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Artykuły w czasopismach na temat „Music theory History 17th century”

Autor: Grafiati

Data publikacji: 4 czerwca 2021

Data aktualizacji: 1 sierpnia 2024

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1

Parncutt, Richard. "The Tonic as Triad: Key Profiles as Pitch Salience Profiles of Tonic Triads." Music Perception 28, no. 4 (April 1, 2011): 333–66. http://dx.doi.org/10.1525/mp.2011.28.4.333.

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Major and minor triads emerged in western music in the 13th to 15th centuries. From the 15th to the 17th centuries, they increasingly appeared as final sonorities. In the 17th century, music-theoretical concepts of sonority, root, and inversion emerged. I propose that since then, the primary perceptual reference in tonal music has been the tonic triad sonority (not the tonic tone or chroma) in an experiential (not physical or notational) representation. This thesis is consistent with the correlation between the key profiles of Krumhansl and Kessler (1982; here called chroma stability profiles)

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Fu, Xiaojiao. "MUSICAL ACTIVITY OF CHRISTIAN MISSIONARIES AT THE COURT OF THE QING EMPERORS OF THE 17TH–18TH CENTURIES." Scientific and analytical journal Burganov House. The space of culture 19, no. 6 (December 10, 2023): 31–45. http://dx.doi.org/10.36340/2071-6818-2023-19-6-31-45.

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The article raises the problem of the significance of European missionaries’ musical activities at the court of the Qing emperors during the Golden Age and attempts to integrate Western art into palace musical life. A critical review of existing Russian-language sources leads the author to the conclusion that there is a lack of information on the topic of the article as well as some freedom in the interpretation of known historical facts in scientific articles. The author sees the possibility of filling gaps in this area of musicology in a detailed study of documents of the era, primarily diar

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Guseinova, Zivar M. "The Theoretical Codex of the Mid-17th Century as a Phenomenon of Church-Singing Art." Vestnik of Saint Petersburg University. Arts 11, no. 4 (2021): 589–606. http://dx.doi.org/10.21638/spbu15.2021.402.

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The first musical-theoretical manuals of ancient Russia appeared in the 15th century. They were rather small in volume and contained information that was predominantly educational. The changes that were taking place in the singing system over several centuries were reflected in new types of manuals, conveying the peculiarities of the singing art (znamenny chant) of the time. By the middle of the 17th century, the codices began to occupy a significant place in manuscripts, which contained monuments of Russian liturgical singing. They were large-scale consolidated documents, including a selectio

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Gehring (book editor), Ulrike, Pieter Weibel (book editor), and Jane Russell Corbett (review author). "Mapping Spaces: Networks of Knowledge in 17th Century Landscape Painting." Renaissance and Reformation 40, no. 4 (January 28, 2018): 211–13. http://dx.doi.org/10.33137/rr.v40i4.29288.

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Panov, Alexei A., and Ivan V. Rosanoff. "An attempt to attribute the authorship of the treatises from the collection “The Modern Musick-Master” (London, 1730)." Contemporary Musicology, no. 1 (2021): 41–56. http://dx.doi.org/10.56620/2587-9731-2021-1-041-056.

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In 1730, a collection of treatises on singing and playing various musical instruments was published in London. It included “A Brief History of Music” and a small musical dictionary. Neither on the title page nor elsewhere in the text do we find information about its author/authors. Today, both reference and encyclopedic literature as well as special scholarly works refer to Peter Prelleur as the author (very rarely the compiler) of the collection. However, when comparing the basic explanations of musical theory and the basic performing principles in each individual treatise, these explanations

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6

Bocharov, Yury S. "Sinfonia and Ouverture in the Baroque Era: Terminological Aspect." Vestnik of Saint Petersburg University. Arts 11, no. 3 (2021): 354–80. http://dx.doi.org/10.21638/spbu15.2021.301.

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This article focuses on the use of sinfonia and ouverture as terms in the Baroque era. Its relevance is due to the fact that an objective picture of the Baroque musical culture is impossible without studying authentic terminology, including terms used as names of musical works or their sections. Since there have been no special musicological publications on this topic, information obtained as a result of the study can expand the traditional ideas about what the terms sinfonia and ouverture meant in the 17th and the first half of the 18th century. Sheet music and manuscripts as well as articles

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Pavlova, Svetlana A. "High Art Of Russian Pop Music In The Song Mono-Opera Reflection." Scientific and analytical journal Burganov House. The space of culture 20, no. 3 (June 30, 2024): 120–29. http://dx.doi.org/10.36340/2071-6818-2024-20-3-120-12.

