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overflow: hidden; text-overflow: ellipsis; -webkit-line-clamp: 3; -webkit-box-orient: vertical; }</style><div class="col-xs-12 clearfix"><div class="u-floatLeft"><h1 class="PageHeader-title u-m0x u-fs30">Polyphony</h1><div class="u-tcGrayDark">8,322 Followers</div><div class="u-tcGrayDark u-mt2x">Recent papers in <b>Polyphony</b></div></div></div></div></div></div><div class="TabbedNavigation"><div class="container"><div class="row"><div class="col-xs-12 clearfix"><ul class="nav u-m0x u-p0x list-inline u-displayFlex"><li class="active"><a href="https://www.academia.edu/Documents/in/Polyphony">Top Papers</a></li><li><a href="https://www.academia.edu/Documents/in/Polyphony/MostCited">Most Cited Papers</a></li><li><a href="https://www.academia.edu/Documents/in/Polyphony/MostDownloaded">Most Downloaded Papers</a></li><li><a href="https://www.academia.edu/Documents/in/Polyphony/MostRecent">Newest Papers</a></li><li><a class="" href="https://www.academia.edu/People/Polyphony">People</a></li></ul></div><style type="text/css">ul.nav{flex-direction:row}@media(max-width: 567px){ul.nav{flex-direction:column}.TabbedNavigation li{max-width:100%}.TabbedNavigation li.active{background-color:var(--background-grey, #dddde2)}.TabbedNavigation li.active:before,.TabbedNavigation li.active:after{display:none}}</style></div></div></div><div class="container"><div class="row"><div class="col-xs-12"><div class="u-displayFlex"><div class="u-flexGrow1"><div class="works"><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_45080642" data-work_id="45080642" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/45080642/Fors_seullement_vocum_quinque_%C3%96NB_Mus_HS_18746_Laura_D%C3%BCmpelmann_Kunstuni_Graz">Fors seullement, vocum quinque - ÖNB Mus. HS. 18746. Laura Dümpelmann, Kunstuni Graz</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Die Handschrift Hs. Mus. 18746 in 5 Stimmbüchern, datiert 1523 und heute in der Österreichischen Nationalbibliothek, ist die früheste aktuell bekannte Sammlung ausschließlich 5 - stimmiger weltlicher Musik, dennoch relativ unbeachtet.... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_45080642" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Die Handschrift Hs. Mus. 18746 in 5 Stimmbüchern, datiert 1523 und heute in der Österreichischen Nationalbibliothek, ist die früheste aktuell bekannte Sammlung ausschließlich 5 - stimmiger weltlicher Musik, dennoch relativ unbeachtet. Unter den 56 Kompositionen befindet sich eine signifikant große Anzahl an Wiederbearbeitungen ursprünglich 3 - stimmiger Chansons (Art - Song - Reworkings). Wiederum unter diesen fallen die 7 Bearbeitungen von “Fors seullement” am Ende der Handschrift auf. Ziel der Arbeit ist ein tiefer gehendes Verständnis der Kompositionsweise dieser Stücke. Dafür werden Techniken für die Entstehung von Art - Song - Reworkings erklärt und anhand von Gioseffo Zarlinos “Institutii Harmoniche” (1558) Kriterien für die Stücke, insbesondere für Komposition mit 5 und mehr Stimmen, erarbeitet. Darauf basieren die folgenden Analysen der Stücke, hauptsächlich nach Kadenzen, Modi, cantus firmus - Behandlung und Imitation. Die 7 Kompositionen sind sehr vielfältig und befinden sich auch nach der Analyse nicht eindeutig zuzuordnen im Spannungsfeld zwischen der im 15. Jahrhundert aufblühenden Praxis Chansons zu bearbeiten und einer moderneren Kompositionsweise, die in Theorie und Praxis ab der Mitte des 16. Jahrhunderts zu finden ist.<br /> <br />(incl. Transkriptionen in Partiturform und korrigierten Facsimiles) </div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/45080642" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="6afeb608815a34a6dbf86fb567f5960e" rel="nofollow" data-download="{"attachment_id":65639212,"asset_id":45080642,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/65639212/download_file?st=MTc0MTA5NTQ2NSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="125433884" href="https://kug.academia.edu/LauraD%C3%BCmpelmann">Laura Dümpelmann</a><script data-card-contents-for-user="125433884" type="text/json">{"id":125433884,"first_name":"Laura","last_name":"Dümpelmann","domain_name":"kug","page_name":"LauraDümpelmann","display_name":"Laura Dümpelmann","profile_url":"https://kug.academia.edu/LauraD%C3%BCmpelmann?f_ri=19425","photo":"https://0.academia-photos.com/125433884/31866304/29061176/s65_laura.d_mpelmann.jpg"}</script></span></span></li><li class="js-paper-rank-work_45080642 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="45080642"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 45080642, container: ".js-paper-rank-work_45080642", }); 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$(".js-view-count[data-work-id=45080642]").text(description); $(".js-view-count-work_45080642").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_45080642").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="45080642"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">12</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="2366" rel="nofollow" href="https://www.academia.edu/Documents/in/Manuscripts_and_Early_Printed_Books">Manuscripts and Early Printed Books</a>, <script data-card-contents-for-ri="2366" type="text/json">{"id":2366,"name":"Manuscripts and Early Printed Books","url":"https://www.academia.edu/Documents/in/Manuscripts_and_Early_Printed_Books?f_ri=19425","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="14871" rel="nofollow" href="https://www.academia.edu/Documents/in/Johannes_Ockeghem">Johannes Ockeghem</a>, <script data-card-contents-for-ri="14871" type="text/json">{"id":14871,"name":"Johannes Ockeghem","url":"https://www.academia.edu/Documents/in/Johannes_Ockeghem?f_ri=19425","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="15841" rel="nofollow" href="https://www.academia.edu/Documents/in/16th_Century_Counterpoint">16th Century Counterpoint</a>, <script data-card-contents-for-ri="15841" type="text/json">{"id":15841,"name":"16th Century Counterpoint","url":"https://www.academia.edu/Documents/in/16th_Century_Counterpoint?f_ri=19425","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="17547" rel="nofollow" href="https://www.academia.edu/Documents/in/Renaissance_music">Renaissance music</a><script data-card-contents-for-ri="17547" type="text/json">{"id":17547,"name":"Renaissance music","url":"https://www.academia.edu/Documents/in/Renaissance_music?f_ri=19425","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=45080642]'), work: {"id":45080642,"title":"Fors seullement, vocum quinque - ÖNB Mus. HS. 18746. Laura Dümpelmann, Kunstuni Graz","created_at":"2021-02-08T13:03:41.101-08:00","url":"https://www.academia.edu/45080642/Fors_seullement_vocum_quinque_%C3%96NB_Mus_HS_18746_Laura_D%C3%BCmpelmann_Kunstuni_Graz?f_ri=19425","dom_id":"work_45080642","summary":"Die Handschrift Hs. Mus. 18746 in 5 Stimmbüchern, datiert 1523 und heute in der Österreichischen Nationalbibliothek, ist die früheste aktuell bekannte Sammlung ausschließlich 5 - stimmiger weltlicher Musik, dennoch relativ unbeachtet. Unter den 56 Kompositionen befindet sich eine signifikant große Anzahl an Wiederbearbeitungen ursprünglich 3 - stimmiger Chansons (Art - Song - Reworkings). Wiederum unter diesen fallen die 7 Bearbeitungen von “Fors seullement” am Ende der Handschrift auf. Ziel der Arbeit ist ein tiefer gehendes Verständnis der Kompositionsweise dieser Stücke. Dafür werden Techniken für die Entstehung von Art - Song - Reworkings erklärt und anhand von Gioseffo Zarlinos “Institutii Harmoniche” (1558) Kriterien für die Stücke, insbesondere für Komposition mit 5 und mehr Stimmen, erarbeitet. Darauf basieren die folgenden Analysen der Stücke, hauptsächlich nach Kadenzen, Modi, cantus firmus - Behandlung und Imitation. Die 7 Kompositionen sind sehr vielfältig und befinden sich auch nach der Analyse nicht eindeutig zuzuordnen im Spannungsfeld zwischen der im 15. Jahrhundert aufblühenden Praxis Chansons zu bearbeiten und einer moderneren Kompositionsweise, die in Theorie und Praxis ab der Mitte des 16. Jahrhunderts zu finden ist.\n \n(incl. Transkriptionen in Partiturform und korrigierten Facsimiles) ","downloadable_attachments":[{"id":65639212,"asset_id":45080642,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":125433884,"first_name":"Laura","last_name":"Dümpelmann","domain_name":"kug","page_name":"LauraDümpelmann","display_name":"Laura Dümpelmann","profile_url":"https://kug.academia.edu/LauraD%C3%BCmpelmann?f_ri=19425","photo":"https://0.academia-photos.com/125433884/31866304/29061176/s65_laura.d_mpelmann.jpg"}],"research_interests":[{"id":2366,"name":"Manuscripts and Early Printed Books","url":"https://www.academia.edu/Documents/in/Manuscripts_and_Early_Printed_Books?f_ri=19425","nofollow":true},{"id":14871,"name":"Johannes Ockeghem","url":"https://www.academia.edu/Documents/in/Johannes_Ockeghem?f_ri=19425","nofollow":true},{"id":15841,"name":"16th Century Counterpoint","url":"https://www.academia.edu/Documents/in/16th_Century_Counterpoint?f_ri=19425","nofollow":true},{"id":17547,"name":"Renaissance music","url":"https://www.academia.edu/Documents/in/Renaissance_music?f_ri=19425","nofollow":true},{"id":19425,"name":"Polyphony","url":"https://www.academia.edu/Documents/in/Polyphony?f_ri=19425"},{"id":22842,"name":"14th-16th Centuries Counterpoint","url":"https://www.academia.edu/Documents/in/14th-16th_Centuries_Counterpoint?f_ri=19425"},{"id":48389,"name":"Gioseffo Zarlino","url":"https://www.academia.edu/Documents/in/Gioseffo_Zarlino?f_ri=19425"},{"id":53275,"name":"Vocal Polyphony","url":"https://www.academia.edu/Documents/in/Vocal_Polyphony?f_ri=19425"},{"id":165916,"name":"16th-Century Polyphony","url":"https://www.academia.edu/Documents/in/16th-Century_Polyphony?f_ri=19425"},{"id":915354,"name":"Petrus Alamire","url":"https://www.academia.edu/Documents/in/Petrus_Alamire?f_ri=19425"},{"id":915360,"name":"Pierre De La Rue","url":"https://www.academia.edu/Documents/in/Pierre_De_La_Rue?f_ri=19425"},{"id":915963,"name":"Fugger Family","url":"https://www.academia.edu/Documents/in/Fugger_Family?f_ri=19425"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_37822201" data-work_id="37822201" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/37822201/The_Poetics_and_Politics_of_Polyphony_Towards_a_Research_Method_for_Interactive_Documentary">The Poetics and Politics of Polyphony: Towards a Research Method for Interactive Documentary</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">This article stems from a panel we jointly convened at the i-Docs 2018 Symposium, where we presented a series of provocations with a view to generating a new theoretical framework for i-docs. These provocations were inspired by all... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_37822201" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">This article stems from a panel we jointly convened at the i-Docs 2018 Symposium, where we presented a series of provocations with a view to generating a new theoretical framework for i-docs. These provocations were inspired by all aspects of Mikhail Bakthin's concept of polyphony, from both a theoretical and a practical point of view. This article presents these provocations and reflects further on them. A number of key issues are documented, expanded and commented upon, as a potential framework for further research, including multiplicity, the chronotope, dialogism and interaction. We propose that these lead to new ways of approaching complexity. With the aim of using juxtaposition, nonlinearity and layering to break down binaries, the article demonstrates how complexity can be embraced and, crucially, how the simplicity within it can be revealed. In other words, a key proposition here is that we should accept and celebrate complexity as the natural order of things, without needing to deny simplicity. By investigating several theoretical aspects of Bakthin's wider idea of polyphony, this article identifies some areas for potential development and offers input for further research, particularly in relation to the concepts of heteroglossia, carnival and aesthetics. This article is an expanded version of our " provocations " , a series of ideas and stimuli designed to provoke debate and set the scene for a collaborative panel session on " The Poetics and Politics of Polyphony ". We organised and hosted this session at the i-Docs 2018 Symposium held in Bristol, UK on 21–23 March 2018, based on our combined long-term and ongoing research into the subject (Aston and Odorico). 1 In the spirit of the Russian philosopher Mikhail Bakhtin, our provocations were designed to start a dialogue between us, our guests and the audience, through which we endeavoured to create an equal and open platform for the generation and exchange of ideas. A number of key issues came out of this dialogue, which we document and comment upon here as framings for further research. The structure of this article is based on the order in which we presented our provocations, using our set of six slides from the symposium, followed by a list of keywords that emerged from the ensuing discussion. As we use this structure to talk through our ideas, this is not a typical linear essay, but a series of inputs for further analysis, with certain aspects focussed on in more detail. The article also includes a few additional slides, where we have expanded upon points we first made at the symposium. Overall, the aim of the article is to explore areas of synergy with Bakhtin's thinking on polyphony, and to begin to reflect on the theoretical and practical contribution of a dialogic approach to the field of i-docs.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/37822201" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="52824e7bc721cf609e1a618c3a41690f" rel="nofollow" data-download="{"attachment_id":57822562,"asset_id":37822201,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/57822562/download_file?st=MTc0MTA5NTQ2NSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="252561" href="https://dcrc.academia.edu/JudithAston">Judith Aston</a><script data-card-contents-for-user="252561" type="text/json">{"id":252561,"first_name":"Judith","last_name":"Aston","domain_name":"dcrc","page_name":"JudithAston","display_name":"Judith Aston","profile_url":"https://dcrc.academia.edu/JudithAston?f_ri=19425","photo":"https://0.academia-photos.com/252561/674261/836783/s65_judith.aston.jpg"}</script></span></span></li><li class="js-paper-rank-work_37822201 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="37822201"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 37822201, container: ".js-paper-rank-work_37822201", }); 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$(".js-view-count[data-work-id=37822201]").text(description); $(".js-view-count-work_37822201").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_37822201").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="37822201"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">10</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="3399" rel="nofollow" href="https://www.academia.edu/Documents/in/Documentary_Film_Studies_">Documentary (Film Studies)</a>, <script data-card-contents-for-ri="3399" type="text/json">{"id":3399,"name":"Documentary (Film Studies)","url":"https://www.academia.edu/Documents/in/Documentary_Film_Studies_?f_ri=19425","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="6871" rel="nofollow" href="https://www.academia.edu/Documents/in/Bakhtin">Bakhtin</a>, <script data-card-contents-for-ri="6871" type="text/json">{"id":6871,"name":"Bakhtin","url":"https://www.academia.edu/Documents/in/Bakhtin?f_ri=19425","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="19425" rel="nofollow" href="https://www.academia.edu/Documents/in/Polyphony">Polyphony</a>, <script data-card-contents-for-ri="19425" type="text/json">{"id":19425,"name":"Polyphony","url":"https://www.academia.edu/Documents/in/Polyphony?f_ri=19425","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="23214" rel="nofollow" href="https://www.academia.edu/Documents/in/Documentary_Film">Documentary Film</a><script data-card-contents-for-ri="23214" type="text/json">{"id":23214,"name":"Documentary Film","url":"https://www.academia.edu/Documents/in/Documentary_Film?f_ri=19425","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=37822201]'), work: {"id":37822201,"title":"The Poetics and Politics of Polyphony: Towards a Research Method for Interactive Documentary","created_at":"2018-11-21T08:17:10.702-08:00","url":"https://www.academia.edu/37822201/The_Poetics_and_Politics_of_Polyphony_Towards_a_Research_Method_for_Interactive_Documentary?f_ri=19425","dom_id":"work_37822201","summary":"This article stems from a panel we jointly convened at the i-Docs 2018 Symposium, where we presented a series of provocations with a view to generating a new theoretical framework for i-docs. These provocations were inspired by all aspects of Mikhail Bakthin's concept of polyphony, from both a theoretical and a practical point of view. This article presents these provocations and reflects further on them. A number of key issues are documented, expanded and commented upon, as a potential framework for further research, including multiplicity, the chronotope, dialogism and interaction. We propose that these lead to new ways of approaching complexity. With the aim of using juxtaposition, nonlinearity and layering to break down binaries, the article demonstrates how complexity can be embraced and, crucially, how the simplicity within it can be revealed. In other words, a key proposition here is that we should accept and celebrate complexity as the natural order of things, without needing to deny simplicity. By investigating several theoretical aspects of Bakthin's wider idea of polyphony, this article identifies some areas for potential development and offers input for further research, particularly in relation to the concepts of heteroglossia, carnival and aesthetics. This article is an expanded version of our \" provocations \" , a series of ideas and stimuli designed to provoke debate and set the scene for a collaborative panel session on \" The Poetics and Politics of Polyphony \". We organised and hosted this session at the i-Docs 2018 Symposium held in Bristol, UK on 21–23 March 2018, based on our combined long-term and ongoing research into the subject (Aston and Odorico). 1 In the spirit of the Russian philosopher Mikhail Bakhtin, our provocations were designed to start a dialogue between us, our guests and the audience, through which we endeavoured to create an equal and open platform for the generation and exchange of ideas. A number of key issues came out of this dialogue, which we document and comment upon here as framings for further research. The structure of this article is based on the order in which we presented our provocations, using our set of six slides from the symposium, followed by a list of keywords that emerged from the ensuing discussion. As we use this structure to talk through our ideas, this is not a typical linear essay, but a series of inputs for further analysis, with certain aspects focussed on in more detail. The article also includes a few additional slides, where we have expanded upon points we first made at the symposium. Overall, the aim of the article is to explore areas of synergy with Bakhtin's thinking on polyphony, and to begin to reflect on the theoretical and practical contribution of a dialogic approach to the field of i-docs.","downloadable_attachments":[{"id":57822562,"asset_id":37822201,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":252561,"first_name":"Judith","last_name":"Aston","domain_name":"dcrc","page_name":"JudithAston","display_name":"Judith Aston","profile_url":"https://dcrc.academia.edu/JudithAston?f_ri=19425","photo":"https://0.academia-photos.com/252561/674261/836783/s65_judith.aston.jpg"}],"research_interests":[{"id":3399,"name":"Documentary (Film Studies)","url":"https://www.academia.edu/Documents/in/Documentary_Film_Studies_?f_ri=19425","nofollow":true},{"id":6871,"name":"Bakhtin","url":"https://www.academia.edu/Documents/in/Bakhtin?f_ri=19425","nofollow":true},{"id":19425,"name":"Polyphony","url":"https://www.academia.edu/Documents/in/Polyphony?f_ri=19425","nofollow":true},{"id":23214,"name":"Documentary Film","url":"https://www.academia.edu/Documents/in/Documentary_Film?f_ri=19425","nofollow":true},{"id":52094,"name":"Bakhtin dialogism","url":"https://www.academia.edu/Documents/in/Bakhtin_dialogism?f_ri=19425"},{"id":63004,"name":"Interactive Documentary","url":"https://www.academia.edu/Documents/in/Interactive_Documentary?f_ri=19425"},{"id":95699,"name":"Bakhtin's theory of the chronotope","url":"https://www.academia.edu/Documents/in/Bakhtins_theory_of_the_chronotope?f_ri=19425"},{"id":149753,"name":"Heteroglossia","url":"https://www.academia.edu/Documents/in/Heteroglossia?f_ri=19425"},{"id":973422,"name":"I docs","url":"https://www.academia.edu/Documents/in/I_docs?f_ri=19425"},{"id":2418352,"name":"Open Space Documentary","url":"https://www.academia.edu/Documents/in/Open_Space_Documentary?f_ri=19425"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_7555347" data-work_id="7555347" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/7555347/Orazio_Colombano_Li_Dilettevoli_Magnificat_a_9_voci_1583_">Orazio Colombano, Li Dilettevoli Magnificat a 9 voci (1583)</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">1. Nel 1583, data in cui dà alla stampa la sua raccolta di Magnificat, 1 Orazio Colombano è già noto al mercato librario musicale dato che nel 1579 e nel 1580 aveva pubblicato, a Venezia per Angelo Gardano e a Brescia per Vincenzo Sabbio,... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_7555347" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">1. Nel 1583, data in cui dà alla stampa la sua raccolta di Magnificat, 1 Orazio Colombano è già noto al mercato librario musicale dato che nel 1579 e nel 1580 aveva pubblicato, a Venezia per Angelo Gardano e a Brescia per Vincenzo Sabbio, un libro di salmi a 6 voci 2 e le Quinque cantiones a 5 voci. 3 Le poche notizie biografiche riguardanti Colombano 4 da noi possedute provengono, in gran parte, dalle dediche delle sue opere a stampa e da rari documenti d'archivio. La consuetudine di inserire, nei suoi frontespizi, le locuzioni "veronese" o "da Verona" fuga ogni dubbio sul fatto che la città scaligera fosse il suo luogo natio.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/7555347" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="468b86e98daadfbe30872059c5e18bc9" rel="nofollow" data-download="{"attachment_id":42571847,"asset_id":7555347,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/42571847/download_file?st=MTc0MTA5NTQ2NSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="2577066" href="https://cini.academia.edu/TommasoMaggiolo">Tommaso Maggiolo</a><script data-card-contents-for-user="2577066" type="text/json">{"id":2577066,"first_name":"Tommaso","last_name":"Maggiolo","domain_name":"cini","page_name":"TommasoMaggiolo","display_name":"Tommaso Maggiolo","profile_url":"https://cini.academia.edu/TommasoMaggiolo?f_ri=19425","photo":"https://0.academia-photos.com/2577066/807636/158742375/s65_tommaso.maggiolo.jpg"}</script></span></span></li><li class="js-paper-rank-work_7555347 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="7555347"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 7555347, container: ".js-paper-rank-work_7555347", }); 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La consuetudine di inserire, nei suoi frontespizi, le locuzioni \"veronese\" o \"da Verona\" fuga ogni dubbio sul fatto che la città scaligera fosse il suo luogo natio.","downloadable_attachments":[{"id":42571847,"asset_id":7555347,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":2577066,"first_name":"Tommaso","last_name":"Maggiolo","domain_name":"cini","page_name":"TommasoMaggiolo","display_name":"Tommaso 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data-work_id="13651244" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/13651244/TEKE_Y%C3%96RES%C4%B0_Y%C3%96R%C3%9CK_T%C3%9CRKMEN_M%C3%9CZ%C4%B0K_K%C3%9CLT%C3%9CR%C3%9CNDE_YEREL_%C3%87OK_SESL%C4%B0L%C4%B0K_%C3%96ZELL%C4%B0KLER%C4%B0">TEKE YÖRESİ YÖRÜK TÜRKMEN MÜZİK KÜLTÜRÜNDE YEREL ÇOK SESLİLİK ÖZELLİKLERİ</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Bu çalışma ile hedeflenen; yöredeki çok seslilik unsurlarını tespit ve analiz etmektir. Özellikle bu çalışmadan elde edilen sonuçların modernite kavramının ülkemizi etkilediği zamanlardan bu yana tartışıla gelen çok seslilik... