeenth century. Its underlying syntax of standard four-part progressions stands at the juncture between old and new ideologies of music theory and composition.<br>Music
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Hust, Christoph. "Athanasius Kircher und die Verzeichnung der Musik." Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2015. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-171978.

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Abstract (sommario):
Zwischen 1630 und 1650 vollzog sich ein Wandel in Athanasius Kirchers Vermittlung des musikalischen Wissens: Musik konzipierte er im Zusammenhang der Universalwissenschaft immer mehr als Zeichen des Weltbildes im Kontext einer christlich-neuplatonischen Pansemiose. Die Studie arbeitet dies am Beispiel der "Institutiones mathematicae" (ca. 1630), der "Mathematica curiosa" (ca. 1640) und der "Musurgia universalis" (1650) heraus. Besonderes Augenmerk gilt Kirchers Umgang mit seinen Quellen, insbesondere Nikolaus von Kues, Robert Fludd und der Tradition der Philosophia perennis<br>Between 1630 and 1650, a change in Athanasius Kircher's way to communicate the knowledge of music took place: Within the context of universal science, he conceptualised music increasingly as a symbol for his world view and its Christian-Neoplatonic pansemiosis. This study discusses these issues based on Kircher's "Institutiones mathematicae" (c1630), "Mathematica curiosa" (c1640), and "Musurgia universalis" (1650). Special emphasis lies on Kircher's use of his sources, particularly Nicholas of Cusa, Robert Fludd, and the tradition of Perennial philosophy
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Libri sul tema "Musurgia universalis"

1

Kircher, Athanasius. Musurgia universalis. Zentralantiquariat, 1988.

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2

Kircher, Athanasius. Musurgia universalis. Bärenreiter, 2006.

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3

La musurgia universalis di Athanasius Kircher: Contenuti, fonti, terminologia. Olschki, 2009.

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4

Welterkenntnis aus Musik: Anthanasius [i.e. Athanasius] Kirchers "Musurgia universalis" und die Universalwissenschaft im 17. Jahrhundert. Bärenreiter, 2006.

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5

Musurgia universalis. Barenreiter, 2006.

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6

Musurgia universalis. Georg Olms Verlag, 1999.

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7

Steinbruch oder wissensgebäude? : zur rezeption von Athanasius Kirchers Musurgia universalis in musiktheorie und kompositionspraxis. Schwabe, 2013.

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Capitoli di libri sul tema "Musurgia universalis"

1

Wald, Melanie. "Kircher, Athanasius: Musurgia universalis sive ars magna consoni et dissoni." In Kindlers Literatur Lexikon (KLL). J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_11239-1.

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Murata, Margaret. "8. Music History in the Musurgia universalis of Athanasius Kircher." In The Jesuits, edited by John W. O’Malley, Gauvin Alexander Bailey, Steven J. Harris, and T. Frank Kennedy. University of Toronto Press, 1999. http://dx.doi.org/10.3138/9781442681569-012.

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"Kircher’s Musurgia universalis (1650) and the stylus phantasticus." In The Stylus Phantasticus and Free Keyboard Music of the North German Baroque. Routledge, 2017. http://dx.doi.org/10.4324/9781315085142-2.

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