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Russian song, also known as mass or Soviet song, occupies a central place in the culture of the 20'th century. In the history of music, the phenomenon of a genre as a symbol of an era is known. For example, when mentioning a French motet of the 13'th century, every musician thinks of certain ideas of musical form and means of expression that determined the movement of European musical thought for several centuries. Or, when an Italian madrigal of the 16'th century is heard, a musical laboratory immediately opens up to our ears, a laboratory in which colourful patterns of major and minor modes,

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8

Rgwan Abdalhameed Shuash, Researcher, and Rese Rana Ali Mhoodar. "Gender and Authority in Caryl Churchill’s Vinegar Tom (1976)." لارك 2, no. 50 (June 30, 2023): 1011–992. http://dx.doi.org/10.31185/lark.vol2.iss50.3201.

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This article gives a feminist examination of Caryl Churchill’s Vinegar Tom (1976). This play is in reality, Churchill’s feminist lens through which the playwright offers an account of interactions of gender and authority via the 17th-century witchcraft trials in England from a distinctly feminist standpoint. It is – as a research article – a freshly developed consideration of that age that might build a different sort of history to the authorized male-made. In a significant way, part from this article, is to assess Churchill’s in terms of form and substance. The dramatist personifies revolutio

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9

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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10

De Koninck, Tine. "Natascha Veldhorst, Sounding prose. Music in the 17th-century Dutch Novel." Early Modern Low Countries 6, no. 1 (June 29, 2022): 158–60. http://dx.doi.org/10.51750/emlc12178.

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Kim, Kyoung do, and Mi seon Kwon. "A Study on the Fishing of Ulleungdo and Dokdo by Jeju Haenyeo." Institute of Korean Cultural Studies Yeungnam University 84 (August 31, 2023): 385–429. http://dx.doi.org/10.15186/ikc.2023.8.31.13.

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Due to the damages caused by Japan's underwater fishing industry, the fishing grounds of Jeju Island were devastated. Starting from 1895, Jeju Haenyeo (women divers) began migrating to locations such as Busan and Ulsan for fishing. During the period of Japanese colonial rule, their fishing activities extended to regions including China, Japan, and other areas. After Korea's liberation, the Haenyeo continued their fishing endeavors around Ulleungdo and Dokdo, with those fishing around Dokdo contributing to strengthening effective control over the island. It is necessary to examine the fishing p

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12

Smirnova, Tat’yana V. "The Pavan in English Music of the 16th–17th Centuries." Vestnik of Saint Petersburg University. Arts 13, no. 2 (2023): 222–42. http://dx.doi.org/10.21638/spbu15.2023.201.

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The article is devoted to recreation of the genre Pavan evolution in English music of the 16th–17th centuries. The research involved diverse sources such as early treatises, musical and practical manuals, old-printed musical editions and modern anthologies of the English music of the 16th–17th centuries that allowed to review the Pavan as a vivid representative of the genre system of 16th–17th centuries English instrumental music, to locate the main centers of its expansion (the Tudors and Stuarts Royal Courts, the Houses of English authoritative stripes and Inns of Court) and to concretize so

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13

FADER, DON. "The Honnêête homme as Music Critic: Taste, Rhetoric, and Politesse in the 17th-Century French Reception of Italian Music." Journal of Musicology 20, no. 1 (January 1, 2003): 3–44. http://dx.doi.org/10.1525/jm.2003.20.1.3.

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ABSTRACT The French concept of Taste (goûût) has largely been viewed from an 18th-century tradition of aesthetics in which philosophers attempted to incorporate it into a rationalized systematic theory of musical expression. Its original 17th-century usage, however, was derived from the principles of classical rhetoric and noble etiquette, or politesse. Following the tenets of Cicero communicated by humanist writers, these principles require the ideal gentleman (the honnêête homme) to adapt his knowledge and talents (agrééments) to the requirements of good society just as an orator carefully c

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14

Burganova, Maria A. "LETTER FROM THE EDITOR." Scientific and analytical journal Burganov House. The space of culture 18, no. 1 (March 10, 2022): 6–9. http://dx.doi.org/10.36340/2071-6818-2022-18-1-6-9.