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_13651244" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Bu çalışma ile hedeflenen; yöredeki çok seslilik unsurlarını tespit ve analiz etmektir. Özellikle bu çalışmadan elde edilen sonuçların modernite kavramının ülkemizi etkilediği zamanlardan bu yana tartışıla gelen çok seslilik tartışmalarına katkıda bulunması,  konu ile ilgili çalışma yapacak icracı ve araştırmacılara güvenli bir kaynak <br />oluşturulması çalışmanın temel amaçlarından birisidir. Çalışmanın sonucu olarak Yörük Türkmen müziğinin çok sesli olduğu tespiti yapılmıştır. Tespit edilen çok seslilik unsurları tasnif edilmiştir.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/13651244" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="48eaa937007b8b3ccae54887c21f913b" rel="nofollow" data-download="{"attachment_id":38096454,"asset_id":13651244,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/38096454/download_file?st=MTc0MTA5NTQ2NSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="31007908" href="https://mgu-tr.academia.edu/SinanAyy%C4%B1ld%C4%B1z">Sinan Ayyıldız</a><script data-card-contents-for-user="31007908" type="text/json">{"id":31007908,"first_name":"Sinan","last_name":"Ayyıldız","domain_name":"mgu-tr","page_name":"SinanAyyıldız","display_name":"Sinan Ayyıldız","profile_url":"https://mgu-tr.academia.edu/SinanAyy%C4%B1ld%C4%B1z?f_ri=19425","photo":"https://0.academia-photos.com/31007908/9083984/19633509/s65_sinan.ayy_ld_z.jpg"}</script></span></span></li><li class="js-paper-rank-work_13651244 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="13651244"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 13651244, container: ".js-paper-rank-work_13651244", }); 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$(".js-view-count[data-work-id=13651244]").text(description); $(".js-view-count-work_13651244").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_13651244").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="13651244"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">11</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="1987" rel="nofollow" href="https://www.academia.edu/Documents/in/Ethnomusicology">Ethnomusicology</a>, <script data-card-contents-for-ri="1987" type="text/json">{"id":1987,"name":"Ethnomusicology","url":"https://www.academia.edu/Documents/in/Ethnomusicology?f_ri=19425","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="4843" rel="nofollow" href="https://www.academia.edu/Documents/in/Organology">Organology</a>, <script data-card-contents-for-ri="4843" type="text/json">{"id":4843,"name":"Organology","url":"https://www.academia.edu/Documents/in/Organology?f_ri=19425","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="16213" rel="nofollow" href="https://www.academia.edu/Documents/in/Folk_Music">Folk Music</a>, <script data-card-contents-for-ri="16213" type="text/json">{"id":16213,"name":"Folk Music","url":"https://www.academia.edu/Documents/in/Folk_Music?f_ri=19425","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="19425" rel="nofollow" href="https://www.academia.edu/Documents/in/Polyphony">Polyphony</a><script data-card-contents-for-ri="19425" type="text/json">{"id":19425,"name":"Polyphony","url":"https://www.academia.edu/Documents/in/Polyphony?f_ri=19425","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=13651244]'), work: {"id":13651244,"title":"TEKE YÖRESİ YÖRÜK TÜRKMEN MÜZİK KÜLTÜRÜNDE YEREL ÇOK SESLİLİK ÖZELLİKLERİ","created_at":"2015-07-05T06:54:13.551-07:00","url":"https://www.academia.edu/13651244/TEKE_Y%C3%96RES%C4%B0_Y%C3%96R%C3%9CK_T%C3%9CRKMEN_M%C3%9CZ%C4%B0K_K%C3%9CLT%C3%9CR%C3%9CNDE_YEREL_%C3%87OK_SESL%C4%B0L%C4%B0K_%C3%96ZELL%C4%B0KLER%C4%B0?f_ri=19425","dom_id":"work_13651244","summary":"Bu çalışma ile hedeflenen; yöredeki çok seslilik unsurlarını tespit ve analiz etmektir. Özellikle bu çalışmadan elde edilen sonuçların modernite kavramının ülkemizi etkilediği zamanlardan bu yana tartışıla gelen çok seslilik tartışmalarına katkıda bulunması, konu ile ilgili çalışma yapacak icracı ve araştırmacılara güvenli bir kaynak \r\noluşturulması çalışmanın temel amaçlarından birisidir. Çalışmanın sonucu olarak Yörük Türkmen müziğinin çok sesli olduğu tespiti yapılmıştır. Tespit edilen çok seslilik unsurları tasnif edilmiştir.","downloadable_attachments":[{"id":38096454,"asset_id":13651244,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":31007908,"first_name":"Sinan","last_name":"Ayyıldız","domain_name":"mgu-tr","page_name":"SinanAyyıldız","display_name":"Sinan Ayyıldız","profile_url":"https://mgu-tr.academia.edu/SinanAyy%C4%B1ld%C4%B1z?f_ri=19425","photo":"https://0.academia-photos.com/31007908/9083984/19633509/s65_sinan.ayy_ld_z.jpg"}],"research_interests":[{"id":1987,"name":"Ethnomusicology","url":"https://www.academia.edu/Documents/in/Ethnomusicology?f_ri=19425","nofollow":true},{"id":4843,"name":"Organology","url":"https://www.academia.edu/Documents/in/Organology?f_ri=19425","nofollow":true},{"id":16213,"name":"Folk Music","url":"https://www.academia.edu/Documents/in/Folk_Music?f_ri=19425","nofollow":true},{"id":19425,"name":"Polyphony","url":"https://www.academia.edu/Documents/in/Polyphony?f_ri=19425","nofollow":true},{"id":347510,"name":"Traditional Turkish Music","url":"https://www.academia.edu/Documents/in/Traditional_Turkish_Music?f_ri=19425"},{"id":412804,"name":"Turkish folk music","url":"https://www.academia.edu/Documents/in/Turkish_folk_music?f_ri=19425"},{"id":525387,"name":"Yoruks (The Nomads) of West Anatolian","url":"https://www.academia.edu/Documents/in/Yoruks_The_Nomads_of_West_Anatolian?f_ri=19425"},{"id":829262,"name":"Yörükler","url":"https://www.academia.edu/Documents/in/Yorukler?f_ri=19425"},{"id":1209568,"name":"Yoruks","url":"https://www.academia.edu/Documents/in/Yoruks?f_ri=19425"},{"id":1858340,"name":"Yoruks-Turkmanian culture","url":"https://www.academia.edu/Documents/in/Yoruks-Turkmanian_culture?f_ri=19425"},{"id":1988174,"name":"Traditional Polyphony","url":"https://www.academia.edu/Documents/in/Traditional_Polyphony?f_ri=19425"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_223404" data-work_id="223404" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/223404/Everything_Was_Forever_Until_It_Was_No_More_The_last_Soviet_generation">Everything Was Forever, Until It Was No More: The last Soviet generation</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Wayne Vucinic Book Prize 2007, "for the most important contribution to Russian, Eurasian, and East European studies in any discipline of the humanities or social sciences." Endorsement by Slavoj Zizek: "Alexei Yurchak's Everything... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_223404" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Wayne Vucinic Book Prize 2007, "for the most important contribution to Russian, Eurasian, and East European studies in any discipline of the humanities or social sciences."  <br /><br />Endorsement by Slavoj Zizek: <br /><br />"Alexei Yurchak's Everything Was Forever, Until It Was No More immediately seduced me by its very title with a profound philosophical implication that eternity is a historical category--things can be eternal for some time. The same spirit of paradox runs through the entire book--it renders in wonderful details the gradual disintegration of the Soviet system from within its ideological and cultural space, making visible all the hypocrisy and misery of this process. I consider Yurchak's book by far the best work about the late epoch of the Soviet Union--it is not just history, but a pleasure to read, a true work of art." (Slavoj Zizek, author of In Defense of Lost Causes)<br /><br />Abstract:<br /><br />Soviet socialism was based on paradoxes that were revealed by the peculiar experience of its collapse. To the people who lived in that system the collapse seemed both completely unexpected and completely unsurprising. At the moment of collapse it suddenly became obvious that Soviet life had always seemed simultaneously eternal and stagnating, vigorous and ailing, bleak and full of promise. Although these characteristics may appear mutually exclusive, in fact they were mutually constitutive. This book explores the paradoxes of Soviet life during the period of "late socialism" (1960s-1980s) through the eyes of the last Soviet generation.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/223404" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="1df28a56f11284c3650f39b88731e335" rel="nofollow" data-download="{"attachment_id":112356480,"asset_id":223404,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/112356480/download_file?st=MTc0MTA5NTQ2NSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="149969" href="https://berkeley.academia.edu/AlexeiYurchak%D0%90%D0%BB%D0%B5%D0%BA%D1%81%D0%B5%D0%B9%D0%AE%D1%80%D1%87%D0%B0%D0%BA">Alexei Yurchak Алексей Юрчак</a><script data-card-contents-for-user="149969" type="text/json">{"id":149969,"first_name":"Alexei Yurchak","last_name":"Алексей Юрчак","domain_name":"berkeley","page_name":"AlexeiYurchakАлексейЮрчак","display_name":"Alexei Yurchak Алексей Юрчак","profile_url":"https://berkeley.academia.edu/AlexeiYurchak%D0%90%D0%BB%D0%B5%D0%BA%D1%81%D0%B5%D0%B9%D0%AE%D1%80%D1%87%D0%B0%D0%BA?f_ri=19425","photo":"https://0.academia-photos.com/149969/39594/162590101/s65_alexei_yurchak._.jpg"}</script></span></span></li><li class="js-paper-rank-work_223404 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="223404"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 223404, container: ".js-paper-rank-work_223404", }); 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$(".js-view-count[data-work-id=223404]").text(description); $(".js-view-count-work_223404").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_223404").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="223404"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">156</a>  </div><span class="InlineList-item-text u-textTruncate u-pl11x"><a class="InlineList-item-text" data-has-card-for-ri="94" rel="nofollow" href="https://www.academia.edu/Documents/in/Discourse_Analysis">Discourse Analysis</a>, <script data-card-contents-for-ri="94" type="text/json">{"id":94,"name":"Discourse Analysis","url":"https://www.academia.edu/Documents/in/Discourse_Analysis?f_ri=19425","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="98" rel="nofollow" href="https://www.academia.edu/Documents/in/Semiotics">Semiotics</a>, <script data-card-contents-for-ri="98" type="text/json">{"id":98,"name":"Semiotics","url":"https://www.academia.edu/Documents/in/Semiotics?f_ri=19425","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="188" rel="nofollow" href="https://www.academia.edu/Documents/in/Cultural_Studies">Cultural Studies</a>, <script data-card-contents-for-ri="188" type="text/json">{"id":188,"name":"Cultural Studies","url":"https://www.academia.edu/Documents/in/Cultural_Studies?f_ri=19425","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="206" rel="nofollow" href="https://www.academia.edu/Documents/in/Social_Change">Social Change</a><script data-card-contents-for-ri="206" type="text/json">{"id":206,"name":"Social Change","url":"https://www.academia.edu/Documents/in/Social_Change?f_ri=19425","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=223404]'), work: {"id":223404,"title":"Everything Was Forever, Until It Was No More: The last Soviet generation","created_at":"2010-03-25T11:08:17.330-07:00","url":"https://www.academia.edu/223404/Everything_Was_Forever_Until_It_Was_No_More_The_last_Soviet_generation?f_ri=19425","dom_id":"work_223404","summary":"Wayne Vucinic Book Prize 2007, \"for the most important contribution to Russian, Eurasian, and East European studies in any discipline of the humanities or social sciences.\" \n\nEndorsement by Slavoj Zizek: \n\n\"Alexei Yurchak's Everything Was Forever, Until It Was No More immediately seduced me by its very title with a profound philosophical implication that eternity is a historical category--things can be eternal for some time. The same spirit of paradox runs through the entire book--it renders in wonderful details the gradual disintegration of the Soviet system from within its ideological and cultural space, making visible all the hypocrisy and misery of this process. I consider Yurchak's book by far the best work about the late epoch of the Soviet Union--it is not just history, but a pleasure to read, a true work of art.\" (Slavoj Zizek, author of In Defense of Lost Causes)\n\nAbstract:\n\nSoviet socialism was based on paradoxes that were revealed by the peculiar experience of its collapse. To the people who lived in that system the collapse seemed both completely unexpected and completely unsurprising. At the moment of collapse it suddenly became obvious that Soviet life had always seemed simultaneously eternal and stagnating, vigorous and ailing, bleak and full of promise. Although these characteristics may appear mutually exclusive, in fact they were mutually constitutive. This book explores the paradoxes of Soviet life during the period of \"late socialism\" (1960s-1980s) through the eyes of the last Soviet generation.\n","downloadable_attachments":[{"id":112356480,"asset_id":223404,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":149969,"first_name":"Alexei Yurchak","last_name":"Алексей Юрчак","domain_name":"berkeley","page_name":"AlexeiYurchakАлексейЮрчак","display_name":"Alexei Yurchak Алексей Юрчак","profile_url":"https://berkeley.academia.edu/AlexeiYurchak%D0%90%D0%BB%D0%B5%D0%BA%D1%81%D0%B5%D0%B9%D0%AE%D1%80%D1%87%D0%B0%D0%BA?f_ri=19425","photo":"https://0.academia-photos.com/149969/39594/162590101/s65_alexei_yurchak._.jpg"}],"research_interests":[{"id":94,"name":"Discourse Analysis","url":"https://www.academia.edu/Documents/in/Discourse_Analysis?f_ri=19425","nofollow":true},{"id":98,"name":"Semiotics","url":"https://www.academia.edu/Documents/in/Semiotics?f_ri=19425","nofollow":true},{"id":188,"name":"Cultural Studies","url":"https://www.academia.edu/Documents/in/Cultural_Studies?f_ri=19425","nofollow":true},{"id":206,"name":"Social Change","url":"https://www.academia.edu/Documents/in/Social_Change?f_ri=19425","nofollow":true},{"id":389,"name":"Russian Studies","url":"https://www.academia.edu/Documents/in/Russian_Studies?f_ri=19425"},{"id":696,"name":"Gender Studies","url":"https://www.academia.edu/Documents/in/Gender_Studies?f_ri=19425"},{"id":767,"name":"Anthropology","url":"https://www.academia.edu/Documents/in/Anthropology?f_ri=19425"},{"id":776,"name":"Anthropological Linguistics","url":"https://www.academia.edu/Documents/in/Anthropological_Linguistics?f_ri=19425"},{"id":792,"name":"Historical Anthropology","url":"https://www.academia.edu/Documents/in/Historical_Anthropology?f_ri=19425"},{"id":807,"name":"Philosophy Of Language","url":"https://www.academia.edu/Documents/in/Philosophy_Of_Language?f_ri=19425"},{"id":808,"name":"Aesthetics","url":"https://www.academia.edu/Documents/in/Aesthetics?f_ri=19425"},{"id":813,"name":"Political Philosophy","url":"https://www.academia.edu/Documents/in/Political_Philosophy?f_ri=19425"},{"id":859,"name":"Communication","url":"https://www.academia.edu/Documents/in/Communication?f_ri=19425"},{"id":878,"name":"Soviet Regime","url":"https://www.academia.edu/Documents/in/Soviet_Regime?f_ri=19425"},{"id":880,"name":"Ideology (Anthropology)","url":"https://www.academia.edu/Documents/in/Ideology_Anthropology_?f_ri=19425"},{"id":938,"name":"Critical Discourse Studies","url":"https://www.academia.edu/Documents/in/Critical_Discourse_Studies?f_ri=19425"},{"id":954,"name":"Social Anthropology","url":"https://www.academia.edu/Documents/in/Social_Anthropology?f_ri=19425"},{"id":972,"name":"Self and 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tillsammans, hur kan jag då skriva om detta utan att texten känns platt, linjär och förutsägbar? 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Any substantial or systematic reproduction, redistribution, reselling, loan, sub-licensing, systematic supply, or distribution in any form to anyone is expressly forbidden. The publisher does not give any warranty express or implied or make any representation that the contents will be complete or accurate or up to date. The accuracy of any instructions, formulae, and drug doses should be independently verified with primary sources. The publisher shall not be liable for any loss, actions, claims, proceedings, demand, or costs or damages whatsoever or howsoever caused arising directly or indirectly in connection with or arising out of the use of this material.","downloadable_attachments":[{"id":68069760,"asset_id":49874034,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":58115660,"first_name":"Greg","last_name":"Tanaka","domain_name":"independent","page_name":"GregTanaka","display_name":"Greg Tanaka","profile_url":"https://independent.academia.edu/GregTanaka?f_ri=19425","photo":"https://0.academia-photos.com/58115660/78160428/66707592/s65_greg.tanaka.jpeg"}],"research_interests":[{"id":5247,"name":"Critical Race Theory","url":"https://www.academia.edu/Documents/in/Critical_Race_Theory?f_ri=19425","nofollow":true},{"id":6492,"name":"Storytelling","url":"https://www.academia.edu/Documents/in/Storytelling?f_ri=19425","nofollow":true},{"id":19425,"name":"Polyphony","url":"https://www.academia.edu/Documents/in/Polyphony?f_ri=19425","nofollow":true},{"id":626674,"name":"Qualitative Studies","url":"https://www.academia.edu/Documents/in/Qualitative_Studies?f_ri=19425","nofollow":true}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_37081566" data-work_id="37081566" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/37081566/Canon_a13_from_the_Eton_Choirbook_Robert_Wylkynson_c_1450_c_1515_Jesus_autem_transiens_Credo_in_Deum_Source_Eton_College_Library_Eton_England_GB_WRec_MS_178_fol_126v_">Canon a13 from the Eton Choirbook (Robert Wylkynson, c. 1450 - c. 1515), "Jesus autem transiens, Credo in Deum" (Source: Eton College Library, Eton, England (GB-WRec), MS 178, fol. 126v.)</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Complete transcription and reconstruction of the canon a13 for Christ and his Twelve Disciples on the Apostles Creed. This piece is found in both the Eton Choirbook and the Baldwin Manuscript. This edition contained both the fully... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_37081566" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Complete transcription and reconstruction of the canon a13 for Christ and his Twelve Disciples on the Apostles Creed. This piece is found in both the Eton Choirbook and the Baldwin Manuscript. This edition contained both the fully realized canon as well as a modern reconstruction of the original monophonic version of the canon, as found in the manuscripts. <br /> <br />For a recording with a score animation see the link below: <br /><a href="https://www.youtube.com/watch?v=TBu66rLAv7I" rel="nofollow">https://www.youtube.com/watch?v=TBu66rLAv7I</a></div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/37081566" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="e6014b867160e28a3dd9e2c69d6ef110" rel="nofollow" data-download="{"attachment_id":57033591,"asset_id":37081566,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/57033591/download_file?st=MTc0MTA5NTQ2NSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="6283566" href="https://florida.academia.edu/JordanAlexanderKey">Jordan Alexander Key</a><script data-card-contents-for-user="6283566" type="text/json">{"id":6283566,"first_name":"Jordan Alexander","last_name":"Key","domain_name":"florida","page_name":"JordanAlexanderKey","display_name":"Jordan Alexander Key","profile_url":"https://florida.academia.edu/JordanAlexanderKey?f_ri=19425","photo":"https://0.academia-photos.com/6283566/2960433/67736632/s65_jordan_alexander.key.jpg"}</script></span></span></li><li class="js-paper-rank-work_37081566 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="37081566"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 37081566, container: ".js-paper-rank-work_37081566", }); 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While applause is welcome after any piece, it is especially welcome at the conclusion of each set. Thank you. 15 the repertory was originally... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_49250834" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">The ensemble kindly requests that you silence electronic devices before the performance begins. While applause is welcome after any piece, it is especially welcome at the conclusion of each set. Thank you. 15 the repertory was originally produced and heard. He was Artistic Director of the Connecticut Early Music Festival from 2007 to 2015, selecting nationally and internationally known ensembles to perform as well as conducting concerts by the Connecticut Early Music Ensemble. He was music director and tenor in the Boston-based ensemble Exsultemus from 2003 to 2009. Exsultemus's 2012 CD release, "O rex orbis," his reconstruction of Vespers and Compline services for the feast of Saint Charlemagne as it might have been heard in Aachen in 1582, was "highly recommended on all counts" by Fanfare and received four stars from Belgium's Le soir, which hailed it as "Magnificent and austere music, sensual in its fervor, performed with rigor by its American interpreters." Described by the Atlanta Journal-Constitution as a dignified and beautiful singer, Paul Max Tipton, bass-baritone, performs internationally to acclaim in repertoire ranging from Schütz and Monteverdi to Britten and Bolcom. He solos under such notable figures as</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/49250834" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="c38d610a862da2c7e6f93f7d9c2470a5" rel="nofollow" data-download="{"attachment_id":67635160,"asset_id":49250834,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/67635160/download_file?st=MTc0MTA5NTQ2NSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="46827755" href="https://uconn.academia.edu/ERice">Eric Rice</a><script data-card-contents-for-user="46827755" type="text/json">{"id":46827755,"first_name":"Eric","last_name":"Rice","domain_name":"uconn","page_name":"ERice","display_name":"Eric Rice","profile_url":"https://uconn.academia.edu/ERice?f_ri=19425","photo":"https://0.academia-photos.com/46827755/43603412/125489045/s65_eric.rice.jpg"}</script></span></span></li><li class="js-paper-rank-work_49250834 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="49250834"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 49250834, container: ".js-paper-rank-work_49250834", }); });</script></li><li class="js-percentile-work_49250834 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 49250834; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_49250834"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_49250834 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="49250834"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 49250834; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=49250834]").text(description); $(".js-view-count-work_49250834").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_49250834").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="49250834"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">3</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="17547" rel="nofollow" href="https://www.academia.edu/Documents/in/Renaissance_music">Renaissance music</a>, <script data-card-contents-for-ri="17547" type="text/json">{"id":17547,"name":"Renaissance music","url":"https://www.academia.edu/Documents/in/Renaissance_music?f_ri=19425","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="19425" rel="nofollow" href="https://www.academia.edu/Documents/in/Polyphony">Polyphony</a>, <script data-card-contents-for-ri="19425" type="text/json">{"id":19425,"name":"Polyphony","url":"https://www.academia.edu/Documents/in/Polyphony?f_ri=19425","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="125933" rel="nofollow" href="https://www.academia.edu/Documents/in/History_of_the_Low_Countries">History of the Low Countries</a><script data-card-contents-for-ri="125933" type="text/json">{"id":125933,"name":"History of the Low Countries","url":"https://www.academia.edu/Documents/in/History_of_the_Low_Countries?f_ri=19425","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=49250834]'), work: {"id":49250834,"title":"Program Notes: Pater, Peccavi: Saints and Sinners in Sixteenth-Century Polyphony of the Low Countries","created_at":"2021-06-15T08:06:59.099-07:00","url":"https://www.academia.edu/49250834/Program_Notes_Pater_Peccavi_Saints_and_Sinners_in_Sixteenth_Century_Polyphony_of_the_Low_Countries?f_ri=19425","dom_id":"work_49250834","summary":"The ensemble kindly requests that you silence electronic devices before the performance begins. While applause is welcome after any piece, it is especially welcome at the conclusion of each set. Thank you. 15 the repertory was originally produced and heard. He was Artistic Director of the Connecticut Early Music Festival from 2007 to 2015, selecting nationally and internationally known ensembles to perform as well as conducting concerts by the Connecticut Early Music Ensemble. He was music director and tenor in the Boston-based ensemble Exsultemus from 2003 to 2009. Exsultemus's 2012 CD release, \"O rex orbis,\" his reconstruction of Vespers and Compline services for the feast of Saint Charlemagne as it might have been heard in Aachen in 1582, was \"highly recommended on all counts\" by Fanfare and received four stars from Belgium's Le soir, which hailed it as \"Magnificent and austere music, sensual in its fervor, performed with rigor by its American interpreters.