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Dear readers, We are pleased to present to you Issue 1. 2022, 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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15

Akimov, Sergey S. "The 17th Century Dutch Art in E.I.Rotenberg’s Studies." Vestnik of Saint Petersburg University. Arts 13, no. 3 (2023): 413–31. http://dx.doi.org/10.21638/spbu15.2023.302.

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The contribution of Evsei Rotenberg to the studies in history of the 17th century Dutch art is analyzed in this article. Investigations in Dutch art of the Golden Age were one of the main lines in scientific interests of Evsei Rotenberg, great specialist in classical West-European art, during all his activity. He also wrote about Italian Renaissance, especially Michelangelo and Titian, and about the most important esthetic and creative problems and tendencies of the 17th century art, the greatest masters of this epoch. The paper highlights his evolution as a researcher from point of view subje

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16

Stein, Beverly. "Carissimi's Tonal System and the Function of Transposition in the Expansion of Tonality." Journal of Musicology 19, no. 2 (2002): 264–305. http://dx.doi.org/10.1525/jm.2002.19.2.264.

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The question of 17th-century tonality has intrigued scholars for years: how to make sense of a repertoire in which modal concepts appear to coexist with elements of common-practice tonality. Although the system of modes and that of modern tonality are different constructions, the aspect of functional tonality that allows for the presence of major and minor keys at all 12 levels of transposition developed in part from an extension of a technique carried over from modal practice, that of transposition of mode. Nowhere is this process of tonal expansion based on the concept of transposition of mo

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17

Kuzmina, Marina D. "“Alphabet Scribe” in the History of Russian Literature." Philology 19, no. 9 (2020): 87–101. http://dx.doi.org/10.25205/1818-7919-2020-19-9-87-101.

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The article is dedicated to the study of the most significant and popular Old Russian scribe – “Alphabetical”, written in the late 16th – early 17th century according to researchers. The assumption is made that it was replenished and adjusted over several decades, quickly responding to the demands of the times and reflecting the main processes that took place in Russian literature of the 16th and especially the 17th century. The scribe reflected the central feature of this period: the interaction of the traditional and the new, with an emphasis on the new. It demonstrates such new aspects of R

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18

Сорокина, Т. Б. "Freethinking of the 17th Century: Edward Herbert’s Philosophy." Диалог со временем, no. 79(79) (August 20, 2022): 47–56. http://dx.doi.org/10.21267/aquilo.2022.79.79.002.

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В работе характеризуются взгляды Эдварда Герберта – английского философа, политика и общественного деятеля первой половины XVII в. Автор анализирует основные положения философской системы Э. Герберта, отмечая логическую связь между теорией познания и философией религии. Показано, что гносеологический объективизм Герберта явился основанием для его деистических идей, главной из которых стала идея «естественной религии». Автор считает заслугой Герберта попытку обосновать объективные основы и критерии познания, соединить его когнитивные и ценностные начала, подчеркнуть системное взаимодействие все

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19

Žarskienė, Rūta. "The Sound of Trumpet will Stir the World and Raise the Dead: Prayers Accompanied by Brass Instruments in the Folk Piety Tradition." Tautosakos darbai 55 (June 25, 2018): 177–97. http://dx.doi.org/10.51554/td.2018.28504.

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The article focuses on a phenomenon that has so far evaded scholarly attention and research. Apparently, in Samogitia, where brass instruments still play at traditional Catholic or even Lutheran funerals and death anniversaries, participate in the Easter morning processions and the Catholic Church feasts (Lith. atlaidai), yet another practice of folk piety involving brass instruments is thriving: i.e. prayers at the graveside in summer time, during Catholic Church feasts and All Souls’ Day (more frequently still, All Saints’ Day). During her fieldwork of 2013–2017 in various parts of Mažeikiai

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Cho, Byounghak, Sung Hoon Jeh, and Kisun Kim. "17th-Century Manchu (Qing) records as sources of Mongolian history*." Acta Orientalia Academiae Scientiarum Hungaricae 68, no. 4 (December 2015): 415–23. http://dx.doi.org/10.1556/062.2015.68.4.3.

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Chambert-Loir, Henri. "Islamic Law in 17th Century Aceh." Archipel, no. 94 (December 6, 2017): 51–96. http://dx.doi.org/10.4000/archipel.444.

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Kruglova, Elena V. "EXPRESSIVE AND DESCRIPTIVE FUNCTIONS OF ORNAMENTATION IN THE 17TH CENTURY VOCAL MUSIC." Scientific and analytical journal Burganov House. The space of culture 19, no. 6 (December 10, 2023): 129–40. http://dx.doi.org/10.36340/2071-6818-2023-19-6-129-140.

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he demand for Baroque music on the concert stage sets high requirements for singers in terms of the performance style. At present, the issues of reproducing vocal ornamentation in ancient arias are the primary tasks. Given the lack of knowledge and skills of baroque improvisation among Russian singers, the ornamentation used often represents, in fact, only a technical aspect that the soloists are diligently trying to cope with. At the same time, ornaments often sound "empty", not expressive, not corresponding to the main purpose which is to emphasise affect. According to the instructions of th

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Escudé, Nuria, and Fabrizio Acanfora. "Music and Medicine in Spain: History and New Developments of a Growing Discipline." Music and Medicine 10, no. 1 (January 25, 2018): 45. http://dx.doi.org/10.47513/mmd.v10i1.600.

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The strong link between music and medicine has been documented in Spain since the 17th century, showing that the therapeutic effects of music have been known for centuries. The development of music therapy as a scientific, independent discipline on the Iberian Peninsula begins in the 1960s due to the pioneering work of Serafina Poch. Since then, the interest in music and medicine both by specialists and public has constantly increased. Nowadays, music therapy is taught in public universities and private institutions, and a growing number of health care and educational centers is implementing m

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24

Grempler, Martina. "Deutsche Nationalidole in der italienischen Oper des 19. Jahrhunderts." Studia Musicologica 52, no. 1-4 (March 1, 2011): 351–61. http://dx.doi.org/10.1556/smus.52.2011.1-4.25.

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Freedom fighters and national heroes frequently appeared on the operatic stage of the 19th century. Rossini used the story of Wilhem Tell, Verdi composed an opera about Jeanne D’Arc, the national heroine of France, and in La battaglia di Legnano Emperor Barbarossa figures as the incarnation of the menace for the Italians’ longing for freedom, exerted through centuries by the sovereigns of German-speaking countries. The article deals with Italian operas about personalities of German history who had special importance in the national discourse of their own country. In particular it focuses on th

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Panov, Alexei A., and Ivan V. Rosanoff. "Performing Ornaments in English Harpsichord Music. Part II." Vestnik of Saint Petersburg University. Arts 12, no. 1 (2022): 4–32. http://dx.doi.org/10.21638/spbu15.2022.101.

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This article continues a series of publications on problems pertaining to performing ornaments on keyboard musical instruments in England of the 17th–18th centuries according to historical documents of that time. The authors consider the history of the publication of the ornamentation table with thirteen embellishments compiled by Charles Coleman and published in the treatises The Division-Violist by Christopher Simpson (1659) and A Brief Introduction to the Skill of Musick by John Playford (1660). Among other matters, various aspects in the Rules of Graces worded by Henry Purcell (A Choice Co

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Metan, Saskia. "Editorische Verflechtungen." Zeitschrift für Slawistik 64, no. 4 (October 30, 2019): 507–19. http://dx.doi.org/10.1515/slaw-2019-0029.

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Summary Among the various descriptions of „Sarmatia“ which have been printed in the 16th century, the works of Maciej z Miechowa, Marcin Kromer and Alessandro Guagnini possessed the largest distribution: Published between 1517 and 1578, their works – containing information about the geography, history and population of the eastern part of the European continent – were reprinted and translated several times at several places until the middle of the 17th century. With a focus on paratexts and metatextual comments, the present article considers the entangled history of their editions in the 16th

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Lingold, Mary Caton. "In search of Mr Baptiste: on early Caribbean music, race, and a colonial composer." Early Music 49, no. 1 (February 1, 2021): 49–66. http://dx.doi.org/10.1093/em/caab002.

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Abstract Mr Baptiste was a musician living in late 17th-century Jamaica who composed music portraying African traditions as they were performed by enslaved musicians on the island. This article argues that Baptiste was probably a free person of colour and perhaps one of the earliest-known Black American composers to have published Western notation. His music was printed in Hans Sloane’s 1707 travelogue and natural history of Jamaica. The article also addresses broader issues concerning the underrepresentation of marginalized performers in colonial music histories, with special attention to mus

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Pastukhov, Oleksandr. "Bassoon in the 16–17 centuries: the issues of the bassoon practice development." Aspects of Historical Musicology 19, no. 19 (February 7, 2020): 139–50. http://dx.doi.org/10.34064/khnum2-19.08.