\" Described by the Atlanta Journal-Constitution as a dignified and beautiful singer, Paul Max Tipton, bass-baritone, performs internationally to acclaim in repertoire ranging from Schütz and Monteverdi to Britten and Bolcom. He solos under such notable figures as","downloadable_attachments":[{"id":67635160,"asset_id":49250834,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":46827755,"first_name":"Eric","last_name":"Rice","domain_name":"uconn","page_name":"ERice","display_name":"Eric Rice","profile_url":"https://uconn.academia.edu/ERice?f_ri=19425","photo":"https://0.academia-photos.com/46827755/43603412/125489045/s65_eric.rice.jpg"}],"research_interests":[{"id":17547,"name":"Renaissance music","url":"https://www.academia.edu/Documents/in/Renaissance_music?f_ri=19425","nofollow":true},{"id":19425,"name":"Polyphony","url":"https://www.academia.edu/Documents/in/Polyphony?f_ri=19425","nofollow":true},{"id":125933,"name":"History of the Low Countries","url":"https://www.academia.edu/Documents/in/History_of_the_Low_Countries?f_ri=19425","nofollow":true}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_20830155" data-work_id="20830155" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/20830155/_Double_Motion_George_Herbert_and_Seventeenth_Century_Polyphonic_Practice">"Double Motion": George Herbert and Seventeenth-Century Polyphonic Practice</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/20830155" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="b0356f57e9c42a2dc3eb716cac49df5d" rel="nofollow" data-download="{"attachment_id":41585897,"asset_id":20830155,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/41585897/download_file?st=MTc0MTA5NTQ2NSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="1609102" href="https://cambridge.academia.edu/SimonJackson">Simon Jackson</a><script data-card-contents-for-user="1609102" type="text/json">{"id":1609102,"first_name":"Simon","last_name":"Jackson","domain_name":"cambridge","page_name":"SimonJackson","display_name":"Simon Jackson","profile_url":"https://cambridge.academia.edu/SimonJackson?f_ri=19425","photo":"https://0.academia-photos.com/1609102/562120/3604686/s65_simon.jackson.jpg"}</script></span></span></li><li class="js-paper-rank-work_20830155 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="20830155"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 20830155, container: ".js-paper-rank-work_20830155", }); });</script></li><li class="js-percentile-work_20830155 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x 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}); });</script></span><script>$(function() { $(".js-view-count-work_20830155").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="20830155"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">10</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="671" rel="nofollow" href="https://www.academia.edu/Documents/in/Music">Music</a>, <script data-card-contents-for-ri="671" type="text/json">{"id":671,"name":"Music","url":"https://www.academia.edu/Documents/in/Music?f_ri=19425","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="5431" rel="nofollow" href="https://www.academia.edu/Documents/in/Seventeenth_Century">Seventeenth Century</a>, <script data-card-contents-for-ri="5431" type="text/json">{"id":5431,"name":"Seventeenth Century","url":"https://www.academia.edu/Documents/in/Seventeenth_Century?f_ri=19425","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="19425" rel="nofollow" href="https://www.academia.edu/Documents/in/Polyphony">Polyphony</a>, <script data-card-contents-for-ri="19425" type="text/json">{"id":19425,"name":"Polyphony","url":"https://www.academia.edu/Documents/in/Polyphony?f_ri=19425","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="36877" rel="nofollow" href="https://www.academia.edu/Documents/in/Seventeenth_Century_English_Literature">Seventeenth Century English Literature</a><script data-card-contents-for-ri="36877" type="text/json">{"id":36877,"name":"Seventeenth Century English Literature","url":"https://www.academia.edu/Documents/in/Seventeenth_Century_English_Literature?f_ri=19425","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=20830155]'), work: {"id":20830155,"title":"\"Double Motion\": George Herbert and Seventeenth-Century Polyphonic Practice","created_at":"2016-01-26T05:26:02.842-08:00","url":"https://www.academia.edu/20830155/_Double_Motion_George_Herbert_and_Seventeenth_Century_Polyphonic_Practice?f_ri=19425","dom_id":"work_20830155","summary":null,"downloadable_attachments":[{"id":41585897,"asset_id":20830155,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":1609102,"first_name":"Simon","last_name":"Jackson","domain_name":"cambridge","page_name":"SimonJackson","display_name":"Simon Jackson","profile_url":"https://cambridge.academia.edu/SimonJackson?f_ri=19425","photo":"https://0.academia-photos.com/1609102/562120/3604686/s65_simon.jackson.jpg"}],"research_interests":[{"id":671,"name":"Music","url":"https://www.academia.edu/Documents/in/Music?f_ri=19425","nofollow":true},{"id":5431,"name":"Seventeenth Century","url":"https://www.academia.edu/Documents/in/Seventeenth_Century?f_ri=19425","nofollow":true},{"id":19425,"name":"Polyphony","url":"https://www.academia.edu/Documents/in/Polyphony?f_ri=19425","nofollow":true},{"id":36877,"name":"Seventeenth Century English Literature","url":"https://www.academia.edu/Documents/in/Seventeenth_Century_English_Literature?f_ri=19425","nofollow":true},{"id":81673,"name":"Poetry and Music","url":"https://www.academia.edu/Documents/in/Poetry_and_Music?f_ri=19425"},{"id":130406,"name":"Sixteenth- and seventeenth-century English literature, religion and culture","url":"https://www.academia.edu/Documents/in/Sixteenth-_and_seventeenth-century_English_literature_religion_and_culture?f_ri=19425"},{"id":165916,"name":"16th-Century Polyphony","url":"https://www.academia.edu/Documents/in/16th-Century_Polyphony?f_ri=19425"},{"id":165924,"name":"William Byrd","url":"https://www.academia.edu/Documents/in/William_Byrd?f_ri=19425"},{"id":259223,"name":"George Herbert (1593-1633), English metaphysical poetr","url":"https://www.academia.edu/Documents/in/George_Herbert_1593-1633_English_metaphysical_poetr?f_ri=19425"},{"id":1348498,"name":"Orlando Gibbons","url":"https://www.academia.edu/Documents/in/Orlando_Gibbons?f_ri=19425"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_45072473" data-work_id="45072473" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/45072473/Evaluating_Students_Final_Text_Production_in_Polyphonic_Critical_Literacy_Practices_Combining_Appraisal_Theory_with_Qualitative_Data_Sources">Evaluating Students’ Final Text Production in Polyphonic Critical Literacy Practices: Combining Appraisal Theory with Qualitative Data Sources</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Critical literacy practices have moved their interest from Freirean binary analyses (e.g. oppressor versus oppressed) to more complex perspectives, where in a text the author/speaker is (dis)aligned with different discourse communities.... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_45072473" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Critical literacy practices have moved their interest from Freirean binary analyses (e.g. oppressor versus oppressed) to more complex perspectives, where in a text the author/speaker is (dis)aligned with different discourse communities. Despite the fact that these teaching practices that are based in multiple discources are gaining attention, little work has been done on the assessment of the teaching practices. During the last decades, the literacy activities researches have focused on the teacher-student interactions and the teacher talks (asking questions, types of questions), neglecting the final text production, which is also a significant factor in the evaluation of literacy practices. In this paper, after the implementation of polyphonic literacy practices in a rural junior high school in Crete, Greece, the teacher-researcher assessed the final student written products using the Appraisal Theory. Further qualitative methodological data gathering sources enhanced the identification of the contextual factors that can explain in depth the discourses the students (re)produced in their texts. These findings suggest that Appraisal Theory combined with such methodological choices, where the context is identified, is more supportive in the evaluation of these complex critical literacy practices and provides the teacher and students fruitful feedback concerning critical literacy awareness.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/45072473" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="0a1b7084e46acef7ac3dbb3d42d815e8" rel="nofollow" data-download="{"attachment_id":65628823,"asset_id":45072473,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/65628823/download_file?st=MTc0MTA5NTQ2NSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="7409104" href="https://crete.academia.edu/konstantinossipitanos">Konstantinos Sipitanos</a><script data-card-contents-for-user="7409104" type="text/json">{"id":7409104,"first_name":"Konstantinos","last_name":"Sipitanos","domain_name":"crete","page_name":"konstantinossipitanos","display_name":"Konstantinos Sipitanos","profile_url":"https://crete.academia.edu/konstantinossipitanos?f_ri=19425","photo":"https://0.academia-photos.com/7409104/20138433/19885328/s65_kostis.sipitanos.jpg"}</script></span></span></li><li class="js-paper-rank-work_45072473 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="45072473"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 45072473, container: ".js-paper-rank-work_45072473", }); 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$(".js-view-count[data-work-id=45072473]").text(description); $(".js-view-count-work_45072473").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_45072473").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="45072473"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">6</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="998" rel="nofollow" href="https://www.academia.edu/Documents/in/Language_Education">Language Education</a>, <script data-card-contents-for-ri="998" type="text/json">{"id":998,"name":"Language Education","url":"https://www.academia.edu/Documents/in/Language_Education?f_ri=19425","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="10611" rel="nofollow" href="https://www.academia.edu/Documents/in/Systemic_Functional_Linguistics">Systemic Functional Linguistics</a>, <script data-card-contents-for-ri="10611" type="text/json">{"id":10611,"name":"Systemic Functional Linguistics","url":"https://www.academia.edu/Documents/in/Systemic_Functional_Linguistics?f_ri=19425","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="10633" rel="nofollow" href="https://www.academia.edu/Documents/in/Critical_Discourse_Analysis">Critical Discourse Analysis</a>, <script data-card-contents-for-ri="10633" type="text/json">{"id":10633,"name":"Critical Discourse Analysis","url":"https://www.academia.edu/Documents/in/Critical_Discourse_Analysis?f_ri=19425","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="14321" rel="nofollow" href="https://www.academia.edu/Documents/in/Critical_Literacy_Studies">Critical Literacy Studies</a><script data-card-contents-for-ri="14321" type="text/json">{"id":14321,"name":"Critical Literacy Studies","url":"https://www.academia.edu/Documents/in/Critical_Literacy_Studies?f_ri=19425","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=45072473]'), work: {"id":45072473,"title":"Evaluating Students’ Final Text Production in Polyphonic Critical Literacy Practices: Combining Appraisal Theory with Qualitative Data Sources","created_at":"2021-02-07T09:05:12.156-08:00","url":"https://www.academia.edu/45072473/Evaluating_Students_Final_Text_Production_in_Polyphonic_Critical_Literacy_Practices_Combining_Appraisal_Theory_with_Qualitative_Data_Sources?f_ri=19425","dom_id":"work_45072473","summary":"Critical literacy practices have moved their interest from Freirean binary analyses (e.g. oppressor versus oppressed) to more complex perspectives, where in a text the author/speaker is (dis)aligned with different discourse communities. Despite the fact that these teaching practices that are based in multiple discources are gaining attention, little work has been done on the assessment of the teaching practices. During the last decades, the literacy activities researches have focused on the teacher-student interactions and the teacher talks (asking questions, types of questions), neglecting the final text production, which is also a significant factor in the evaluation of literacy practices. In this paper, after the implementation of polyphonic literacy practices in a rural junior high school in Crete, Greece, the teacher-researcher assessed the final student written products using the Appraisal Theory. Further qualitative methodological data gathering sources enhanced the identification of the contextual factors that can explain in depth the discourses the students (re)produced in their texts. These findings suggest that Appraisal Theory combined with such methodological choices, where the context is identified, is more supportive in the evaluation of these complex critical literacy practices and provides the teacher and students fruitful feedback concerning critical literacy awareness.","downloadable_attachments":[{"id":65628823,"asset_id":45072473,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":7409104,"first_name":"Konstantinos","last_name":"Sipitanos","domain_name":"crete","page_name":"konstantinossipitanos","display_name":"Konstantinos Sipitanos","profile_url":"https://crete.academia.edu/konstantinossipitanos?f_ri=19425","photo":"https://0.academia-photos.com/7409104/20138433/19885328/s65_kostis.sipitanos.jpg"}],"research_interests":[{"id":998,"name":"Language Education","url":"https://www.academia.edu/Documents/in/Language_Education?f_ri=19425","nofollow":true},{"id":10611,"name":"Systemic Functional Linguistics","url":"https://www.academia.edu/Documents/in/Systemic_Functional_Linguistics?f_ri=19425","nofollow":true},{"id":10633,"name":"Critical Discourse Analysis","url":"https://www.academia.edu/Documents/in/Critical_Discourse_Analysis?f_ri=19425","nofollow":true},{"id":14321,"name":"Critical Literacy Studies","url":"https://www.academia.edu/Documents/in/Critical_Literacy_Studies?f_ri=19425","nofollow":true},{"id":19425,"name":"Polyphony","url":"https://www.academia.edu/Documents/in/Polyphony?f_ri=19425"},{"id":56743,"name":"Appraisal theory","url":"https://www.academia.edu/Documents/in/Appraisal_theory?f_ri=19425"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_38092626" data-work_id="38092626" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/38092626/Architectonic_integrity_of_the_polyphonic_composition_in_the_aspect_of_discourse_analysis">Architectonic integrity of the polyphonic composition in the aspect of discourse-analysis</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">The goal of this article is a discourse analysis of the architectonic integrity of polyphonic work on the texture and thematic levels, in conditions of imitative and non-imitative types of polyphonic thinking. The discursive approach in... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_38092626" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">The goal of this article is a discourse analysis of the architectonic integrity of polyphonic work on the texture and thematic levels, in conditions of imitative and non-imitative types of polyphonic thinking. The discursive approach in the work aimed at disclosing the ratio of total genre principle as a kind of language (with appropriate structural model) and a particular music piece of as givenness music and speech practice. As a result, dual by its nature musical form also serves as discourse and analogy between music semantics and verbal language and speech extends to the level of the mechanism of signification. Contiguous to the concept of "integrity" art form definition of "architectonics" borrowed from the theory of architecture gradually actualized early last century in the works of representatives of the formal German school. In modern literary criticism, the tectonic and architectonic composition levels of artistic work are considered as not identical. In the scientific literature, there is a convergence of concepts of tectonics and a structure, and with focus on the dynamic relationship of carried by and carried composite elements. Drawing the demarcation line between the concepts of tectonics and architectonics, we note that the latter reflects more generalizing, common to many artistic works principles of shaping, operating in a manner, not by the elements but components of the composite structure. In musicology the concepts of tectonics and architectonics are  involved actively in analyzing the form of a musical work as in whole, and from point of view on the constructive bearing function in her individual means of musical expression (rhythm, harmony, texture, etc.) as well as the study of the musical and creative process (including, a performing interpretation). The concept of ”landscape of the texture” (T. Krasnikova) as best as possible corresponds to the specific of exactly the polyphonic piece. Prolonging the phenomenon of architectonics on the musical and creative process, musicologist V. Moskalenko distinguish between these two kinds as architectonic resume and outrunning architectonic representation, linking with the understanding of a musical work as a principle and as a fact [Moskalenko V. H. Theoretical and methodological aspects of musical interpretation, p. 13]. Provided perception of directing function of musical theme the outrunning type of architectonics appears in two its major manifestations - monothematic (so-called "basic") and non-monothematic (ie, "arched") which "understood as dialectically related binarity," which includes himself both as folk, and academic and musical traditions [ibid, p. 17]. The projection of the concept of "arched" architectonics, which reproduces the opposition of the theme and non-theme in a musical piece, to a polyphonic structure, makes it possible to differentiate it into simultaneous (i.e. "contrapuntal" inherently), succession (prolonged in time, the actual "polyphonic") and resultant (synthesizing) varieties, taking into account the multipartite and specific branching of the textured landscape of the polyphonic work – compared with homophonic-harmonic – not only by horizontal but by vertical and diagonal simultaneously. Considering polyphonic genres, organized largely beyond imitative rules as the determining compositional principles, the such as multithematic motet of Ars Antiqua age or isorhythmic motet of Ars Nova, contrapuntal choral treatment on cantus firmus or polyphonic variations on a basso ostinato, observed that it comes to the fore here the aimed by "vertical" – simultaneous arched (on the principle "theme – a non-theme" or "theme – a theme") type of instantaneous perception of architectonic integrity. With the resurgence of composer's sustained interest in non-imitative principles of polyphony in modern musical art, now observed the clear actualization of the inherent specific forms of manifestation and corresponding simultaneous type architectonic integrity. <br />Elements of the simultaneous arched architectonic do not lose their effectiveness also in the imitative polyphony, but limited, preferably, by more "local" compositional level. However, with considering the critical importance in imitative polyphony - particularly in fugue - of the coordination by "diagonal", the special importance in it firstly takes the resulting type of architectonic thinking of a interpreter and performer or musicologist and researcher, which combining in itself both - the simultaneous (contrapuntal) and the succession (polyphonic) - principles simultaneously. Without interludes, particularly in the so-called "scientists" or stretto's fugues, which saturated with various methods of structural transformation of themes (inversion, retroversion, rhythm, scale conversion strettos as one of the varieties of multiplication etc.), aimed by "diagonal" – the resulting – approach to the interpretation of the work's architectonic integrity is most updated. <br /> <br />Архітектонічна цілісність поліфонічного твору в аспекті дискурс-аналізу <br />Розглянуто архітектонічну цілісність поліфонічного твору в аспекті дискурс-аналізу. Виявлено, що специфіка поліфонічного твору, на відміну від гармонічної за своїм складом багатоголосної музики, відтворюється насамперед у його «фактурному ландшафті». Встановлено, що у неімітаційних поліфонічних жанрах та формах, внаслідок їх багатоярусності і тяжіння до композиційної сегментації, спостерігається переважальна дія симультанного типу архітектонічної цілісності, натомість в імітаційній поліфонії координація «за діагоналлю» зумовлює результуючий тип архітектонічного мислення інтерпретатора. <br />Ключові слова: архітектоніка, цілісність, неімітаційна поліфонія, імітаційна поліфонія, дискурс-аналіз. <br /> <br />Актуальность исследования. Применение понятий архитектоники и тектоники к полифоническому произведению с целью выявить базовые различия в логической структуре имитационной и неимитационной полифонии предпринимается впервые. Цель исследования – дискурс-анализ архитектонической целостности полифонического произведения на фактурно-тематическом уровне в условиях имитационной и неимитационной полифонии. <br />Методология исследования. Применение дискурсивного подхода позволило исследовать соотношение общих тектонических архетипов музыкального произведения (как своеобразных «языковых» принципов со своей типичной моделью) и полифонического музыкального произведения в его хронотипологически определенной жанрово-композиционной дискурсивной практике (как данности музыкальной речи). Проекция понятия «арочной» архитектоники (В. Москаленко) на полифонический склад сделало возможной ее дифференциацию на симультанную («контрапунктическую»), сукцессионную («полифоническую») и результирующую (синтезирующую) разновидности, учитывая многосоставность и специфическую разветвленность фактурного ландшафта полифонического произведения по горизонтали, вертикали и диагонали одновременно. <br />Основные результаты и выводы исследования. Рассмотрена архитектоническая целостность полифонического произведения. Выявлено, что специфика полифонического произведения, в отличие от гармонической по своему складу многоголосной музыки, отображается прежде всего в его «фактурном ландшафте». Установлено, что в неимитационных полифонических жанрах и формах (полимелодический и изоритмический мотеты эпох Ars Antiqua и Ars Nova, контрапунктическая или политематическая хоральная обработка на cantus firmus, остинатные полифонические вариации и т.д.), вследствие их многоярусности и тяготения к композиционной сегментации, наблюдается преобладающее действие симультанного типа архитектонической целостности. В имитационной полифонии (в частности, ричеркаре или фуге) координация «по диагонали» приводит к результирующему типу архитектонического мышления интерпретатора. <br />Ключевые слова: архитектоника, целостность, неимитационная полифония, имитационная полифония, дискурс-анализ.