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Background. The article deals with the interaction of the constructive evolution of the instrument and the development of bassoon performing of the 16–17 centuries. The aesthetics of that time was associated with the search for new expressive means, realization of which could be ensured by new instruments with rich and expressive sound. One of such instruments is bassoon; it was during the Baroque era when the bassoon took its shape and the sound image we know today. Thanks to technical evolution, the instrument acquired new artistic capabilities and new sound quality. A new repertoire was for

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Wiersma, Lisa. "‘Colouring’ — Material Depiction in Flemish and Dutch Baroque Art Theory." Art and Perception 8, no. 3-4 (October 28, 2020): 243–65. http://dx.doi.org/10.1163/22134913-bja10005.

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Seventeenth-century painters were masters at painting objects and beings that seem tangible. Most elaborate was painting translucent materials like skins and pulp: human flesh and grapes, for instance, require various surface effects and suggest the presence of mass below the upper layers. Thus, the viewer is more or less convinced that a volume or object is present in an illusionary space. In Dutch, the word ‘stofuitdrukking’ is used: expression or indication of material, perhaps better understood as rendering of material. In English, ‘material depiction’ probably captures this painterly mean

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Hui, Tak-Cheung, and Yu-Chia Kuo. "A Concert in a Vanished Church: Contextualizing Peace Island's Auditory History with Modern Technology." Proceedings of the ACM on Computer Graphics and Interactive Techniques 7, no. 4 (July 19, 2024): 1–9. http://dx.doi.org/10.1145/3664218.

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This paper presents an interdisciplinary project that merges archaeoacoustics with live music performance, aiming to offer a sound interpretation of San Salvador City's history in Taiwan through the fusion of historical research, archaeological discoveries, and the use of contemporary music technology. Central to the project is Ashes to Ashes, a musical performance that integrates live instruments, electronic music, and sound elements derived from 16th and 17th-century artifacts, including Dominican chants and indigenous storytelling. Employing techniques like 3D printing of instruments, physi

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Kowal, Marianna. "Tabulatura z historią. O mało znanym XVII-wiecznym rękopisie z Biblioteki Uniwersyteckiej w Poznaniu." Kwartalnik Młodych Muzykologów UJ, no. 51 (4) (2021): 5–57. http://dx.doi.org/10.4467/23537094kmmuj.21.007.18102.

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Tablature with History: About a Little-known Seventeenth-century Music Manuscript from the University Library in Poznań Research on French lute music is currently a rather rarely discussed topic among Polish musicologists. The reason for this is probably the fact that most manuscripts with lute tablatures have already been described and the repertoire is quite wellknown. However, it turns out that Polish libraries still store little-known manuscripts, which are interesting not only because of the music, but also because of the non-musical material they contain. The copy of 17th-century French

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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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Abu-Manneh, Butrus. "TRANSFORMATIONS OF THE NAQSHBANDIYYA, 17TH-20TH CENTURY: INTRODUCTION." Die Welt des Islams 43, no. 3 (2003): 303–8. http://dx.doi.org/10.1163/157006003322682627.

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Vagle, Wenche. "Rhetoric as a methodological basis for 17th-century linguistics." Historiographia Linguistica 17, no. 3 (January 1, 1990): 293–308. http://dx.doi.org/10.1075/hl.17.3.03vag.

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Summary The purpose of this paper is to throw light on the role of rhetoric as a methodological basis for 17th-century linguistics through a Danish case study. After a presentation of the Danish grammarian Peder Syv (16311702) and the main ideas of his text Nogle Betenkninger om det Cimbriske Sprog (Some Reflections on the Cimbric Language), of 1663, a brief characterization of the rhetorical tradition is given with special emphasis on invention and its topical method of inquiry. Through an analysis of the argumentation in Syv’s text it is found that the author employs topic inquiry as his fun

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Jokubaitis, Linas. "The Transformation of Scientific Political Philosophy into a Speculative Philosophy of History." Problemos 97 (April 21, 2020): 24–35. http://dx.doi.org/10.15388/problemos.97.2.