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/38092626" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="13f22733c7483fd9a11ff3cb8eb39c63" rel="nofollow" data-download="{"attachment_id":58120362,"asset_id":38092626,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/58120362/download_file?st=MTc0MTA5NTQ2NSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="35880287" href="https://kharkov.academia.edu/Belichenko">Nataliia Belichenko</a><script data-card-contents-for-user="35880287" type="text/json">{"id":35880287,"first_name":"Nataliia","last_name":"Belichenko","domain_name":"kharkov","page_name":"Belichenko","display_name":"Nataliia Belichenko","profile_url":"https://kharkov.academia.edu/Belichenko?f_ri=19425","photo":"https://0.academia-photos.com/35880287/16810109/52335240/s65_nataliya.belichenko.jpg"}</script></span></span></li><li class="js-paper-rank-work_38092626 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="38092626"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 38092626, container: ".js-paper-rank-work_38092626", }); 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The discursive approach in the work aimed at disclosing the ratio of total genre principle as a kind of language (with appropriate structural model) and a particular music piece of as givenness music and speech practice. As a result, dual by its nature musical form also serves as discourse and analogy between music semantics and verbal language and speech extends to the level of the mechanism of signification. Contiguous to the concept of \"integrity\" art form definition of \"architectonics\" borrowed from the theory of architecture gradually actualized early last century in the works of representatives of the formal German school. In modern literary criticism, the tectonic and architectonic composition levels of artistic work are considered as not identical. In the scientific literature, there is a convergence of concepts of tectonics and a structure, and with focus on the dynamic relationship of carried by and carried composite elements. Drawing the demarcation line between the concepts of tectonics and architectonics, we note that the latter reflects more generalizing, common to many artistic works principles of shaping, operating in a manner, not by the elements but components of the composite structure. In musicology the concepts of tectonics and architectonics are involved actively in analyzing the form of a musical work as in whole, and from point of view on the constructive bearing function in her individual means of musical expression (rhythm, harmony, texture, etc.) as well as the study of the musical and creative process (including, a performing interpretation). The concept of ”landscape of the texture” (T. Krasnikova) as best as possible corresponds to the specific of exactly the polyphonic piece. Prolonging the phenomenon of architectonics on the musical and creative process, musicologist V. Moskalenko distinguish between these two kinds as architectonic resume and outrunning architectonic representation, linking with the understanding of a musical work as a principle and as a fact [Moskalenko V. H. Theoretical and methodological aspects of musical interpretation, p. 13]. Provided perception of directing function of musical theme the outrunning type of architectonics appears in two its major manifestations - monothematic (so-called \"basic\") and non-monothematic (ie, \"arched\") which \"understood as dialectically related binarity,\" which includes himself both as folk, and academic and musical traditions [ibid, p. 17]. The projection of the concept of \"arched\" architectonics, which reproduces the opposition of the theme and non-theme in a musical piece, to a polyphonic structure, makes it possible to differentiate it into simultaneous (i.e. \"contrapuntal\" inherently), succession (prolonged in time, the actual \"polyphonic\") and resultant (synthesizing) varieties, taking into account the multipartite and specific branching of the textured landscape of the polyphonic work – compared with homophonic-harmonic – not only by horizontal but by vertical and diagonal simultaneously. Considering polyphonic genres, organized largely beyond imitative rules as the determining compositional principles, the such as multithematic motet of Ars Antiqua age or isorhythmic motet of Ars Nova, contrapuntal choral treatment on cantus firmus or polyphonic variations on a basso ostinato, observed that it comes to the fore here the aimed by \"vertical\" – simultaneous arched (on the principle \"theme – a non-theme\" or \"theme – a theme\") type of instantaneous perception of architectonic integrity. With the resurgence of composer's sustained interest in non-imitative principles of polyphony in modern musical art, now observed the clear actualization of the inherent specific forms of manifestation and corresponding simultaneous type architectonic integrity. \r\nElements of the simultaneous arched architectonic do not lose their effectiveness also in the imitative polyphony, but limited, preferably, by more \"local\" compositional level. However, with considering the critical importance in imitative polyphony - particularly in fugue - of the coordination by \"diagonal\", the special importance in it firstly takes the resulting type of architectonic thinking of a interpreter and performer or musicologist and researcher, which combining in itself both - the simultaneous (contrapuntal) and the succession (polyphonic) - principles simultaneously. Without interludes, particularly in the so-called \"scientists\" or stretto's fugues, which saturated with various methods of structural transformation of themes (inversion, retroversion, rhythm, scale conversion strettos as one of the varieties of multiplication etc.), aimed by \"diagonal\" – the resulting – approach to the interpretation of the work's architectonic integrity is most updated.\r\n\r\nАрхітектонічна цілісність поліфонічного твору в аспекті дискурс-аналізу\r\nРозглянуто архітектонічну цілісність поліфонічного твору в аспекті дискурс-аналізу. Виявлено, що специфіка поліфонічного твору, на відміну від гармонічної за своїм складом багатоголосної музики, відтворюється насамперед у його «фактурному ландшафті». Встановлено, що у неімітаційних поліфонічних жанрах та формах, внаслідок їх багатоярусності і тяжіння до композиційної сегментації, спостерігається переважальна дія симультанного типу архітектонічної цілісності, натомість в імітаційній поліфонії координація «за діагоналлю» зумовлює результуючий тип архітектонічного мислення інтерпретатора.\r\nКлючові слова: архітектоніка, цілісність, неімітаційна поліфонія, імітаційна поліфонія, дискурс-аналіз.\r\n\r\nАктуальность исследования. Применение понятий архитектоники и тектоники к полифоническому произведению с целью выявить базовые различия в логической структуре имитационной и неимитационной полифонии предпринимается впервые. Цель исследования – дискурс-анализ архитектонической целостности полифонического произведения на фактурно-тематическом уровне в условиях имитационной и неимитационной полифонии.\r\nМетодология исследования. Применение дискурсивного подхода позволило исследовать соотношение общих тектонических архетипов музыкального произведения (как своеобразных «языковых» принципов со своей типичной моделью) и полифонического музыкального произведения в его хронотипологически определенной жанрово-композиционной дискурсивной практике (как данности музыкальной речи). Проекция понятия «арочной» архитектоники (В. Москаленко) на полифонический склад сделало возможной ее дифференциацию на симультанную («контрапунктическую»), сукцессионную («полифоническую») и результирующую (синтезирующую) разновидности, учитывая многосоставность и специфическую разветвленность фактурного ландшафта полифонического произведения по горизонтали, вертикали и диагонали одновременно. \r\nОсновные результаты и выводы исследования. Рассмотрена архитектоническая целостность полифонического произведения. Выявлено, что специфика полифонического произведения, в отличие от гармонической по своему складу многоголосной музыки, отображается прежде всего в его «фактурном ландшафте». Установлено, что в неимитационных полифонических жанрах и формах (полимелодический и изоритмический мотеты эпох Ars Antiqua и Ars Nova, контрапунктическая или политематическая хоральная обработка на cantus firmus, остинатные полифонические вариации и т.д.), вследствие их многоярусности и тяготения к композиционной сегментации, наблюдается преобладающее действие симультанного типа архитектонической целостности. В имитационной полифонии (в частности, ричеркаре или фуге) координация «по диагонали» приводит к результирующему типу архитектонического мышления интерпретатора.\r\nКлючевые слова: архитектоника, целостность, неимитационная полифония, имитационная полифония, дискурс-анализ.","downloadable_attachments":[{"id":58120362,"asset_id":38092626,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":35880287,"first_name":"Nataliia","last_name":"Belichenko","domain_name":"kharkov","page_name":"Belichenko","display_name":"Nataliia Belichenko","profile_url":"https://kharkov.academia.edu/Belichenko?f_ri=19425","photo":"https://0.academia-photos.com/35880287/16810109/52335240/s65_nataliya.belichenko.jpg"}],"research_interests":[{"id":19425,"name":"Polyphony","url":"https://www.academia.edu/Documents/in/Polyphony?f_ri=19425","nofollow":true},{"id":2835728,"name":"non-imitative polyphony","url":"https://www.academia.edu/Documents/in/non-imitative_polyphony?f_ri=19425","nofollow":true}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_65189849" data-work_id="65189849" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/65189849/Le_composizioni_francesi_di_Matteo_da_Perugia_e_il_codice_Modena_%CE%B1_M_5_24">Le composizioni francesi di Matteo da Perugia e il codice Modena α.M.5.24</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">PhD dissertation abstract and index. Università degli Studi di Pavia, 13.02.2020.</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/65189849" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="ae87027f440f7ec97d77b15dbc03d9ab" rel="nofollow" data-download="{"attachment_id":76896158,"asset_id":65189849,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/76896158/download_file?st=MTc0MTA5NTQ2NSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="2918488" href="https://univp.academia.edu/andreslocatelli">andres locatelli</a><script data-card-contents-for-user="2918488" type="text/json">{"id":2918488,"first_name":"andres","last_name":"locatelli","domain_name":"univp","page_name":"andreslocatelli","display_name":"andres locatelli","profile_url":"https://univp.academia.edu/andreslocatelli?f_ri=19425","photo":"https://0.academia-photos.com/2918488/2709514/58850387/s65_andres.locatelli.jpg"}</script></span></span></li><li class="js-paper-rank-work_65189849 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="65189849"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 65189849, container: ".js-paper-rank-work_65189849", }); 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$(".js-view-count[data-work-id=65189849]").text(description); $(".js-view-count-work_65189849").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_65189849").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="65189849"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">9</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="685" rel="nofollow" href="https://www.academia.edu/Documents/in/Music_History">Music History</a>, <script data-card-contents-for-ri="685" type="text/json">{"id":685,"name":"Music History","url":"https://www.academia.edu/Documents/in/Music_History?f_ri=19425","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="16420" rel="nofollow" href="https://www.academia.edu/Documents/in/Medieval_Music">Medieval Music</a>, <script data-card-contents-for-ri="16420" type="text/json">{"id":16420,"name":"Medieval Music","url":"https://www.academia.edu/Documents/in/Medieval_Music?f_ri=19425","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="19425" rel="nofollow" href="https://www.academia.edu/Documents/in/Polyphony">Polyphony</a>, <script data-card-contents-for-ri="19425" type="text/json">{"id":19425,"name":"Polyphony","url":"https://www.academia.edu/Documents/in/Polyphony?f_ri=19425","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="80223" rel="nofollow" href="https://www.academia.edu/Documents/in/Medieval_Palaeography">Medieval Palaeography</a><script data-card-contents-for-ri="80223" type="text/json">{"id":80223,"name":"Medieval Palaeography","url":"https://www.academia.edu/Documents/in/Medieval_Palaeography?f_ri=19425","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=65189849]'), work: {"id":65189849,"title":"Le composizioni francesi di Matteo da Perugia e il codice Modena α.M.5.24","created_at":"2021-12-20T05:51:33.269-08:00","url":"https://www.academia.edu/65189849/Le_composizioni_francesi_di_Matteo_da_Perugia_e_il_codice_Modena_%CE%B1_M_5_24?f_ri=19425","dom_id":"work_65189849","summary":"PhD dissertation abstract and index. Università degli Studi di Pavia, 13.02.2020. ","downloadable_attachments":[{"id":76896158,"asset_id":65189849,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":2918488,"first_name":"andres","last_name":"locatelli","domain_name":"univp","page_name":"andreslocatelli","display_name":"andres locatelli","profile_url":"https://univp.academia.edu/andreslocatelli?f_ri=19425","photo":"https://0.academia-photos.com/2918488/2709514/58850387/s65_andres.locatelli.jpg"}],"research_interests":[{"id":685,"name":"Music History","url":"https://www.academia.edu/Documents/in/Music_History?f_ri=19425","nofollow":true},{"id":16420,"name":"Medieval Music","url":"https://www.academia.edu/Documents/in/Medieval_Music?f_ri=19425","nofollow":true},{"id":19425,"name":"Polyphony","url":"https://www.academia.edu/Documents/in/Polyphony?f_ri=19425","nofollow":true},{"id":80223,"name":"Medieval Palaeography","url":"https://www.academia.edu/Documents/in/Medieval_Palaeography?f_ri=19425","nofollow":true},{"id":110249,"name":"Medieval Lyric Poetry","url":"https://www.academia.edu/Documents/in/Medieval_Lyric_Poetry?f_ri=19425"},{"id":136113,"name":"Ars nova","url":"https://www.academia.edu/Documents/in/Ars_nova?f_ri=19425"},{"id":152570,"name":"Archival Research","url":"https://www.academia.edu/Documents/in/Archival_Research?f_ri=19425"},{"id":2903963,"name":"Matteo da Perugia","url":"https://www.academia.edu/Documents/in/Matteo_da_Perugia?f_ri=19425"},{"id":2908197,"name":"Metricologia","url":"https://www.academia.edu/Documents/in/Metricologia?f_ri=19425"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_40606125" data-work_id="40606125" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/40606125/_Polyphonie_litt%C3%A9raire_et_imaginaires_de_la_voix_spectrale_chez_F%C3%A9dor_Dosto%C3%AFevski_Revue_TIES_4_2019_La_voix_dans_tous_ses_%C3%A9tats">"Polyphonie littéraire et imaginaires de la voix spectrale chez Fédor Dostoïevski", Revue TIES 4/2019 La voix dans tous ses états</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">URL : <a href="http://revueties.org/document/index.php?/ties/la-voix-dans-tous-ses-etats/660-polyphonie-litteraire-et-imaginaires-de-la-voix-spectrale-chez-fedor-dostoievski" rel="nofollow">http://revueties.org/document/index.php?/ties/la-voix-dans-tous-ses-etats/660-polyphonie-litteraire-et-imaginaires-de-la-voix-spectrale-chez-fedor-dostoievski</a> Cet article a pour but de replacer la poétique de la polyphonie, propre... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_40606125" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">URL : <a href="http://revueties.org/document/index.php?/ties/la-voix-dans-tous-ses-etats/660-polyphonie-litteraire-et-imaginaires-de-la-voix-spectrale-chez-fedor-dostoievski" rel="nofollow">http://revueties.org/document/index.php?/ties/la-voix-dans-tous-ses-etats/660-polyphonie-litteraire-et-imaginaires-de-la-voix-spectrale-chez-fedor-dostoievski</a><br /><br />Cet article a pour but de replacer la poétique de la polyphonie, propre à l'oeuvre de Fédor Dostoïevski, dans une histoire culturelle du XIX e siècle. Il s'agit donc de considérer dans cette oeuvre la superposition de plusieurs imaginaires de la voix. Chez l'écrivain russe contemporain de l'invention du phonographe, les voix présentent souvent un aspect fantomatique et spectral que met particulièrement en évidence l'étude du récit Bobok (1873). Publié en amont des théories de Mikhaïl Bakhtine sur la pluralité des voix, ce texte permet de souligner la transversalité du motif des hallucinations auditives chez Dostoïevski. La reprise des théories spirites dans le récit peut nous apparaître enfin comme une réponse ironique aux accusations de folie dont Dostoïevski lui-même commence à faire les frais dès les années 1870. Cette réponse fictionnelle aux attaques du journal La Voix se double d'une critique des nouvelles conditions médiatiques dans lesquelles Dostoïevski produit son oeuvre en général. Avant même l'invention du phonographe, la voix spectrale devient une allégorie du mot imprimé et le signe d'une entrée définitive de la littérature russe dans l'ère médiatique. ABSTRACT. This article aims to situate Fyodor Dostoevsky's poetics of polyphony in the historical perspective of cultural evolutions during the nineteenth century. It is therefore necessary to consider the coexistence of different "imaginations of voice" in Dostoevsky's work. Like his contemporary Thomas Edison, the inventor of the phonograph, Dostoevsky creates voices that are endowed with a ghostly and spectral aspect, which is particularly highlighted in the study of his short story entitled Bobok (1873). Published before Mikhail Bakhtin had considered the plurality of voices in Dostoyevsky's work, this text emphasizes the transversality of auditory hallucinations in his novels. The fictionalization of spiritualist theories in the narrative can therefore appear as an ironic answer to the accusations of madness that the author was the victim of in the early 1870s. His fictional response to the attacks of the liberal newspaper "The Voice" came along with a critique of the new conditions in which Dostoevsky had to produce his work at the age of media. Even before the invention of the phonograph, the spectral voice thus had become an allegory of the printed word and the sign of the definitive entry of Russian literature into the era of the media.. MOTS-CLÉS : Dostoïevski, polyphonie, hallucination auditive, voix spectrale, spiritisme, média</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/40606125" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="4d4de18040d221ffe82c941f5c4fe0ea" rel="nofollow" data-download="{"attachment_id":60884951,"asset_id":40606125,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/60884951/download_file?st=MTc0MTA5NTQ2NSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="12968910" href="https://sorbonne-universite.academia.edu/NicolasAude">Nicolas Aude</a><script data-card-contents-for-user="12968910" type="text/json">{"id":12968910,"first_name":"Nicolas","last_name":"Aude","domain_name":"sorbonne-universite","page_name":"NicolasAude","display_name":"Nicolas Aude","profile_url":"https://sorbonne-universite.academia.edu/NicolasAude?f_ri=19425","photo":"https://0.academia-photos.com/12968910/3716257/73752014/s65_nicolas.aude.jpg"}</script></span></span></li><li class="js-paper-rank-work_40606125 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="40606125"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 40606125, container: ".js-paper-rank-work_40606125", }); 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$(".js-view-count[data-work-id=40606125]").text(description); $(".js-view-count-work_40606125").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_40606125").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="40606125"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">8</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="928" rel="nofollow" href="https://www.academia.edu/Documents/in/Media_Studies">Media Studies</a>, <script data-card-contents-for-ri="928" type="text/json">{"id":928,"name":"Media Studies","url":"https://www.academia.edu/Documents/in/Media_Studies?f_ri=19425","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="8835" rel="nofollow" href="https://www.academia.edu/Documents/in/Emanuel_Swedenborg">Emanuel Swedenborg</a>, <script data-card-contents-for-ri="8835" type="text/json">{"id":8835,"name":"Emanuel Swedenborg","url":"https://www.academia.edu/Documents/in/Emanuel_Swedenborg?f_ri=19425","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="19109" rel="nofollow" href="https://www.academia.edu/Documents/in/Spiritualism">Spiritualism</a>, <script data-card-contents-for-ri="19109" type="text/json">{"id":19109,"name":"Spiritualism","url":"https://www.academia.edu/Documents/in/Spiritualism?f_ri=19425","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="19425" rel="nofollow" href="https://www.academia.edu/Documents/in/Polyphony">Polyphony</a><script data-card-contents-for-ri="19425" type="text/json">{"id":19425,"name":"Polyphony","url":"https://www.academia.edu/Documents/in/Polyphony?f_ri=19425","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=40606125]'), work: {"id":40606125,"title":"\"Polyphonie littéraire et imaginaires de la voix spectrale chez Fédor Dostoïevski\", Revue TIES 4/2019 La voix dans tous ses états","created_at":"2019-10-13T03:44:31.560-07:00","url":"https://www.academia.edu/40606125/_Polyphonie_litt%C3%A9raire_et_imaginaires_de_la_voix_spectrale_chez_F%C3%A9dor_Dosto%C3%AFevski_Revue_TIES_4_2019_La_voix_dans_tous_ses_%C3%A9tats?f_ri=19425","dom_id":"work_40606125","summary":"URL : http://revueties.org/document/index.php?/ties/la-voix-dans-tous-ses-etats/660-polyphonie-litteraire-et-imaginaires-de-la-voix-spectrale-chez-fedor-dostoievski\n\nCet article a pour but de replacer la poétique de la polyphonie, propre à l'oeuvre de Fédor Dostoïevski, dans une histoire culturelle du XIX e siècle. Il s'agit donc de considérer dans cette oeuvre la superposition de plusieurs imaginaires de la voix. Chez l'écrivain russe contemporain de l'invention du phonographe, les voix présentent souvent un aspect fantomatique et spectral que met particulièrement en évidence l'étude du récit Bobok (1873). Publié en amont des théories de Mikhaïl Bakhtine sur la pluralité des voix, ce texte permet de souligner la transversalité du motif des hallucinations auditives chez Dostoïevski. La reprise des théories spirites dans le récit peut nous apparaître enfin comme une réponse ironique aux accusations de folie dont Dostoïevski lui-même commence à faire les frais dès les années 1870. Cette réponse fictionnelle aux attaques du journal La Voix se double d'une critique des nouvelles conditions médiatiques dans lesquelles Dostoïevski produit son oeuvre en général. Avant même l'invention du phonographe, la voix spectrale devient une allégorie du mot imprimé et le signe d'une entrée définitive de la littérature russe dans l'ère médiatique. ABSTRACT. This article aims to situate Fyodor Dostoevsky's poetics of polyphony in the historical perspective of cultural evolutions during the nineteenth century. It is therefore necessary to consider the coexistence of different \"imaginations of voice\" in Dostoevsky's work. Like his contemporary Thomas Edison, the inventor of the phonograph, Dostoevsky creates voices that are endowed with a ghostly and spectral aspect, which is particularly highlighted in the study of his short story entitled Bobok (1873). Published before Mikhail Bakhtin had considered the plurality of voices in Dostoyevsky's work, this text emphasizes the transversality of auditory hallucinations in his novels. The fictionalization of spiritualist theories in the narrative can therefore appear as an ironic answer to the accusations of madness that the author was the victim of in the early 1870s. His fictional response to the attacks of the liberal newspaper \"The Voice\" came along with a critique of the new conditions in which Dostoevsky had to produce his work at the age of media. Even before the invention of the phonograph, the spectral voice thus had become an allegory of the printed word and the sign of the definitive entry of Russian literature into the era of the media.. MOTS-CLÉS : Dostoïevski, polyphonie, hallucination auditive, voix spectrale, spiritisme, média","downloadable_attachments":[{"id":60884951,"asset_id":40606125,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":12968910,"first_name":"Nicolas","last_name":"Aude","domain_name":"sorbonne-universite","page_name":"NicolasAude","display_name":"Nicolas Aude","profile_url":"https://sorbonne-universite.academia.edu/NicolasAude?f_ri=19425","photo":"https://0.academia-photos.com/12968910/3716257/73752014/s65_nicolas.aude.jpg"}],"research_interests":[{"id":928,"name":"Media Studies","url":"https://www.academia.edu/Documents/in/Media_Studies?f_ri=19425","nofollow":true},{"id":8835,"name":"Emanuel Swedenborg","url":"https://www.academia.edu/Documents/in/Emanuel_Swedenborg?f_ri=19425","nofollow":true},{"id":19109,"name":"Spiritualism","url":"https://www.academia.edu/Documents/in/Spiritualism?f_ri=19425","nofollow":true},{"id":19425,"name":"Polyphony","url":"https://www.academia.edu/Documents/in/Polyphony?f_ri=19425","nofollow":true},{"id":53039,"name":"Haunting and Spectrality","url":"https://www.academia.edu/Documents/in/Haunting_and_Spectrality?f_ri=19425"},{"id":54495,"name":"Voice","url":"https://www.academia.edu/Documents/in/Voice?f_ri=19425"},{"id":85589,"name":"Hallucinations","url":"https://www.academia.edu/Documents/in/Hallucinations?f_ri=19425"},{"id":1282738,"name":"Dostoievski","url":"https://www.academia.edu/Documents/in/Dostoievski?f_ri=19425"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_42001543" data-work_id="42001543" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/42001543/Missa_miserere_michi_Domine_Introduction_2014_">Missa miserere michi Domine. Introduction (2014)</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">Introduction to: Missa Miserere michi Domine, Anon. [Mass a8 in Munich Bayerische Staatsbibliothek, Ms 6], edition by Francis & Michael Bevan (2014). [For this edition, see polyphonydatabase.com]</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/42001543" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="ac2fc86a0a4715a65d6a2871d15914eb" rel="nofollow" data-download="{"attachment_id":62224599,"asset_id":42001543,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/62224599/download_file?st=MTc0MTA5NTQ2NSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="1810724" href="https://oxford.academia.edu/BernadetteNelson">Bernadette Nelson</a><script data-card-contents-for-user="1810724" type="text/json">{"id":1810724,"first_name":"Bernadette","last_name":"Nelson","domain_name":"oxford","page_name":"BernadetteNelson","display_name":"Bernadette Nelson","profile_url":"https://oxford.academia.edu/BernadetteNelson?f_ri=19425","photo":"https://0.academia-photos.com/1810724/10190000/11519419/s65_bernadette.nelson.jpg"}</script></span></span></li><li class="js-paper-rank-work_42001543 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="42001543"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 42001543, container: ".js-paper-rank-work_42001543", }); 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Introduction (2014)","created_at":"2020-02-17T12:22:13.028-08:00","url":"https://www.academia.edu/42001543/Missa_miserere_michi_Domine_Introduction_2014_?f_ri=19425","dom_id":"work_42001543","summary":"Introduction to: Missa Miserere michi Domine, Anon. [Mass a8 in Munich Bayerische Staatsbibliothek, Ms 6], edition by Francis \u0026 Michael Bevan (2014). [For this edition, see polyphonydatabase.com]","downloadable_attachments":[{"id":62224599,"asset_id":42001543,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":1810724,"first_name":"Bernadette","last_name":"Nelson","domain_name":"oxford","page_name":"BernadetteNelson","display_name":"Bernadette Nelson","profile_url":"https://oxford.academia.edu/BernadetteNelson?f_ri=19425","photo":"https://0.academia-photos.com/1810724/10190000/11519419/s65_bernadette.nelson.jpg"}],"research_interests":[{"id":681,"name":"Early Music","url":"https://www.academia.edu/Documents/in/Early_Music?f_ri=19425","nofollow":true},{"id":17547,"name":"Renaissance music","url":"https://www.academia.edu/Documents/in/Renaissance_music?f_ri=19425","nofollow":true},{"id":19425,"name":"Polyphony","url":"https://www.academia.edu/Documents/in/Polyphony?f_ri=19425","nofollow":true}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_6350308" data-work_id="6350308" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/6350308/Les_polyphonies_simples">Les polyphonies simples</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/6350308" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="0b64dad0f687944f6ec900cc0c6e5758" rel="nofollow" data-download="{"attachment_id":33175064,"asset_id":6350308,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/33175064/download_file?st=MTc0MTA5NTQ2NSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="9822794" href="https://unipd.academia.edu/PaolaDess%C3%AC">Paola Dessì</a><script data-card-contents-for-user="9822794" 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var workId = 6350308; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_6350308"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_6350308 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="6350308"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 6350308; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=6350308]").text(description); $(".js-view-count-work_6350308").attr('title', description).tooltip(); }); });</script></span><script>$(function() { 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data-work_id="69476848" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" rel="nofollow" href="https://www.academia.edu/69476848/Polyphony_in_the_brothers_Karamazov_Christian_dialogical_tension_in_Alexei_Fyodorovich_KaramazovS_interactions">Polyphony in the brothers Karamazov: Christian dialogical tension in Alexei Fyodorovich Karamazov'S interactions</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">This work&amp;#39;s aim is to analyze polyphony in The Brothers Karamazov, a novel written by Fyodor Dostoevsky, focusing on ideological confrontations that take place between characters, especially between the Karamazov&amp;#39;s family.... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_69476848" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">This work&amp;#39;s aim is to analyze polyphony in The Brothers Karamazov, a novel written by Fyodor Dostoevsky, focusing on ideological confrontations that take place between characters, especially between the Karamazov&amp;#39;s family. More specifically, I try to understand how Alexei Fyodorovich Karamazov interacts in a dialogical way with his family and friends, and how Alexei&amp;#39;s interventions – marked by a religious ethical behavior – contribute to the conflicting discourses. To do so, the main concept on which this paper is relied is the polyphony, developed by Bakhtin in order to understand that each character in the book has a strong and distinct ideology, which helps creating tensions of immense proportions. Finally, this study is also based on Nietzsche&amp;#39;s theories about religion, because it is argued that some characters are guided by a Christian ethical thinking, which is – although shown as good most of the times – surrounded by an oppressive fundamentalism.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/69476848" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="28220964" href="https://unesp.academia.edu/silistino">Davi Silistino</a><script data-card-contents-for-user="28220964" type="text/json">{"id":28220964,"first_name":"Davi","last_name":"Silistino","domain_name":"unesp","page_name":"silistino","display_name":"Davi Silistino","profile_url":"https://unesp.academia.edu/silistino?f_ri=19425","photo":"https://0.academia-photos.com/28220964/12055109/17473704/s65_davi.de_souza.jpg"}</script></span></span></li><li class="js-paper-rank-work_69476848 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="69476848"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 69476848, container: ".js-paper-rank-work_69476848", }); 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More specifically, I try to understand how Alexei Fyodorovich Karamazov interacts in a dialogical way with his family and friends, and how Alexei\u0026amp;#39;s interventions – marked by a religious ethical behavior – contribute to the conflicting discourses. To do so, the main concept on which this paper is relied is the polyphony, developed by Bakhtin in order to understand that each character in the book has a strong and distinct ideology, which helps creating tensions of immense proportions. Finally, this study is also based on Nietzsche\u0026amp;#39;s theories about religion, because it is argued that some characters are guided by a Christian ethical thinking, which is – although shown as good most of the times – surrounded by an oppressive fundamentalism.","downloadable_attachments":[],"ordered_authors":[{"id":28220964,"first_name":"Davi","last_name":"Silistino","domain_name":"unesp","page_name":"silistino","display_name":"Davi Silistino","profile_url":"https://unesp.academia.edu/silistino?f_ri=19425","photo":"https://0.academia-photos.com/28220964/12055109/17473704/s65_davi.de_souza.jpg"}],"research_interests":[{"id":109,"name":"Christianity","url":"https://www.academia.edu/Documents/in/Christianity?f_ri=19425","nofollow":true},{"id":389,"name":"Russian Studies","url":"https://www.academia.edu/Documents/in/Russian_Studies?f_ri=19425","nofollow":true},{"id":667,"name":"Russian 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href="https://www.academia.edu/Documents/in/Rural">Rural</a><script data-card-contents-for-ri="2819" type="text/json">{"id":2819,"name":"Rural","url":"https://www.academia.edu/Documents/in/Rural?f_ri=19425","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=2571579]'), work: {"id":2571579,"title":"Marx on Islam","created_at":"2013-02-14T00:00:23.294-08:00","url":"https://www.academia.edu/2571579/Marx_on_Islam?f_ri=19425","dom_id":"work_2571579","summary":"T\u0026F Proofs: Not For Distribution fanaticism\" one year and praise its \"great development of communal and provincial life\" the very next, 2 this Heraclitean nature of a thinker's thoughts will be particularly relevant.","downloadable_attachments":[{"id":57913760,"asset_id":2571579,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":307334,"first_name":"Ian","last_name":"Almond","domain_name":"www1-georgetown","page_name":"IanAlmond","display_name":"Ian Almond","profile_url":"https://www1-georgetown.academia.edu/IanAlmond?f_ri=19425","photo":"https://0.academia-photos.com/307334/62039/78213910/s65_ian.almond.jpg"}],"research_interests":[{"id":1697,"name":"Violence","url":"https://www.academia.edu/Documents/in/Violence?f_ri=19425","nofollow":true},{"id":1698,"name":"Marxism","url":"https://www.academia.edu/Documents/in/Marxism?f_ri=19425","nofollow":true},{"id":1729,"name":"German History","url":"https://www.academia.edu/Documents/in/German_History?f_ri=19425","nofollow":true},{"id":2819,"name":"Rural","url":"https://www.academia.edu/Documents/in/Rural?f_ri=19425","nofollow":true},{"id":2860,"name":"Postcolonial 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Empire","url":"https://www.academia.edu/Documents/in/Assyrian_Empire?f_ri=19425"},{"id":51334,"name":"Orientalism","url":"https://www.academia.edu/Documents/in/Orientalism?f_ri=19425"},{"id":153019,"name":"Kurds","url":"https://www.academia.edu/Documents/in/Kurds?f_ri=19425"},{"id":204531,"name":"Diyarbakir","url":"https://www.academia.edu/Documents/in/Diyarbakir?f_ri=19425"},{"id":231937,"name":"Turks","url":"https://www.academia.edu/Documents/in/Turks?f_ri=19425"},{"id":470858,"name":"Armenian","url":"https://www.academia.edu/Documents/in/Armenian?f_ri=19425"},{"id":622341,"name":"Spatial Analyses","url":"https://www.academia.edu/Documents/in/Spatial_Analyses?f_ri=19425"},{"id":843524,"name":"YEZİDİ","url":"https://www.academia.edu/Documents/in/YEZIDI?f_ri=19425"},{"id":999827,"name":"Diyarbekir","url":"https://www.academia.edu/Documents/in/Diyarbekir?f_ri=19425"},{"id":1035406,"name":"Syriacs","url":"https://www.academia.edu/Documents/in/Syriacs?f_ri=19425"},{"id":1035408,"name":"Elite Groups","url":"https://www.academia.edu/Documents/in/Elite_Groups?f_ri=19425"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_34098046" data-work_id="34098046" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/34098046/UNIVERSIDADE_ESTADUAL_PAULISTA_J%C3%9ALIO_DE_MESQUITA_FILHO_INSTITUTO_DE_ARTES_UNESP_Da_Polifonia_Vocal_ao_Ricercar_Imitativo">UNIVERSIDADE ESTADUAL PAULISTA " JÚLIO DE MESQUITA FILHO " INSTITUTO DE ARTES – UNESP Da Polifonia Vocal ao Ricercar Imitativo</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">The goal of this work was the study of structural aspects in polyphonic pieces by Adrian Willaert, aiming to identify a possible relationship between his vocal and instrumental works, namely the moteto and ricercare genres. Among the... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_34098046" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">The goal of this work was the study of structural aspects in polyphonic pieces by Adrian Willaert, aiming to identify a possible relationship between his vocal and instrumental works, namely the moteto and ricercare genres. Among the various structural aspects that served as a basis for comparison, cadence was chosen as a measurable and predominant common element, by patterns of occurrence and typology associated with a relatively well-established classification by Bernhard Meier. Some unusual cadential species were identified in Willaert’s pieces, specially the melodic clausula cantizans fuggita, which however could not be attributed to the composer without an investigation on its possible occurrence in works by influential composers such as Josquin. This observation implied in the study of primary sources previous to Willaert, in order to identify, on the one hand, aspects that corroborated the development of the instrumental music from vocal models during the fifteenth- and sixteenth-centuries and, on the other hand, possible influences related to the use of these unusual cadential species. An expanded cadential plan model was developed as the pieces were being analyzed, including a method of motivic analysis that prompted the scope examination of this converging analytical method in a piece by Clemens non Papa, a contemporary but unrelated composer to Willaert’s circle. As a consequence of this research, it was possible to identify a cadential structure nominated ‘staggered cadence’ as an ultimate means of potential articulation, besides some structural groupings in coupling with the basic cadential pattern cantizans-tenorizans, here nominated as ‘C/T-cadence’.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/34098046" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="13d58db4ac55c2b18e9ded3bb9179b23" rel="nofollow" data-download="{"attachment_id":54030171,"asset_id":34098046,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/54030171/download_file?st=MTc0MTA5NTQ2NSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="929303" href="https://unesp.academia.edu/FernandoPereira">Fernando L C Pereira</a><script data-card-contents-for-user="929303" type="text/json">{"id":929303,"first_name":"Fernando","last_name":"Pereira","domain_name":"unesp","page_name":"FernandoPereira","display_name":"Fernando L C Pereira","profile_url":"https://unesp.academia.edu/FernandoPereira?f_ri=19425","photo":"https://0.academia-photos.com/929303/348734/414374/s65_fernando.cardoso.jpg"}</script></span></span></li><li class="js-paper-rank-work_34098046 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="34098046"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 34098046, container: ".js-paper-rank-work_34098046", }); 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$(".js-view-count[data-work-id=34098046]").text(description); $(".js-view-count-work_34098046").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_34098046").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="34098046"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">7</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="14869" rel="nofollow" href="https://www.academia.edu/Documents/in/Josquin_des_Prez">Josquin des Prez</a>, <script data-card-contents-for-ri="14869" type="text/json">{"id":14869,"name":"Josquin des Prez","url":"https://www.academia.edu/Documents/in/Josquin_des_Prez?f_ri=19425","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="19425" rel="nofollow" href="https://www.academia.edu/Documents/in/Polyphony">Polyphony</a>, <script data-card-contents-for-ri="19425" type="text/json">{"id":19425,"name":"Polyphony","url":"https://www.academia.edu/Documents/in/Polyphony?f_ri=19425","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="28170" rel="nofollow" href="https://www.academia.edu/Documents/in/Adrian_Willaert">Adrian Willaert</a>, <script data-card-contents-for-ri="28170" type="text/json">{"id":28170,"name":"Adrian Willaert","url":"https://www.academia.edu/Documents/in/Adrian_Willaert?f_ri=19425","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="170697" rel="nofollow" href="https://www.academia.edu/Documents/in/Musical_Analysis">Musical Analysis</a><script data-card-contents-for-ri="170697" type="text/json">{"id":170697,"name":"Musical Analysis","url":"https://www.academia.edu/Documents/in/Musical_Analysis?f_ri=19425","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=34098046]'), work: {"id":34098046,"title":"UNIVERSIDADE ESTADUAL PAULISTA \" JÚLIO DE MESQUITA FILHO \" INSTITUTO DE ARTES – UNESP Da Polifonia Vocal ao Ricercar Imitativo","created_at":"2017-08-01T06:20:14.863-07:00","url":"https://www.academia.edu/34098046/UNIVERSIDADE_ESTADUAL_PAULISTA_J%C3%9ALIO_DE_MESQUITA_FILHO_INSTITUTO_DE_ARTES_UNESP_Da_Polifonia_Vocal_ao_Ricercar_Imitativo?f_ri=19425","dom_id":"work_34098046","summary":"The goal of this work was the study of structural aspects in polyphonic pieces by Adrian Willaert, aiming to identify a possible relationship between his vocal and instrumental works, namely the moteto and ricercare genres. Among the various structural aspects that served as a basis for comparison, cadence was chosen as a measurable and predominant common element, by patterns of occurrence and typology associated with a relatively well-established classification by Bernhard Meier. Some unusual cadential species were identified in Willaert’s pieces, specially the melodic clausula cantizans fuggita, which however could not be attributed to the composer without an investigation on its possible occurrence in works by influential composers such as Josquin. This observation implied in the study of primary sources previous to Willaert, in order to identify, on the one hand, aspects that corroborated the development of the instrumental music from vocal models during the fifteenth- and sixteenth-centuries and, on the other hand, possible influences related to the use of these unusual cadential species. An expanded cadential plan model was developed as the pieces were being analyzed, including a method of motivic analysis that prompted the scope examination of this converging analytical method in a piece by Clemens non Papa, a contemporary but unrelated composer to Willaert’s circle. As a consequence of this research, it was possible to identify a cadential structure nominated ‘staggered cadence’ as an ultimate means of potential articulation, besides some structural groupings in coupling with the basic cadential pattern cantizans-tenorizans, here nominated as ‘C/T-cadence’.","downloadable_attachments":[{"id":54030171,"asset_id":34098046,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":929303,"first_name":"Fernando","last_name":"Pereira","domain_name":"unesp","page_name":"FernandoPereira","display_name":"Fernando L C Pereira","profile_url":"https://unesp.academia.edu/FernandoPereira?f_ri=19425","photo":"https://0.academia-photos.com/929303/348734/414374/s65_fernando.cardoso.jpg"}],"research_interests":[{"id":14869,"name":"Josquin des Prez","url":"https://www.academia.edu/Documents/in/Josquin_des_Prez?f_ri=19425","nofollow":true},{"id":19425,"name":"Polyphony","url":"https://www.academia.edu/Documents/in/Polyphony?f_ri=19425","nofollow":true},{"id":28170,"name":"Adrian Willaert","url":"https://www.academia.edu/Documents/in/Adrian_Willaert?f_ri=19425","nofollow":true},{"id":170697,"name":"Musical Analysis","url":"https://www.academia.edu/Documents/in/Musical_Analysis?f_ri=19425","nofollow":true},{"id":171224,"name":"Motets","url":"https://www.academia.edu/Documents/in/Motets?f_ri=19425"},{"id":588884,"name":"Ricercare","url":"https://www.academia.edu/Documents/in/Ricercare?f_ri=19425"},{"id":2567795,"name":"Motivic Analysis","url":"https://www.academia.edu/Documents/in/Motivic_Analysis?f_ri=19425"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_1360686" data-work_id="1360686" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/1360686/The_Baroque_Weaving_Machine_Contrasting_counterpoint_in_James_Joyce_and_Anthony_Burgess">The Baroque Weaving Machine: Contrasting counterpoint in James Joyce and Anthony Burgess</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">""Counterpoint is a structural form in music which, in the high modernist era was mapped onto literature with differing degrees of success. It has also been the basis for a model of theoretical criticism, as critics such as Bakhtin and... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_1360686" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">""Counterpoint is a structural form in music which, in the high modernist era was mapped onto literature with differing degrees of success. It has also been the basis for a model of theoretical criticism, as critics such as Bakhtin and Said have sought to read literature and culture in a polyphonic or polyvocal manner. Both attempts to transpose contrapuntalism are problematised by the difficulty of reconstructing the experience of simultaneity in forms that are encountered serially. <br />James Joyce, who was a talented amateur singer with a significant interest in music, attempted to incorporate contrapuntal methodology in The Sirens episode of Ulysses, and revisited the experiment in Finnegans Wake. Anthony Burgess, a late Modernist and an accomplished composer, was heavily influenced by Joyce in his fiction-writing, and has repeatedly sought to transpose musical forms into his novels. <br />Burgess's earliest fiction draws extensively from musical form, and in his novels he developed literary structures that seek to emulate the passacaglia, the suite and the symphony. However, the challenge of constructing a literary counterpoint was one that he repeatedly revisited, exploring ways to create the form verbally, linguistically, typographically and even televisually. <br />In this paper, I intend to examine the extent to which Burgess's contrapuntal experiments in fiction draw upon and extend beyond those of Joyce. I also hope to explore whether the form of counterpoint can be considered beyond the level of mere metaphor in literature or in criticism, and what, if anything contrapuntal criticism and contrapuntal literature have to say to each other.""</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/1360686" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="116e3bd514b3bfc24959e734e489cf9b" rel="nofollow" data-download="{"attachment_id":63555192,"asset_id":1360686,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/63555192/download_file?st=MTc0MTA5NTQ2NSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="851286" href="https://kapadokya.academia.edu/JimClarke">Jim Clarke</a><script data-card-contents-for-user="851286" type="text/json">{"id":851286,"first_name":"Jim","last_name":"Clarke","domain_name":"kapadokya","page_name":"JimClarke","display_name":"Jim Clarke","profile_url":"https://kapadokya.academia.edu/JimClarke?f_ri=19425","photo":"https://0.academia-photos.com/851286/2685089/5233825/s65_jim.clarke.jpg"}</script></span></span></li><li class="js-paper-rank-work_1360686 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="1360686"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 1360686, container: ".js-paper-rank-work_1360686", }); 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$(".js-view-count[data-work-id=1360686]").text(description); $(".js-view-count-work_1360686").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_1360686").