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The paper presents an analysis of the three stages of the development of political philosophy since the 17th century. The rise of modern political theory was marked by attempts to develop a philosophy along the lines of natural sciences. These attempts lead to the development of highly speculative and abstract doctrines; political philosophy ceased being a practical discipline. The paper argues that an important aspect of the traditionalist political thought of the 18th century was an attempt to reestablish the link between theory and practice. In the 19th century, the interest in history was

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Hansen, Jette Barnholdt. "From Invention to Interpretation: The Prologues of the First Court Operas Where Oral and Written Cultures Meet." Journal of Musicology 20, no. 4 (2003): 556–96. http://dx.doi.org/10.1525/jm.2003.20.4.556.

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The dynamic progression from orality to literacy is embodied in the notation of the prologues to the first court operas. This transition is influenced by the proliferation of printed scores at the beginning of the 17th century and has profound rhetorical consequences for vocal performance. In the first prologues, where the written arie are formulaic, the singer is the creator and authority; s/he controls the musical performance and makes the connection between words and music by means of variation, ornamentation, and improvisation as part of a persuasive dialogue with listeners. In the later p

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Werle, Dirk. "Lebenszeit und Weltzeit in epischen Versdichtungen der frühen Neuzeit." Daphnis 49, no. 4 (October 12, 2021): 641–54. http://dx.doi.org/10.1163/18796583-12340034.

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Abstract This article starts from Achim Landwehr’s thesis that the present is an invention of the 17th century, and that this is reflected not least in developments in contemporary narrative literature. It analyzes the narrative representation of the relationship between life-time and world-time (Lebenszeit und Weltzeit) in the epic poem Achilles Germanorvm, published anonymously in 1632, in which the contemporary events of the Thirty Years War are interpreted allegorically in the light of the Trojan War. It is shown that the present in the epic is not emphatically asserted as present, but pre

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Tretyakova, Marina. "Russian Travelers 17th Centuries about the Ceremony of Marriage of the Adriatic." ISTORIYA 13, no. 1 (111) (2022): 0. http://dx.doi.org/10.18254/s207987840018931-3.

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The article considers the ceremonial of the Doge’s betrothal to the Adriatic sea through the prism of its perception by Russian travelers of the end of the 17th century. In the Republic of Venice there were a considerable number of ceremonies, which were held annually on the occasion of victories and various festivals. Among them, a special place was occupied by the rite of betrothal of the Doge to the sea (with the Adriatic) (Marriage of the Adriatic). Its origins rite of passage is leading with deep absent. Almost all Russian travelers who visited Venice at the end of the 17th century, paid

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Hüllen, Werner. "Johann Joachim Becher (1635–1682), a little known opponent of Comenius’ Theory of Language and Language Learning." Historiographia Linguistica 23, no. 1-2 (January 1, 1996): 73–88. http://dx.doi.org/10.1075/hl.23.1-2.04hul.

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Summary Concerning the methods of language teaching, Johann Joachim Becher (1635–1682), one of the encyclopedic philosophers of the 17th century, stood in opposition to Jan Amos Comenius (1592–1670), the pedagogue of Europewide influence. He published Methodus didactica (1668) and Novum organon (1672), the latter being a universal nomenclator as they were popular in the 17th century. This nomenclator is organised according to Aristotelian categories which Becher saw expressed in word-classes. It assembles groups of synonyms in Latin and German under headwords which were taken as the simple not

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Kardel, Troels. "Willis and steno on muscles: Rediscovery of a 17th‐century biological theory*." Journal of the History of the Neurosciences 5, no. 2 (June 1996): 100–107. http://dx.doi.org/10.1080/09647049609525657.

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Jakovljevic, Branislav. "Wooster Baroque." TDR/The Drama Review 54, no. 3 (September 2010): 87–122. http://dx.doi.org/10.1162/dram_a_00006.

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In the decade following 9/11, the Wooster Group staged three landmark 17th-century plays, Phaedra, Hamlet, and La Didone. This turn to baroque theatre is both a comment on American culture of the first decade of the 21st century and a significant departure in the history of the group itself.

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Rescia, Laura. "Joseph Harris, Hidden Agendas: Cross-Dressing in 17th- Century France." Studi Francesi, no. 148 (XLX | I) (April 1, 2006): 147–48. http://dx.doi.org/10.4000/studifrancesi.30176.

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Sulistiono, Budi. "THE HISTORY OF TRADE OF THE NUSANTARA IN THE 17th CENTURY." Khazanah: Jurnal Sejarah dan Kebudayaan Islam 11, no. 2 (December 16, 2021): 157–70. http://dx.doi.org/10.15548/khazanah.v11i2.656.