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="1360686"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">19</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="685" rel="nofollow" href="https://www.academia.edu/Documents/in/Music_History">Music History</a>, <script data-card-contents-for-ri="685" type="text/json">{"id":685,"name":"Music History","url":"https://www.academia.edu/Documents/in/Music_History?f_ri=19425","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="687" rel="nofollow" href="https://www.academia.edu/Documents/in/Musicology">Musicology</a>, <script data-card-contents-for-ri="687" type="text/json">{"id":687,"name":"Musicology","url":"https://www.academia.edu/Documents/in/Musicology?f_ri=19425","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="803" rel="nofollow" href="https://www.academia.edu/Documents/in/Philosophy">Philosophy</a>, <script data-card-contents-for-ri="803" type="text/json">{"id":803,"name":"Philosophy","url":"https://www.academia.edu/Documents/in/Philosophy?f_ri=19425","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="2574" rel="nofollow" href="https://www.academia.edu/Documents/in/James_Joyce">James Joyce</a><script data-card-contents-for-ri="2574" type="text/json">{"id":2574,"name":"James Joyce","url":"https://www.academia.edu/Documents/in/James_Joyce?f_ri=19425","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=1360686]'), work: {"id":1360686,"title":"The Baroque Weaving Machine: Contrasting counterpoint in James Joyce and Anthony Burgess","created_at":"2012-02-08T07:07:19.379-08:00","url":"https://www.academia.edu/1360686/The_Baroque_Weaving_Machine_Contrasting_counterpoint_in_James_Joyce_and_Anthony_Burgess?f_ri=19425","dom_id":"work_1360686","summary":"\"\"Counterpoint is a structural form in music which, in the high modernist era was mapped onto literature with differing degrees of success. It has also been the basis for a model of theoretical criticism, as critics such as Bakhtin and Said have sought to read literature and culture in a polyphonic or polyvocal manner. Both attempts to transpose contrapuntalism are problematised by the difficulty of reconstructing the experience of simultaneity in forms that are encountered serially.\r\nJames Joyce, who was a talented amateur singer with a significant interest in music, attempted to incorporate contrapuntal methodology in The Sirens episode of Ulysses, and revisited the experiment in Finnegans Wake. Anthony Burgess, a late Modernist and an accomplished composer, was heavily influenced by Joyce in his fiction-writing, and has repeatedly sought to transpose musical forms into his novels.\r\nBurgess's earliest fiction draws extensively from musical form, and in his novels he developed literary structures that seek to emulate the passacaglia, the suite and the symphony. However, the challenge of constructing a literary counterpoint was one that he repeatedly revisited, exploring ways to create the form verbally, linguistically, typographically and even televisually.\r\nIn this paper, I intend to examine the extent to which Burgess's contrapuntal experiments in fiction draw upon and extend beyond those of Joyce. I also hope to explore whether the form of counterpoint can be considered beyond the level of mere metaphor in literature or in criticism, and what, if anything contrapuntal criticism and contrapuntal literature have to say to each other.\"\"","downloadable_attachments":[{"id":63555192,"asset_id":1360686,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":851286,"first_name":"Jim","last_name":"Clarke","domain_name":"kapadokya","page_name":"JimClarke","display_name":"Jim Clarke","profile_url":"https://kapadokya.academia.edu/JimClarke?f_ri=19425","photo":"https://0.academia-photos.com/851286/2685089/5233825/s65_jim.clarke.jpg"}],"research_interests":[{"id":685,"name":"Music History","url":"https://www.academia.edu/Documents/in/Music_History?f_ri=19425","nofollow":true},{"id":687,"name":"Musicology","url":"https://www.academia.edu/Documents/in/Musicology?f_ri=19425","nofollow":true},{"id":803,"name":"Philosophy","url":"https://www.academia.edu/Documents/in/Philosophy?f_ri=19425","nofollow":true},{"id":2574,"name":"James Joyce","url":"https://www.academia.edu/Documents/in/James_Joyce?f_ri=19425","nofollow":true},{"id":7008,"name":"Anthony Burgess","url":"https://www.academia.edu/Documents/in/Anthony_Burgess?f_ri=19425"},{"id":8444,"name":"Modernist Literature (Literary Modernism)","url":"https://www.academia.edu/Documents/in/Modernist_Literature_Literary_Modernism_?f_ri=19425"},{"id":12287,"name":"Mozart","url":"https://www.academia.edu/Documents/in/Mozart?f_ri=19425"},{"id":12509,"name":"Beethoven","url":"https://www.academia.edu/Documents/in/Beethoven?f_ri=19425"},{"id":19425,"name":"Polyphony","url":"https://www.academia.edu/Documents/in/Polyphony?f_ri=19425"},{"id":24783,"name":"Late Modernism","url":"https://www.academia.edu/Documents/in/Late_Modernism?f_ri=19425"},{"id":28879,"name":"Music analysis","url":"https://www.academia.edu/Documents/in/Music_analysis?f_ri=19425"},{"id":34390,"name":"Late modernism (Literature)","url":"https://www.academia.edu/Documents/in/Late_modernism_Literature_?f_ri=19425"},{"id":71841,"name":"Music sociology","url":"https://www.academia.edu/Documents/in/Music_sociology?f_ri=19425"},{"id":109694,"name":"Finnegans Wake","url":"https://www.academia.edu/Documents/in/Finnegans_Wake?f_ri=19425"},{"id":139925,"name":"Napoleon","url":"https://www.academia.edu/Documents/in/Napoleon?f_ri=19425"},{"id":173336,"name":"James Joyce's Ulysses","url":"https://www.academia.edu/Documents/in/James_Joyces_Ulysses?f_ri=19425"},{"id":180515,"name":"Counterpoint","url":"https://www.academia.edu/Documents/in/Counterpoint?f_ri=19425"},{"id":208599,"name":"Music Pedagogy","url":"https://www.academia.edu/Documents/in/Music_Pedagogy?f_ri=19425"},{"id":975983,"name":"Chorus Conducting","url":"https://www.academia.edu/Documents/in/Chorus_Conducting?f_ri=19425"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_35548797" data-work_id="35548797" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/35548797/Leonin_Organum_Purum_Viderunt_Omnes_comparative_manuscript_and_transcription_critical_edition_Sources_Florence_Firenze_Italy_I_Fl_MS_Pluteus_29_1_ff_99v_r_and_Wolfenbu_ttel_Germany_D_W_Cod_Guelf_628_Helmst_Magnus_Liber_Organi_W1_ff_25r_v_">Leonin: Organum Purum, "Viderunt Omnes" (comparative manuscript and transcription critical edition) (Sources: Florence (Firenze), Italy [I-Fl] MS Pluteus 29.1. ff. 99v-r & Wolfenbüttel, Germany (D-W), Cod. Guelf. 628 Helmst. “Magnus Liber Organi; W1”. ff. 25r-v)</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">A transcription of Leonin's "Viderunt Omnes" (c. mid to late 12th century), showing excerpts of the original two sources with comparative variations and a modern transcription. For a recording and score-video see the link below:... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_35548797" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">A transcription of Leonin's "Viderunt Omnes" (c. mid to late 12th century), showing excerpts of the original two sources with comparative variations and a modern transcription. <br /> <br />For a recording and score-video see the link below: <br /><a href="https://www.youtube.com/watch?v=_p9WQlyVPrA" rel="nofollow">https://www.youtube.com/watch?v=_p9WQlyVPrA</a></div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/35548797" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="11886381cf155bf754be8952be8324dd" rel="nofollow" data-download="{"attachment_id":55414194,"asset_id":35548797,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/55414194/download_file?st=MTc0MTA5NTQ2NSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="6283566" href="https://florida.academia.edu/JordanAlexanderKey">Jordan Alexander Key</a><script data-card-contents-for-user="6283566" type="text/json">{"id":6283566,"first_name":"Jordan Alexander","last_name":"Key","domain_name":"florida","page_name":"JordanAlexanderKey","display_name":"Jordan Alexander Key","profile_url":"https://florida.academia.edu/JordanAlexanderKey?f_ri=19425","photo":"https://0.academia-photos.com/6283566/2960433/67736632/s65_jordan_alexander.key.jpg"}</script></span></span></li><li class="js-paper-rank-work_35548797 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="35548797"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 35548797, container: ".js-paper-rank-work_35548797", }); 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Key","url":"https://www.academia.edu/Documents/in/Jordan_A._Key?f_ri=19425"},{"id":2551688,"name":"Transcription (Music)","url":"https://www.academia.edu/Documents/in/Transcription_Music_?f_ri=19425"},{"id":2680348,"name":"neumes","url":"https://www.academia.edu/Documents/in/neumes?f_ri=19425"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_4236515" data-work_id="4236515" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/4236515/The_early_modern_city_as_a_resonating_box_media_the_public_sphere_and_the_urban_space_of_the_Holy_Roman_Empire_Cologne_and_Hamburg_c_1700_in_Journal_of_Early_Modern_History_16_3_2012_201_240">The early modern city as a resonating box: media, the public sphere and the urban space of the Holy Roman Empire, Cologne and Hamburg c. 1700, in: Journal of Early Modern History 16,3 (2012), 201-240.</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">The article analyzes the media logic of urban acts of communication in early modern German cities. As is demonstrated by Cologne and Hamburg in the late seventeenth and early eighteenth centuries, the growing use of print (particularly... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_4236515" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">The article analyzes the media logic of urban acts of communication in early modern German cities. As is demonstrated by Cologne and Hamburg in the late seventeenth and early eighteenth centuries, the growing use of print (particularly pamphlets) moved local conflict away from face-to-face confrontation into progressively more multifaceted modes of communication, increasingly expressed in both manuscript and print. In highlighting the mediality of early modern urban culture, the changing relationship between the urban community, public opinion, and forms of communication is addressed. The resulting effect from the interplay and complementation of oral, written, and printed means of communication is described as echoes that formed an urban resonating box—a constant polyphonic state including both the literate and illiterate.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/4236515" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="0352b179555375f0d25f4005b51cffb6" rel="nofollow" data-download="{"attachment_id":33479085,"asset_id":4236515,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/33479085/download_file?st=MTc0MTA5NTQ2NSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="5129880" href="https://augsburg.academia.edu/DanielBellingradt">Daniel Bellingradt</a><script data-card-contents-for-user="5129880" type="text/json">{"id":5129880,"first_name":"Daniel","last_name":"Bellingradt","domain_name":"augsburg","page_name":"DanielBellingradt","display_name":"Daniel Bellingradt","profile_url":"https://augsburg.academia.edu/DanielBellingradt?f_ri=19425","photo":"https://0.academia-photos.com/5129880/2250021/28000883/s65_daniel.bellingradt.png"}</script></span></span></li><li class="js-paper-rank-work_4236515 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="4236515"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 4236515, container: ".js-paper-rank-work_4236515", }); 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u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/28232100/Johannes_Ciconia_Prolation_Canon_Le_ray_au_soleyl_Mancini_Codex_Lucca_Codex_I_PEc_MS_3065_no_9_fol_LXXXIIIr_">Johannes Ciconia - Prolation Canon, "Le ray au soleyl" (Mancini Codex/Lucca Codex, I-PEc MS 3065 no. 9 fol. LXXXIIIr)</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">A Prolation Canon for three voices by Johannes Ciconia (c. 1370 – 1412). this piece is a unique example of irregular prolation from the French Ars Subtilior. Utilizing a 4:3:1 proportion, this piece creates an interesting rhythmic phasing... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_28232100" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">A Prolation Canon for three voices by Johannes Ciconia (c. 1370 – 1412). this piece is a unique example of irregular prolation from the French Ars Subtilior. Utilizing a 4:3:1 proportion, this piece creates an interesting rhythmic phasing effect between the triplum and the cantus (top two voices) nearly 600  years before the 20th century composer Steve Reich popularized such musical textures. Check out the score in motion at <a href="https://www.youtube.com/watch?v=YrOEOuwYy3M" rel="nofollow">https://www.youtube.com/watch?v=YrOEOuwYy3M</a></div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/28232100" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="445ad1b257d95cb4c0d645d45583dc0b" rel="nofollow" data-download="{"attachment_id":48553387,"asset_id":28232100,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/48553387/download_file?st=MTc0MTA5NTQ2NSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="6283566" href="https://florida.academia.edu/JordanAlexanderKey">Jordan Alexander Key</a><script data-card-contents-for-user="6283566" type="text/json">{"id":6283566,"first_name":"Jordan Alexander","last_name":"Key","domain_name":"florida","page_name":"JordanAlexanderKey","display_name":"Jordan Alexander Key","profile_url":"https://florida.academia.edu/JordanAlexanderKey?f_ri=19425","photo":"https://0.academia-photos.com/6283566/2960433/67736632/s65_jordan_alexander.key.jpg"}</script></span></span></li><li class="js-paper-rank-work_28232100 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="28232100"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 28232100, container: ".js-paper-rank-work_28232100", }); 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Key","url":"https://www.academia.edu/Documents/in/Jordan_Alexander_Key?f_ri=19425"},{"id":2524417,"name":"Key, Jordan","url":"https://www.academia.edu/Documents/in/Key_Jordan?f_ri=19425"},{"id":2524418,"name":"Jordan A. Key","url":"https://www.academia.edu/Documents/in/Jordan_A._Key?f_ri=19425"},{"id":2536656,"name":"Mensuration Canon","url":"https://www.academia.edu/Documents/in/Mensuration_Canon?f_ri=19425"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_47669400" data-work_id="47669400" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/47669400/Commentary_The_Musilanguage_Model_of_Language_Evolution_General_Typology_of_Musical_Texture_in_the_Evolutionary_Earliest_Forms_of_Proto_Music">Commentary: The ‘Musilanguage’ Model of Language Evolution. General Typology of Musical Texture in the Evolutionary Earliest Forms of Proto-Music.</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">This brief summary updates the definition of 3 main types of musical texture: heterophony, polyphony, and homophony - and explains why they are all unsuitable for the earliest phylogenetic forms of musicking, as described by the theory of... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_47669400" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">This brief summary updates the definition of 3 main types of musical texture: heterophony, polyphony, and homophony - and explains why they are all unsuitable for the earliest phylogenetic forms of musicking, as described by the theory of musilanguage by Steven Brown. This theory, adopted by many scholars of the origins of music, models the evolution of human proto-music and proto-language from animal calls. I introduce a new term, “isophony,” specifically tailored to the sonic texture of musilanguage, and distinguish its texture from heterophony, polyphony, and homophony. Audio examples are provided for reference.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/47669400" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="c3584b846a6cff9b6cf0badb93ccacc8" rel="nofollow" data-download="{"attachment_id":66642388,"asset_id":47669400,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/66642388/download_file?st=MTc0MTA5NTQ2NSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="1854661" href="https://independent.academia.edu/AlekseyNikolsky">Aleksey Nikolsky</a><script data-card-contents-for-user="1854661" type="text/json">{"id":1854661,"first_name":"Aleksey","last_name":"Nikolsky","domain_name":"independent","page_name":"AlekseyNikolsky","display_name":"Aleksey Nikolsky","profile_url":"https://independent.academia.edu/AlekseyNikolsky?f_ri=19425","photo":"https://0.academia-photos.com/1854661/3890119/4549203/s65_aleksey.nikolsky.jpg"}</script></span></span></li><li class="js-paper-rank-work_47669400 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="47669400"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 47669400, container: ".js-paper-rank-work_47669400", }); 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General Typology of Musical Texture in the Evolutionary Earliest Forms of Proto-Music.","created_at":"2021-04-23T13:10:16.775-07:00","url":"https://www.academia.edu/47669400/Commentary_The_Musilanguage_Model_of_Language_Evolution_General_Typology_of_Musical_Texture_in_the_Evolutionary_Earliest_Forms_of_Proto_Music?f_ri=19425","dom_id":"work_47669400","summary":"This brief summary updates the definition of 3 main types of musical texture: heterophony, polyphony, and homophony - and explains why they are all unsuitable for the earliest phylogenetic forms of musicking, as described by the theory of musilanguage by Steven Brown. This theory, adopted by many scholars of the origins of music, models the evolution of human proto-music and proto-language from animal calls. I introduce a new term, “isophony,” specifically tailored to the sonic texture of musilanguage, and distinguish its texture from heterophony, polyphony, and homophony. Audio examples are provided for reference.","downloadable_attachments":[{"id":66642388,"asset_id":47669400,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":1854661,"first_name":"Aleksey","last_name":"Nikolsky","domain_name":"independent","page_name":"AlekseyNikolsky","display_name":"Aleksey Nikolsky","profile_url":"https://independent.academia.edu/AlekseyNikolsky?f_ri=19425","photo":"https://0.academia-photos.com/1854661/3890119/4549203/s65_aleksey.nikolsky.jpg"}],"research_interests":[{"id":179,"name":"Ethology","url":"https://www.academia.edu/Documents/in/Ethology?f_ri=19425","nofollow":true},{"id":221,"name":"Psychology","url":"https://www.academia.edu/Documents/in/Psychology?f_ri=19425","nofollow":true},{"id":1987,"name":"Ethnomusicology","url":"https://www.academia.edu/Documents/in/Ethnomusicology?f_ri=19425","nofollow":true},{"id":4158,"name":"Psychoacoustics","url":"https://www.academia.edu/Documents/in/Psychoacoustics?f_ri=19425","nofollow":true},{"id":19425,"name":"Polyphony","url":"https://www.academia.edu/Documents/in/Polyphony?f_ri=19425"},{"id":25995,"name":"Systematic Musicology","url":"https://www.academia.edu/Documents/in/Systematic_Musicology?f_ri=19425"},{"id":28879,"name":"Music analysis","url":"https://www.academia.edu/Documents/in/Music_analysis?f_ri=19425"},{"id":106142,"name":"Musical Textures","url":"https://www.academia.edu/Documents/in/Musical_Textures?f_ri=19425"},{"id":170697,"name":"Musical Analysis","url":"https://www.academia.edu/Documents/in/Musical_Analysis?f_ri=19425"},{"id":554081,"name":"Homophony","url":"https://www.academia.edu/Documents/in/Homophony?f_ri=19425"},{"id":1385429,"name":"Heterophony","url":"https://www.academia.edu/Documents/in/Heterophony?f_ri=19425"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_27422320" data-work_id="27422320" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/27422320/Guillaume_de_Machaut_c_1300_1377_Rondeau_14_Ma_fin_est_mon_commencement_">Guillaume de Machaut (c. 1300 - 1377) - Rondeau 14, "Ma fin est mon commencement"</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">A transcription of Machaut's Rondeau 14, "Ma fin est ma commencement" ("my end is my beginning"). The score is rendered to be read both forwards and backwards as necessitated by the music. For an animated video of the score with a... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_27422320" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">A transcription of Machaut's Rondeau 14, "Ma fin est ma commencement" ("my end is my beginning"). The score is rendered to be read both forwards and backwards as necessitated by the music. For an animated video of the score with a performance visit <a href="https://www.youtube.com/watch?v=dcfPr4IN2MM" rel="nofollow">https://www.youtube.com/watch?v=dcfPr4IN2MM</a></div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/27422320" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="5a1b4780242ff4b0cff23ae0037b8949" rel="nofollow" data-download="{"attachment_id":47679063,"asset_id":27422320,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/47679063/download_file?st=MTc0MTA5NTQ2NSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="6283566" href="https://florida.academia.edu/JordanAlexanderKey">Jordan Alexander Key</a><script data-card-contents-for-user="6283566" type="text/json">{"id":6283566,"first_name":"Jordan Alexander","last_name":"Key","domain_name":"florida","page_name":"JordanAlexanderKey","display_name":"Jordan Alexander Key","profile_url":"https://florida.academia.edu/JordanAlexanderKey?f_ri=19425","photo":"https://0.academia-photos.com/6283566/2960433/67736632/s65_jordan_alexander.key.jpg"}</script></span></span></li><li class="js-paper-rank-work_27422320 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="27422320"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 27422320, container: ".js-paper-rank-work_27422320", }); 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$(".js-view-count[data-work-id=27422320]").text(description); $(".js-view-count-work_27422320").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_27422320").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="27422320"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">40</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="3796" rel="nofollow" href="https://www.academia.edu/Documents/in/Composition_Music_">Composition (Music)</a>, <script data-card-contents-for-ri="3796" type="text/json">{"id":3796,"name":"Composition (Music)","url":"https://www.academia.edu/Documents/in/Composition_Music_?f_ri=19425","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="16420" rel="nofollow" href="https://www.academia.edu/Documents/in/Medieval_Music">Medieval Music</a>, <script data-card-contents-for-ri="16420" type="text/json">{"id":16420,"name":"Medieval Music","url":"https://www.academia.edu/Documents/in/Medieval_Music?f_ri=19425","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="17479" rel="nofollow" href="https://www.academia.edu/Documents/in/Music_Composition">Music Composition</a>, <script data-card-contents-for-ri="17479" type="text/json">{"id":17479,"name":"Music Composition","url":"https://www.academia.edu/Documents/in/Music_Composition?f_ri=19425","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="19425" rel="nofollow" href="https://www.academia.edu/Documents/in/Polyphony">Polyphony</a><script data-card-contents-for-ri="19425" type="text/json">{"id":19425,"name":"Polyphony","url":"https://www.academia.edu/Documents/in/Polyphony?f_ri=19425","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=27422320]'), work: {"id":27422320,"title":"Guillaume de Machaut (c. 1300 - 1377) - Rondeau 14, \"Ma fin est mon commencement\"","created_at":"2016-07-31T16:33:20.765-07:00","url":"https://www.academia.edu/27422320/Guillaume_de_Machaut_c_1300_1377_Rondeau_14_Ma_fin_est_mon_commencement_?f_ri=19425","dom_id":"work_27422320","summary":"A transcription of Machaut's Rondeau 14, \"Ma fin est ma commencement\" (\"my end is my beginning\"). The score is rendered to be read both forwards and backwards as necessitated by the music. For an animated video of the score with a performance visit https://www.youtube.com/watch?v=dcfPr4IN2MM","downloadable_attachments":[{"id":47679063,"asset_id":27422320,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":6283566,"first_name":"Jordan Alexander","last_name":"Key","domain_name":"florida","page_name":"JordanAlexanderKey","display_name":"Jordan Alexander Key","profile_url":"https://florida.academia.edu/JordanAlexanderKey?f_ri=19425","photo":"https://0.academia-photos.com/6283566/2960433/67736632/s65_jordan_alexander.key.jpg"}],"research_interests":[{"id":3796,"name":"Composition (Music)","url":"https://www.academia.edu/Documents/in/Composition_Music_?f_ri=19425","nofollow":true},{"id":16420,"name":"Medieval Music","url":"https://www.academia.edu/Documents/in/Medieval_Music?f_ri=19425","nofollow":true},{"id":17479,"name":"Music Composition","url":"https://www.academia.edu/Documents/in/Music_Composition?f_ri=19425","nofollow":true},{"id":19425,"name":"Polyphony","url":"https://www.academia.edu/Documents/in/Polyphony?f_ri=19425","nofollow":true},{"id":19642,"name":"Medieval Music Theory","url":"https://www.academia.edu/Documents/in/Medieval_Music_Theory?f_ri=19425"},{"id":31741,"name":"Guillaume de Machaut","url":"https://www.academia.edu/Documents/in/Guillaume_de_Machaut?f_ri=19425"},{"id":42885,"name":"Notre dame polyphony","url":"https://www.academia.edu/Documents/in/Notre_dame_polyphony?f_ri=19425"},{"id":53275,"name":"Vocal Polyphony","url":"https://www.academia.edu/Documents/in/Vocal_Polyphony?f_ri=19425"},{"id":57321,"name":"Motet","url":"https://www.academia.edu/Documents/in/Motet?f_ri=19425"},{"id":136113,"name":"Ars nova","url":"https://www.academia.edu/Documents/in/Ars_nova?f_ri=19425"},{"id":139040,"name":"Medieval, Renaissance and Baroque Music","url":"https://www.academia.edu/Documents/in/Medieval_Renaissance_and_Baroque_Music?f_ri=19425"},{"id":165031,"name":"Ars Antiqua Motet","url":"https://www.academia.edu/Documents/in/Ars_Antiqua_Motet?f_ri=19425"},{"id":171224,"name":"Motets","url":"https://www.academia.edu/Documents/in/Motets?f_ri=19425"},{"id":265870,"name":"Musicology, Medieval Studies, Digital Humanities","url":"https://www.academia.edu/Documents/in/Musicology_Medieval_Studies_Digital_Humanities?f_ri=19425"},{"id":281760,"name":"Musical Canon","url":"https://www.academia.edu/Documents/in/Musical_Canon?f_ri=19425"},{"id":306050,"name":"Medieval musicology","url":"https://www.academia.edu/Documents/in/Medieval_musicology?f_ri=19425"},{"id":315173,"name":"Ars subtilior","url":"https://www.academia.edu/Documents/in/Ars_subtilior?f_ri=19425"},{"id":358901,"name":"Early Polyphony","url":"https://www.academia.edu/Documents/in/Early_Polyphony?f_ri=19425"},{"id":410582,"name":"Medieval Polyphony","url":"https://www.academia.edu/Documents/in/Medieval_Polyphony?f_ri=19425"},{"id":426293,"name":"Palindromes","url":"https://www.academia.edu/Documents/in/Palindromes?f_ri=19425"},{"id":469251,"name":"Western Musical Canon","url":"https://www.academia.edu/Documents/in/Western_Musical_Canon?f_ri=19425"},{"id":614341,"name":"Late medieval and Renaissance music","url":"https://www.academia.edu/Documents/in/Late_medieval_and_Renaissance_music?f_ri=19425"},{"id":634422,"name":"Medieval Musical Notation","url":"https://www.academia.edu/Documents/in/Medieval_Musical_Notation?f_ri=19425"},{"id":710492,"name":"Rondeaux","url":"https://www.academia.edu/Documents/in/Rondeaux?f_ri=19425"},{"id":723651,"name":"Canons (music)","url":"https://www.academia.edu/Documents/in/Canons_music_?f_ri=19425"},{"id":825850,"name":"Musical Canons","url":"https://www.academia.edu/Documents/in/Musical_Canons?f_ri=19425"},{"id":1034520,"name":"Renaissance Motet","url":"https://www.academia.edu/Documents/in/Renaissance_Motet?f_ri=19425"},{"id":1127779,"name":"Ars Antiqua","url":"https://www.academia.edu/Documents/in/Ars_Antiqua?f_ri=19425"},{"id":1189126,"name":"Machaut","url":"https://www.academia.edu/Documents/in/Machaut?f_ri=19425"},{"id":1236838,"name":"Canons In Early Music","url":"https://www.academia.edu/Documents/in/Canons_In_Early_Music?f_ri=19425"},{"id":1308989,"name":"Palindrome","url":"https://www.academia.edu/Documents/in/Palindrome?f_ri=19425"},{"id":1364135,"name":"Medieval and Renaissance Music Theory","url":"https://www.academia.edu/Documents/in/Medieval_and_Renaissance_Music_Theory?f_ri=19425"},{"id":1757203,"name":"Ars Antiqua polyphony","url":"https://www.academia.edu/Documents/in/Ars_Antiqua_polyphony?f_ri=19425"},{"id":1757209,"name":"Ars Nova Polyphony","url":"https://www.academia.edu/Documents/in/Ars_Nova_Polyphony?f_ri=19425"},{"id":2194960,"name":"Medieval Motet","url":"https://www.academia.edu/Documents/in/Medieval_Motet?f_ri=19425"},{"id":2505246,"name":"french ars nova","url":"https://www.academia.edu/Documents/in/french_ars_nova?f_ri=19425"},{"id":2524415,"name":"Jordan Key","url":"https://www.academia.edu/Documents/in/Jordan_Key?f_ri=19425"},{"id":2524416,"name":"Jordan Alexander Key","url":"https://www.academia.edu/Documents/in/Jordan_Alexander_Key?f_ri=19425"},{"id":2524417,"name":"Key, Jordan","url":"https://www.academia.edu/Documents/in/Key_Jordan?f_ri=19425"},{"id":2524418,"name":"Jordan A. Key","url":"https://www.academia.edu/Documents/in/Jordan_A._Key?f_ri=19425"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_33449060" data-work_id="33449060" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/33449060/Alexander_Agricola_Chanson_De_tous_biens_plaine_a3_Florence_Biblioteca_del_Conservatorio_Luigi_Cherubini_MS_2439_fol_LXVIIv_LXVIIIr_">Alexander Agricola: Chanson "De tous biens plaine" a3 (Florence, Biblioteca del Conservatorio Luigi Cherubini, MS 2439 fol. LXVIIv-LXVIIIr)</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">A critical and performance edition of Alexander Agricola's chanson "De tous biens plaine" for three voices. The cantus firmus of the tenor is extracted from Hayne Van Ghizeghem's (c. 1445 – 1476 to 1497) eponymous chanson. The text of... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_33449060" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">A critical and performance edition of Alexander Agricola's chanson "De tous biens plaine" for three voices. The cantus firmus of the tenor is extracted from Hayne Van Ghizeghem's (c. 1445 – 1476 to 1497) eponymous chanson.<br /><br />The text of the first verse is underlaid in this edition, though only the first few words actually appear in the manuscript. The complete text as found in a number of Ghizeghem's sources with a complete translation is given at the end.<br /><br />It seems unlikely that the outer voices should be sung, given their continual motion, frequent awkward leaps, and extreme ambitus.  However, the inner voice certainly could be sung.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/33449060" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="99a50243cbd588075fb0ef066b8c1440" rel="nofollow" data-download="{"attachment_id":53497583,"asset_id":33449060,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/53497583/download_file?st=MTc0MTA5NTQ2NSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="6283566" href="https://florida.academia.edu/JordanAlexanderKey">Jordan Alexander Key</a><script data-card-contents-for-user="6283566" type="text/json">{"id":6283566,"first_name":"Jordan Alexander","last_name":"Key","domain_name":"florida","page_name":"JordanAlexanderKey","display_name":"Jordan Alexander Key","profile_url":"https://florida.academia.edu/JordanAlexanderKey?f_ri=19425","photo":"https://0.academia-photos.com/6283566/2960433/67736632/s65_jordan_alexander.key.jpg"}</script></span></span></li><li class="js-paper-rank-work_33449060 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="33449060"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 33449060, container: ".js-paper-rank-work_33449060", }); 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LXVIIv-LXVIIIr)","created_at":"2017-06-13T21:09:33.733-07:00","url":"https://www.academia.edu/33449060/Alexander_Agricola_Chanson_De_tous_biens_plaine_a3_Florence_Biblioteca_del_Conservatorio_Luigi_Cherubini_MS_2439_fol_LXVIIv_LXVIIIr_?f_ri=19425","dom_id":"work_33449060","summary":"A critical and performance edition of Alexander Agricola's chanson \"De tous biens plaine\" for three voices. The cantus firmus of the tenor is extracted from Hayne Van Ghizeghem's (c. 1445 – 1476 to 1497) eponymous chanson.\n\nThe text of the first verse is underlaid in this edition, though only the first few words actually appear in the manuscript. The complete text as found in a number of Ghizeghem's sources with a complete translation is given at the end.\n\nIt seems unlikely that the outer voices should be sung, given their continual motion, frequent awkward leaps, and extreme ambitus. However, the inner voice certainly could be sung. 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Key","url":"https://www.academia.edu/Documents/in/Jordan_Key?f_ri=19425"},{"id":2524416,"name":"Jordan Alexander Key","url":"https://www.academia.edu/Documents/in/Jordan_Alexander_Key?f_ri=19425"},{"id":2524417,"name":"Key, Jordan","url":"https://www.academia.edu/Documents/in/Key_Jordan?f_ri=19425"},{"id":2524418,"name":"Jordan A. Key","url":"https://www.academia.edu/Documents/in/Jordan_A._Key?f_ri=19425"},{"id":2551688,"name":"Transcription (Music)","url":"https://www.academia.edu/Documents/in/Transcription_Music_?f_ri=19425"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_36771382" data-work_id="36771382" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/36771382/Non_imitative_counterpoint_in_the_system_of_the_course_of_polyphony_the_actual_problems_of_modern_theory_and_practice">Non-imitative counterpoint in the system of the course of polyphony: the actual problems of modern theory and practice</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Background. As is known, the content of the traditional systematic polyphony course, based on its dichotomous division into strict and free writing, mainly relies on the musical styles of Renaissance, Baroque and the classical-romantic... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_36771382" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Background. As is known, the content of the traditional systematic polyphony course, based on its dichotomous division into strict and free writing, mainly relies on the musical styles of Renaissance, Baroque and the classical-romantic era. In this regard, it is not surprising that the primary place in it is the doctrine of imitation, as well as forms of motet, ricercar, invention, fugato, fughetta, fugue, which inextricably are associated with the latter. Meanwhile, the student, starting work on two or three completely different voices, is forced to weave these continuous horizontal-vertical-diagonal connections in "real time", facing the need to solve the problem with many unknowns at the same time. He does not have, in that matter, in its arsenal a set of specific recommendations, such as rules for constructing of the imitation. <br />Objectives. The purpose of the article is to summarize the trends associated with the current state of affairs in the study of non-imitative (multi-subject, contrast) polyphony in the educational courses of the university as a historically developed situation. The actual tasks of the work also include determining the possibilities of filling the existing gaps in this direction and further promising development of polyphony as a discipline in its theoretical and practical aspects. <br />Methods. The methodology of work combines comparative, structurally-analytical, deductive and systemic approaches, which allowed to cover a wide range of heterogeneous phenomena and simultaneously highlight the specificity of the chosen subject. <br />Results. We propose to pay special attention to the voluminous note appendix to S. I. Taneyev's "Convertible counterpoint in the strict style," with systematically ordered examples that consistently (if not to say, pedantically) reflect the practical applications of the theoretical propositions previously expounded by the researcher [27, p. 330-375]. Our special interest in this material is because by the type of polyphonic texture it is largely the non-imitative, as the most suitable for illustrating the corresponding essence of the three main varieties of the convertible counterpoint - vertical, horizontal and double-shifting counterpoint. <br />Active implementation in the twentieth century the "historical" vector in the traditional theoretical course of polyphony led to a revision all of its "practical" methodology: written works, the polyphonic analysis, tasks for playing the piano. As the most effective in writing practical exercises, according to Yu. Evdokimova, "a method of modeling the style of the historical epoch (or that outstanding artist) is chosen, which is mentioned in lecture classes" [5, p. 22]. Let us dwell in more detail on the methodological aspect of the Yu. Evdokimova's manual, which is the first textbook of the polyphony of a new type [6]. The manual is fully dedicated to a medieval polyphony and a strict style of Renaissance. In addition, all material is grouped according to the number of semester classes, which greatly simplifies the problem of practical integration of this radically updated course in the content of the traditional academic discipline. Attention is drawn to the fact that a large part of the material (10 lectures of 17) covers a range of issues related specifically to non-imitative varieties of compositional techniques and genres. <br />Yu. Evdokimova put forward the so-called identifying (attributive) method, which assumes, based on the acquired knowledge, the ability to determine the belonging of the proposed multi-voice musical work of the X-XV centuries to a certain historical time, genre or style of the school or author, to stable principles of writing (technique). As a final written examination paper, it is proposed to create a polyphonic play in any of the past styles for some Gregorian monody with the text [6, p. 125]. <br />The textbooks on polyphony of I. P. Pyaskovsky – "Polyphony" (2003) and "Polyphony in Ukrainian Music" (2012) [18, 19] – undoubtedly combine the capacious historical base of concrete theoretical knowledge with the powerful generalizing potential of the theory of systems of I. A. Kotlyarevsky. This allows the author to freely project compositional methods, techniques, genre-style patterns of a medieval polyphony on the present, thanks to which in the work of many composers of the twentieth and twenty-first centuries I. Pyaskovsky distinguishes typical neo-Gothic features of modern polyphony, mostly non-imitative by its very nature. <br />Conclusions. Now the process of the formation of polyphony as a discipline continues. Therefore the actual problems remain to create modern textbooks and, especially, practical manuals on the subject that would have the goal of fully equipping our future domestic composers and musicologists with a balanced set of theoretical knowledge and practical skills, not only in sphere of an imitative, but also much wider in historical and stylistic terms, a non-imitative polyphony. <br />Keywords: Non-imitative counterpoint, polimelodic polyphony, stylistic modeling, identifying (attributive) method. <br /> <br />Неімітаційне письмо у системі навчального курсу поліфонії: актуальні завдання сучасної теорії та практики. Проблеми взаємодії мистецтва, педагогіки та теорії і практики. 2018. Вип.48. <br />Розглянуто загальний зміст традиційного вітчизняного курсу поліфонії у динаміці його складників. Досліджено низку найбільш вагомих навчальних посібників і програм з предмету. Узагальнено тенденції, пов’язані із сучасним станом вивчення неімітаційної (різнотемної, контрастної) поліфонії в навчальних курсах вишу як ситуацією, що історично склалася. Виявлено, що першорядне місце у зазначених курсах посідає вчення про імітацію. Простежено послідовну перебудову теоретичного та практичного змісту вишівського курсу поліфонії, що супроводжувалася появою низки підручників принципово нового типу. Висвітлено стимулюючу роль у цьому процесі української  музикознавчої наукової школи (І. Котляревський, І. Пясковський, Л. Грабовський та ін.).  Відзначено особливий внесок харківської поліфонічної школи (М. Тіц, Д. Клебанов, Л.  Решетніков, Г. Цицалюк, Т. Кравцов, Л. Трубнікова та ін.) Зроблено висновок щодо тенденції до застосування діахронного підходу в переосмисленій концепції сучасного курсу поліфонії. Визначено можливості подальшого перспективного розвитку поліфонії як навчальної дисципліни в її теоретичних та практичних аспектах. <br />Ключові слова: неімітаційна поліфонія, полімелодичне багатоголосся, стильове моделювання, ідентифікуючий метод. <br />Рассмотрено общее содержание традиционного отечественного курса полифонии в динамике его составляющих. Исследован ряд наиболее значительных учебных пособий и программ по предмету. Обобщены тенденции, связанные с современным состоянием изучения неимитационной (разнотемной, контрастной) полифонии в учебных курсах вуза как исторически сложившейся ситуацией. Выявлено, что первостепенное место в указанных курсах занимает учение об имитации. Прослежена последовательная перестройка теоретического и практического содержания вузовского курса полифонии, сопровождающаяся появлением круга учебников принципиально нового типа. Освещена стимулирующая роль в этом процессе украинской музыковедческой научной школы (И. Котляревский, И. Пясковский, Л. Грабовский и др.). Отмечен особый вклад харьковской полифонической школы (М. Тиц, Д. Клебанов, Л. Решетников, Г. Цицалюк, Т. Кравцов, Л. Трубникова и др.) Сделан вывод о тенденции к использованию диахронного подхода в переосмысленной концепции современного курса полифонии. Определены возможности дальнейшего перспективного развития полифонии как учебной дисциплины в ее теоретических и практических аспектах. <br />Ключевые слова: неимитационная полифония, полимелодическое многоголосие, стилевое моделирование, идентифицирующий метод.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/36771382" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="dfc03e31e392b4e7da19bfbb743225c5" rel="nofollow" data-download="{"attachment_id":56718780,"asset_id":36771382,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/56718780/download_file?st=MTc0MTA5NTQ2NSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="35880287" href="https://kharkov.academia.edu/Belichenko">Nataliia Belichenko</a><script data-card-contents-for-user="35880287" type="text/json">{"id":35880287,"first_name":"Nataliia","last_name":"Belichenko","domain_name":"kharkov","page_name":"Belichenko","display_name":"Nataliia Belichenko","profile_url":"https://kharkov.academia.edu/Belichenko?f_ri=19425","photo":"https://0.academia-photos.com/35880287/16810109/52335240/s65_nataliya.belichenko.jpg"}</script></span></span></li><li class="js-paper-rank-work_36771382 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="36771382"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 36771382, container: ".js-paper-rank-work_36771382", }); 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$(".js-view-count[data-work-id=36771382]").text(description); $(".js-view-count-work_36771382").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_36771382").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="36771382"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">3</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="19425" rel="nofollow" href="https://www.academia.edu/Documents/in/Polyphony">Polyphony</a>, <script data-card-contents-for-ri="19425" type="text/json">{"id":19425,"name":"Polyphony","url":"https://www.academia.edu/Documents/in/Polyphony?f_ri=19425","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="1922414" rel="nofollow" href="https://www.academia.edu/Documents/in/Russian_music_theory">Russian music theory</a>, <script data-card-contents-for-ri="1922414" type="text/json">{"id":1922414,"name":"Russian music theory","url":"https://www.academia.edu/Documents/in/Russian_music_theory?f_ri=19425","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="2835728" rel="nofollow" href="https://www.academia.edu/Documents/in/non-imitative_polyphony">non-imitative polyphony</a><script data-card-contents-for-ri="2835728" type="text/json">{"id":2835728,"name":"non-imitative polyphony","url":"https://www.academia.edu/Documents/in/non-imitative_polyphony?f_ri=19425","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=36771382]'), work: {"id":36771382,"title":"Non-imitative counterpoint in the system of the course of polyphony: the actual problems of modern theory and practice","created_at":"2018-06-03T13:53:10.660-07:00","url":"https://www.academia.edu/36771382/Non_imitative_counterpoint_in_the_system_of_the_course_of_polyphony_the_actual_problems_of_modern_theory_and_practice?f_ri=19425","dom_id":"work_36771382","summary":"Background. As is known, the content of the traditional systematic polyphony course, based on its dichotomous division into strict and free writing, mainly relies on the musical styles of Renaissance, Baroque and the classical-romantic era. In this regard, it is not surprising that the primary place in it is the doctrine of imitation, as well as forms of motet, ricercar, invention, fugato, fughetta, fugue, which inextricably are associated with the latter. Meanwhile, the student, starting work on two or three completely different voices, is forced to weave these continuous horizontal-vertical-diagonal connections in \"real time\", facing the need to solve the problem with many unknowns at the same time. He does not have, in that matter, in its arsenal a set of specific recommendations, such as rules for constructing of the imitation.\r\nObjectives. The purpose of the article is to summarize the trends associated with the current state of affairs in the study of non-imitative (multi-subject, contrast) polyphony in the educational courses of the university as a historically developed situation. The actual tasks of the work also include determining the possibilities of filling the existing gaps in this direction and further promising development of polyphony as a discipline in its theoretical and practical aspects.\r\nMethods. The methodology of work combines comparative, structurally-analytical, deductive and systemic approaches, which allowed to cover a wide range of heterogeneous phenomena and simultaneously highlight the specificity of the chosen subject.\r\nResults. We propose to pay special attention to the voluminous note appendix to S. I. Taneyev's \"Convertible counterpoint in the strict style,\" with systematically ordered examples that consistently (if not to say, pedantically) reflect the practical applications of the theoretical propositions previously expounded by the researcher [27, p. 330-375]. Our special interest in this material is because by the type of polyphonic texture it is largely the non-imitative, as the most suitable for illustrating the corresponding essence of the three main varieties of the convertible counterpoint - vertical, horizontal and double-shifting counterpoint.\r\nActive implementation in the twentieth century the \"historical\" vector in the traditional theoretical course of polyphony led to a revision all of its \"practical\" methodology: written works, the polyphonic analysis, tasks for playing the piano. As the most effective in writing practical exercises, according to Yu. Evdokimova, \"a method of modeling the style of the historical epoch (or that outstanding artist) is chosen, which is mentioned in lecture classes\" [5, p. 22]. Let us dwell in more detail on the methodological aspect of the Yu. Evdokimova's manual, which is the first textbook of the polyphony of a new type [6]. The manual is fully dedicated to a medieval polyphony and a strict style of Renaissance. In addition, all material is grouped according to the number of semester classes, which greatly simplifies the problem of practical integration of this radically updated course in the content of the traditional academic discipline. Attention is drawn to the fact that a large part of the material (10 lectures of 17) covers a range of issues related specifically to non-imitative varieties of compositional techniques and genres.\r\nYu. Evdokimova put forward the so-called identifying (attributive) method, which assumes, based on the acquired knowledge, the ability to determine the belonging of the proposed multi-voice musical work of the X-XV centuries to a certain historical time, genre or style of the school or author, to stable principles of writing (technique). As a final written examination paper, it is proposed to create a polyphonic play in any of the past styles for some Gregorian monody with the text [6, p. 125].\r\nThe textbooks on polyphony of I. P. Pyaskovsky – \"Polyphony\" (2003) and \"Polyphony in Ukrainian Music\" (2012) [18, 19] – undoubtedly combine the capacious historical base of concrete theoretical knowledge with the powerful generalizing potential of the theory of systems of I. A. Kotlyarevsky. This allows the author to freely project compositional methods, techniques, genre-style patterns of a medieval polyphony on the present, thanks to which in the work of many composers of the twentieth and twenty-first centuries I. Pyaskovsky distinguishes typical neo-Gothic features of modern polyphony, mostly non-imitative by its very nature.\r\nConclusions. Now the process of the formation of polyphony as a discipline continues. Therefore the actual problems remain to create modern textbooks and, especially, practical manuals on the subject that would have the goal of fully equipping our future domestic composers and musicologists with a balanced set of theoretical knowledge and practical skills, not only in sphere of an imitative, but also much wider in historical and stylistic terms, a non-imitative polyphony.\r\nKeywords: Non-imitative counterpoint, polimelodic polyphony, stylistic modeling, identifying (attributive) method.\r\n\r\nНеімітаційне письмо у системі навчального курсу поліфонії: актуальні завдання сучасної теорії та практики. Проблеми взаємодії мистецтва, педагогіки та теорії і практики. 