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The increasingly significant influence of Islam in the Archipelago was marked by the establishment of a number of sultanates. It is time for the existence of the sultanate to be interpreted as evidence of political power. The track of Islam in the Archipelago, political power was achieved after great successes in building ECONOMIC POWER, EDUCATION, CULTURAL-INTELLECTUAL NETWORKS. Therefore, the track of Islam in the Archipelago, is not an event that is considered strange. Until the 17th century AD, there were even a number of sultanates on the islands of Java, Kalimantan, Sulawesi, Maluku. The

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Tindemans, Klaas. "The Politics of the Poetics: Aristotle and Drama Theory in 17th Century France." Foundations of Science 13, no. 3-4 (July 10, 2008): 325–36. http://dx.doi.org/10.1007/s10699-008-9131-1.

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Seifert, L. C. "Hidden Agendas: Cross-Dressing in 17th-Century France." French Studies 62, no. 4 (October 1, 2008): 474–75. http://dx.doi.org/10.1093/fs/knn077.

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Gessele, Cynthia M. "Base d'harmonie: A Scene from Eighteenth-Century French Music Theory." Journal of the Royal Musical Association 119, no. 1 (1994): 60–90. http://dx.doi.org/10.1093/jrma/119.1.60.

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History can often be read as story or drama, with the events of the narrative partitioned into scenes. As a play, the history of music theory in eighteenth-century France has Jean-Philippe Rameau as its main character. The scenes in which Rameau and his opponents debated his theory are filled with contentious dialogue. Even if the historian excludes Rameau and devotes scenes to his predecessors, contemporaries and interpreters, the plot still revolves around the story's protagonist who stands in the wings.

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Burmistrov, Konstantin Yu. "Moshe Cordovero’s Kabbalah and its reception in Europe at the end of the 17th century." Philosophy Journal 15, no. 1 (2022): 21–36. http://dx.doi.org/10.21146/2072-0726-2022-15-1-21-36.

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Moshe ben Ya’akov Cordovero (1522–1570) was one of the most influential Kabbalists of the 16th century living in Safed in Northern Galilee (Ottoman Empire). The systematic explanation of the basic concepts of Kabbalah that he proposed had a significant impact on the subsequent development of Kabbalah. A characteristic feature of the views of Cordovero and his followers was the desire to “demythologize” Kabbalah, to create a synthesis of earlier views and to develop a unified speculative theory on their basis. At the same time, since the end of the 16th century, the Kabbalah school of Yitzhak

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Pittock, Murray G. H. "John Law's Theory of Money and its roots in Scottish culture." Proceedings of the Society of Antiquaries of Scotland 133 (November 30, 2004): 391–403. http://dx.doi.org/10.9750/psas.133.391.403.

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This paper seeks to place the well-known lineaments of Law’s System in France within the context not only of his earlier writings on the Scottish economy but also in the dimension of his lived experience as a 17th-century Scot, the son of a goldsmith-banker, and a man acutely conscious both of the history of his country’s unstable monetary policy, and also of the final crisis into which it was lurching in his own day.

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Young, James O. "Assessing the Ethos Theory of Music." Disputatio 13, no. 62 (December 1, 2021): 283–97. http://dx.doi.org/10.2478/disp-2021-0015.

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Abstract The view that music can have a positive or negative effect on a person’s character has been defended throughout the history of philosophy. This paper traces some of the history of the ethos theory and identifies a version of the theory that could be true. This version of the theory can be traced to Plato and Aristotle and was given a clear statement by Herbert Spencer in the nineteenth century. The paper then examines some of the empirical literature on how music can affect dispositions to behave and moral judgement. None of this evidence provides much support for the ethos theory. Th

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Wright, O. "Çargâh in Turkish classical music: history versus theory." Bulletin of the School of Oriental and African Studies 53, no. 2 (June 1990): 224–44. http://dx.doi.org/10.1017/s0041977x00026057.

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If there has been one dominant, quasi-official theory for Turkish classicalmusic in the second half of the twentieth century, it is that particularlyassociated with Ezgi and Arel. Their notational conventions have becomestandard, supplanting earlier norms, and the framework they developed is theone still employed in recent general accounts of the modal system, whether thesimplified introductory survey of Yilmaz (1983), for example, or the moredetailed and comprehensive coverage of Ozkan (1984). Both of these follow theanalytical models provided by their predecessors, and begin with an expositi

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