2018. Вип.48.\r\nРозглянуто загальний зміст традиційного вітчизняного курсу поліфонії у динаміці його складників. Досліджено низку найбільш вагомих навчальних посібників і програм з предмету. Узагальнено тенденції, пов’язані із сучасним станом вивчення неімітаційної (різнотемної, контрастної) поліфонії в навчальних курсах вишу як ситуацією, що історично склалася. Виявлено, що першорядне місце у зазначених курсах посідає вчення про імітацію. Простежено послідовну перебудову теоретичного та практичного змісту вишівського курсу поліфонії, що супроводжувалася появою низки підручників принципово нового типу. Висвітлено стимулюючу роль у цьому процесі української музикознавчої наукової школи (І. Котляревський, І. Пясковський, Л. Грабовський та ін.). Відзначено особливий внесок харківської поліфонічної школи (М. Тіц, Д. Клебанов, Л. Решетніков, Г. Цицалюк, Т. Кравцов, Л. Трубнікова та ін.) Зроблено висновок щодо тенденції до застосування діахронного підходу в переосмисленій концепції сучасного курсу поліфонії. Визначено можливості подальшого перспективного розвитку поліфонії як навчальної дисципліни в її теоретичних та практичних аспектах.\r\nКлючові слова: неімітаційна поліфонія, полімелодичне багатоголосся, стильове моделювання, ідентифікуючий метод. \r\nРассмотрено общее содержание традиционного отечественного курса полифонии в динамике его составляющих. Исследован ряд наиболее значительных учебных пособий и программ по предмету. Обобщены тенденции, связанные с современным состоянием изучения неимитационной (разнотемной, контрастной) полифонии в учебных курсах вуза как исторически сложившейся ситуацией. Выявлено, что первостепенное место в указанных курсах занимает учение об имитации. Прослежена последовательная перестройка теоретического и практического содержания вузовского курса полифонии, сопровождающаяся появлением круга учебников принципиально нового типа. Освещена стимулирующая роль в этом процессе украинской музыковедческой научной школы (И. Котляревский, И. Пясковский, Л. Грабовский и др.). Отмечен особый вклад харьковской полифонической школы (М. Тиц, Д. Клебанов, Л. Решетников, Г. Цицалюк, Т. Кравцов, Л. Трубникова и др.) Сделан вывод о тенденции к использованию диахронного подхода в переосмысленной концепции современного курса полифонии. Определены возможности дальнейшего перспективного развития полифонии как учебной дисциплины в ее теоретических и практических аспектах.\r\nКлючевые слова: неимитационная полифония, полимелодическое многоголосие, стилевое моделирование, идентифицирующий метод.\r\n\r\n\r\n","downloadable_attachments":[{"id":56718780,"asset_id":36771382,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":35880287,"first_name":"Nataliia","last_name":"Belichenko","domain_name":"kharkov","page_name":"Belichenko","display_name":"Nataliia Belichenko","profile_url":"https://kharkov.academia.edu/Belichenko?f_ri=19425","photo":"https://0.academia-photos.com/35880287/16810109/52335240/s65_nataliya.belichenko.jpg"}],"research_interests":[{"id":19425,"name":"Polyphony","url":"https://www.academia.edu/Documents/in/Polyphony?f_ri=19425","nofollow":true},{"id":1922414,"name":"Russian music theory","url":"https://www.academia.edu/Documents/in/Russian_music_theory?f_ri=19425","nofollow":true},{"id":2835728,"name":"non-imitative polyphony","url":"https://www.academia.edu/Documents/in/non-imitative_polyphony?f_ri=19425","nofollow":true}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_28066024" data-work_id="28066024" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/28066024/La_Th%C3%A9orie_Argumentative_de_la_Polyphonie_TAP_au_service_du_locuteur_dans_l%C3%A9nonciation_historique_EHESS_M1_">La Théorie Argumentative de la Polyphonie (TAP) au service du locuteur dans l'énonciation historique. (EHESS- M1)</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Dans le chapitre « Les relations de temps dans le verbe français », Benveniste organise les temps verbaux de la langue française en deux systèmes distincts auxquels il fait correspondre deux plans différents d'énonciation: celui de... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_28066024" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Dans le chapitre « Les relations de temps dans le verbe français », Benveniste organise les temps verbaux de la langue française en deux systèmes distincts auxquels il fait correspondre deux plans différents d'énonciation: celui de l'histoire et celui du discours. L'opposition entre formes énonciatives de l'histoire et du discours se réfère à l'emploi des formes verbales françaises : le parfait (le passé composé) entretient une double relation avec le passé simple (l'aoriste) et avec le présent. La forme verbale il a fait, par exemple, entretient avec il fit un lien diffèrent de celui qu'elle entretient avec le présent il fait. Cette distinction crée un problème théorique qu'il faut résoudre. C'est à ce propos que Benveniste nous indique l'existence des deux formes énonciatives : « Les temps d'un verbe français ne s'emploient pas comme les membres d'un système unique, ils se distribuent en deux systèmes distincts et complémentaires. […] tous les deux sont en usage concurrent et demeurent disponibles pour chaque locuteur. Ces deux systèmes manifestent deux plans d'énonciation différents, que nous distinguerons comme celui de l'histoire et celui du discours ». 1 Benveniste, en décrivant les deux plans d'énonciation du discours et de l'histoire, semble nous indiquer un schéma théorique précis où à chaque plan d'énonciation correspond un engagement différent de la voix du locuteur. Dans la forme énonciative de l'histoire, « il faut et il suffit que l'auteur reste fidèle à son propos d'historien et qu'il proscrive tout ce qui est étranger au récit des événements (discours, réflexions, comparaisons). A vrai dire, il n'y a même plus alors de narrateur. Les événements sont posés comme ils se sont produits à mesure qu'ils apparaissent à l'horizon de l'histoire » 2. La théorie benvenistienne semble admettre la correspondance entre auteur et locuteur et, par conséquent, la totale disparition du locuteur dans les récits historiques : le locuteur n'existe pas, il devient un narrateur des événements factuels. Pour Benveniste, il n'y a pas un « je » qui implique une prise de parole, une comparaison, un dialogue entre un locuteur et un auditeur. Au contraire, le plan énonciatif du discours suppose l'existence d'un locuteur qui doit chercher à influencer celui qui l'écoute.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/28066024" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="8bdfbdde13dbf00d2fdd1d7778539e3a" rel="nofollow" data-download="{"attachment_id":48379938,"asset_id":28066024,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/48379938/download_file?st=MTc0MTA5NTQ2NSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="24515524" href="https://ehess.academia.edu/IvanAltieri">Ivan Altieri</a><script data-card-contents-for-user="24515524" type="text/json">{"id":24515524,"first_name":"Ivan","last_name":"Altieri","domain_name":"ehess","page_name":"IvanAltieri","display_name":"Ivan Altieri","profile_url":"https://ehess.academia.edu/IvanAltieri?f_ri=19425","photo":"https://0.academia-photos.com/24515524/6619098/18770034/s65_ivan.altieri.jpg"}</script></span></span></li><li class="js-paper-rank-work_28066024 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="28066024"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 28066024, container: ".js-paper-rank-work_28066024", }); 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$(".js-view-count[data-work-id=28066024]").text(description); $(".js-view-count-work_28066024").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_28066024").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="28066024"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">5</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="803" rel="nofollow" href="https://www.academia.edu/Documents/in/Philosophy">Philosophy</a>, <script data-card-contents-for-ri="803" type="text/json">{"id":803,"name":"Philosophy","url":"https://www.academia.edu/Documents/in/Philosophy?f_ri=19425","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="1200" rel="nofollow" href="https://www.academia.edu/Documents/in/Languages_and_Linguistics">Languages and Linguistics</a>, <script data-card-contents-for-ri="1200" type="text/json">{"id":1200,"name":"Languages and Linguistics","url":"https://www.academia.edu/Documents/in/Languages_and_Linguistics?f_ri=19425","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="19425" rel="nofollow" href="https://www.academia.edu/Documents/in/Polyphony">Polyphony</a>, <script data-card-contents-for-ri="19425" type="text/json">{"id":19425,"name":"Polyphony","url":"https://www.academia.edu/Documents/in/Polyphony?f_ri=19425","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="136627" rel="nofollow" href="https://www.academia.edu/Documents/in/Emile_Benveniste">Emile Benveniste</a><script data-card-contents-for-ri="136627" type="text/json">{"id":136627,"name":"Emile Benveniste","url":"https://www.academia.edu/Documents/in/Emile_Benveniste?f_ri=19425","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=28066024]'), work: {"id":28066024,"title":"La Théorie Argumentative de la Polyphonie (TAP) au service du locuteur dans l'énonciation historique. (EHESS- M1)","created_at":"2016-08-28T06:21:22.673-07:00","url":"https://www.academia.edu/28066024/La_Th%C3%A9orie_Argumentative_de_la_Polyphonie_TAP_au_service_du_locuteur_dans_l%C3%A9nonciation_historique_EHESS_M1_?f_ri=19425","dom_id":"work_28066024","summary":"Dans le chapitre « Les relations de temps dans le verbe français », Benveniste organise les temps verbaux de la langue française en deux systèmes distincts auxquels il fait correspondre deux plans différents d'énonciation: celui de l'histoire et celui du discours. L'opposition entre formes énonciatives de l'histoire et du discours se réfère à l'emploi des formes verbales françaises : le parfait (le passé composé) entretient une double relation avec le passé simple (l'aoriste) et avec le présent. La forme verbale il a fait, par exemple, entretient avec il fit un lien diffèrent de celui qu'elle entretient avec le présent il fait. Cette distinction crée un problème théorique qu'il faut résoudre. C'est à ce propos que Benveniste nous indique l'existence des deux formes énonciatives : « Les temps d'un verbe français ne s'emploient pas comme les membres d'un système unique, ils se distribuent en deux systèmes distincts et complémentaires. […] tous les deux sont en usage concurrent et demeurent disponibles pour chaque locuteur. Ces deux systèmes manifestent deux plans d'énonciation différents, que nous distinguerons comme celui de l'histoire et celui du discours ». 1 Benveniste, en décrivant les deux plans d'énonciation du discours et de l'histoire, semble nous indiquer un schéma théorique précis où à chaque plan d'énonciation correspond un engagement différent de la voix du locuteur. Dans la forme énonciative de l'histoire, « il faut et il suffit que l'auteur reste fidèle à son propos d'historien et qu'il proscrive tout ce qui est étranger au récit des événements (discours, réflexions, comparaisons). A vrai dire, il n'y a même plus alors de narrateur. Les événements sont posés comme ils se sont produits à mesure qu'ils apparaissent à l'horizon de l'histoire » 2. La théorie benvenistienne semble admettre la correspondance entre auteur et locuteur et, par conséquent, la totale disparition du locuteur dans les récits historiques : le locuteur n'existe pas, il devient un narrateur des événements factuels. Pour Benveniste, il n'y a pas un « je » qui implique une prise de parole, une comparaison, un dialogue entre un locuteur et un auditeur. Au contraire, le plan énonciatif du discours suppose l'existence d'un locuteur qui doit chercher à influencer celui qui l'écoute. ","downloadable_attachments":[{"id":48379938,"asset_id":28066024,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":24515524,"first_name":"Ivan","last_name":"Altieri","domain_name":"ehess","page_name":"IvanAltieri","display_name":"Ivan Altieri","profile_url":"https://ehess.academia.edu/IvanAltieri?f_ri=19425","photo":"https://0.academia-photos.com/24515524/6619098/18770034/s65_ivan.altieri.jpg"}],"research_interests":[{"id":803,"name":"Philosophy","url":"https://www.academia.edu/Documents/in/Philosophy?f_ri=19425","nofollow":true},{"id":1200,"name":"Languages and Linguistics","url":"https://www.academia.edu/Documents/in/Languages_and_Linguistics?f_ri=19425","nofollow":true},{"id":19425,"name":"Polyphony","url":"https://www.academia.edu/Documents/in/Polyphony?f_ri=19425","nofollow":true},{"id":136627,"name":"Emile Benveniste","url":"https://www.academia.edu/Documents/in/Emile_Benveniste?f_ri=19425","nofollow":true},{"id":1275428,"name":"Oswald Ducrot","url":"https://www.academia.edu/Documents/in/Oswald_Ducrot?f_ri=19425"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_35331000" data-work_id="35331000" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/35331000/Non_imitative_polyphony_in_the_aspect_of_musical_logic_%D0%9D%D0%B5%D0%B8%D0%BC%D0%B8%D1%82%D0%B0%D1%86%D0%B8%D0%BE%D0%BD%D0%BD%D0%B0%D1%8F_%D0%BF%D0%BE%D0%BB%D0%B8%D1%84%D0%BE%D0%BD%D0%B8%D1%8F_%D0%B2_%D0%B0%D1%81%D0%BF%D0%B5%D0%BA%D1%82%D0%B5_%D0%BC%D1%83%D0%B7%D1%8B%D0%BA%D0%B0%D0%BB%D1%8C%D0%BD%D0%BE%D0%B9_%D0%BB%D0%BE%D0%B3%D0%B8%D0%BA%D0%B8">Non-imitative polyphony in the aspect of musical logic / Неимитационная полифония в аспекте музыкальной логики</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">The characteristic properties of the non-imitative polyphony are compared with the imitative one in the aspect of musical logic. It is established that imitative polyphony in its main historical genre-compositional manifestations as a... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_35331000" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">The characteristic properties of the non-imitative polyphony are compared with the imitative one in the aspect of musical logic. It is established that imitative polyphony in its main historical genre-compositional manifestations as a whole tends to reproduce the principles of dialogue (polylogue), with the linear narrative logic of prose inherent in it. In non-imitative polyphony, the logic of poetry with its methods has the leading role as well as the logic of song syntax.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/35331000" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="1f1f177211d36e8552e8c095877bc621" rel="nofollow" data-download="{"attachment_id":55192488,"asset_id":35331000,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/55192488/download_file?st=MTc0MTA5NTQ2NSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="35880287" href="https://kharkov.academia.edu/Belichenko">Nataliia Belichenko</a><script data-card-contents-for-user="35880287" type="text/json">{"id":35880287,"first_name":"Nataliia","last_name":"Belichenko","domain_name":"kharkov","page_name":"Belichenko","display_name":"Nataliia Belichenko","profile_url":"https://kharkov.academia.edu/Belichenko?f_ri=19425","photo":"https://0.academia-photos.com/35880287/16810109/52335240/s65_nataliya.belichenko.jpg"}</script></span></span></li><li class="js-paper-rank-work_35331000 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="35331000"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 35331000, container: ".js-paper-rank-work_35331000", }); 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$(".js-view-count[data-work-id=35331000]").text(description); $(".js-view-count-work_35331000").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_35331000").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="35331000"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">4</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="5175" rel="nofollow" href="https://www.academia.edu/Documents/in/Dialogue">Dialogue</a>, <script data-card-contents-for-ri="5175" type="text/json">{"id":5175,"name":"Dialogue","url":"https://www.academia.edu/Documents/in/Dialogue?f_ri=19425","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="19425" rel="nofollow" href="https://www.academia.edu/Documents/in/Polyphony">Polyphony</a>, <script data-card-contents-for-ri="19425" type="text/json">{"id":19425,"name":"Polyphony","url":"https://www.academia.edu/Documents/in/Polyphony?f_ri=19425","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="2366647" rel="nofollow" href="https://www.academia.edu/Documents/in/Polylogue">Polylogue</a>, <script data-card-contents-for-ri="2366647" type="text/json">{"id":2366647,"name":"Polylogue","url":"https://www.academia.edu/Documents/in/Polylogue?f_ri=19425","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="2835728" rel="nofollow" href="https://www.academia.edu/Documents/in/non-imitative_polyphony">non-imitative polyphony</a><script data-card-contents-for-ri="2835728" type="text/json">{"id":2835728,"name":"non-imitative polyphony","url":"https://www.academia.edu/Documents/in/non-imitative_polyphony?f_ri=19425","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=35331000]'), work: {"id":35331000,"title":"Non-imitative polyphony in the aspect of musical logic / Неимитационная полифония в аспекте музыкальной логики","created_at":"2017-12-04T02:47:32.374-08:00","url":"https://www.academia.edu/35331000/Non_imitative_polyphony_in_the_aspect_of_musical_logic_%D0%9D%D0%B5%D0%B8%D0%BC%D0%B8%D1%82%D0%B0%D1%86%D0%B8%D0%BE%D0%BD%D0%BD%D0%B0%D1%8F_%D0%BF%D0%BE%D0%BB%D0%B8%D1%84%D0%BE%D0%BD%D0%B8%D1%8F_%D0%B2_%D0%B0%D1%81%D0%BF%D0%B5%D0%BA%D1%82%D0%B5_%D0%BC%D1%83%D0%B7%D1%8B%D0%BA%D0%B0%D0%BB%D1%8C%D0%BD%D0%BE%D0%B9_%D0%BB%D0%BE%D0%B3%D0%B8%D0%BA%D0%B8?f_ri=19425","dom_id":"work_35331000","summary":"The characteristic properties of the non-imitative polyphony are compared with the imitative one in the aspect of musical logic. It is established that imitative polyphony in its main historical genre-compositional manifestations as a whole tends to reproduce the principles of dialogue (polylogue), with the linear narrative logic of prose inherent in it. In non-imitative polyphony, the logic of poetry with its methods has the leading role as well as the logic of song syntax.","downloadable_attachments":[{"id":55192488,"asset_id":35331000,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":35880287,"first_name":"Nataliia","last_name":"Belichenko","domain_name":"kharkov","page_name":"Belichenko","display_name":"Nataliia Belichenko","profile_url":"https://kharkov.academia.edu/Belichenko?f_ri=19425","photo":"https://0.academia-photos.com/35880287/16810109/52335240/s65_nataliya.belichenko.jpg"}],"research_interests":[{"id":5175,"name":"Dialogue","url":"https://www.academia.edu/Documents/in/Dialogue?f_ri=19425","nofollow":true},{"id":19425,"name":"Polyphony","url":"https://www.academia.edu/Documents/in/Polyphony?f_ri=19425","nofollow":true},{"id":2366647,"name":"Polylogue","url":"https://www.academia.edu/Documents/in/Polylogue?f_ri=19425","nofollow":true},{"id":2835728,"name":"non-imitative polyphony","url":"https://www.academia.edu/Documents/in/non-imitative_polyphony?f_ri=19425","nofollow":true}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_45161888" data-work_id="45161888" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/45161888/Polyphonie_und_Narration_Eine_Einf%C3%BChrung">Polyphonie und Narration. Eine Einführung</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/45161888" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="9ecd09797feff6bb6e5fb8c2ed881a93" rel="nofollow" data-download="{"attachment_id":65739669,"asset_id":45161888,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/65739669/download_file?st=MTc0MTA5NTQ2NSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="25469185" href="https://unilu.academia.edu/BorisPrevisic">Boris Previšić</a><script data-card-contents-for-user="25469185" type="text/json">{"id":25469185,"first_name":"Boris","last_name":"Previšić","domain_name":"unilu","page_name":"BorisPrevisic","display_name":"Boris Previšić","profile_url":"https://unilu.academia.edu/BorisPrevisic?f_ri=19425","photo":"https://0.academia-photos.com/25469185/6956266/18275341/s65_boris.previsic.jpg"}</script></span></span></li><li class="js-paper-rank-work_45161888 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="45161888"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 45161888, container: ".js-paper-rank-work_45161888", }); 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Eine Einführung","created_at":"2021-02-21T00:34:27.491-08:00","url":"https://www.academia.edu/45161888/Polyphonie_und_Narration_Eine_Einf%C3%BChrung?f_ri=19425","dom_id":"work_45161888","summary":null,"downloadable_attachments":[{"id":65739669,"asset_id":45161888,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":25469185,"first_name":"Boris","last_name":"Previšić","domain_name":"unilu","page_name":"BorisPrevisic","display_name":"Boris Previšić","profile_url":"https://unilu.academia.edu/BorisPrevisic?f_ri=19425","photo":"https://0.academia-photos.com/25469185/6956266/18275341/s65_boris.previsic.jpg"}],"research_interests":[{"id":3718,"name":"Posttraumatic Stress Disorder (PTSD)","url":"https://www.academia.edu/Documents/in/Posttraumatic_Stress_Disorder_PTSD_?f_ri=19425","nofollow":true},{"id":19425,"name":"Polyphony","url":"https://www.academia.edu/Documents/in/Polyphony?f_ri=19425","nofollow":true},{"id":52094,"name":"Bakhtin dialogism","url":"https://www.academia.edu/Documents/in/Bakhtin_dialogism?f_ri=19425","nofollow":true},{"id":58866,"name":"Mikhail Mikhailovich Bakhtin","url":"https://www.academia.edu/Documents/in/Mikhail_Mikhailovich_Bakhtin?f_ri=19425","nofollow":true},{"id":984091,"name":"Polyphonic Communication","url":"https://www.academia.edu/Documents/in/Polyphonic_Communication?f_ri=19425"},{"id":1176615,"name":"Multiperspectivity","url":"https://www.academia.edu/Documents/in/Multiperspectivity?f_ri=19425"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_41289874" data-work_id="41289874" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/41289874/Hybridit%C3%A9_et_alt%C3%A9rit%C3%A9_dans_Magnus_de_Sylvie_Germain">Hybridité et altérité dans Magnus de Sylvie Germain</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Magnus, a novel from Sylvie Germain published in 2005, is a narration made up of several marks of hybridity – structural, generic and discursive hybridity. Those marks are not simply formal but emphasize the necessity of a true presence... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_41289874" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Magnus, a novel from Sylvie Germain published in 2005, is a narration made up of several marks of hybridity – structural, generic and discursive hybridity. Those marks are not simply formal but emphasize the necessity of a true presence towards the world and others. The itinerary of the character is a spiritual one, and the novel reveals the part played by reading and writing in the reconsideration of our relationship towards the world and the other people.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/41289874" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="c34f2f75dc4e89286c1ce6a253a863b1" rel="nofollow" data-download="{"attachment_id":61507818,"asset_id":41289874,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/61507818/download_file?st=MTc0MTA5NTQ2NSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="129500398" href="https://kul.academia.edu/Queteslitteraires">Quêtes littéraires</a><script data-card-contents-for-user="129500398" type="text/json">{"id":129500398,"first_name":"Quêtes","last_name":"littéraires","domain_name":"kul","page_name":"Queteslitteraires","display_name":"Quêtes littéraires","profile_url":"https://kul.academia.edu/Queteslitteraires?f_ri=19425","photo":"https://0.academia-photos.com/129500398/33434805/29795590/s65_qu_tes.litt_raires.jpg"}</script></span></span></li><li class="js-paper-rank-work_41289874 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="41289874"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 41289874, container: ".js-paper-rank-work_41289874", }); 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$(".js-view-count[data-work-id=41289874]").text(description); $(".js-view-count-work_41289874").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_41289874").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="41289874"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">7</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="4138" rel="nofollow" href="https://www.academia.edu/Documents/in/Hybridity">Hybridity</a>, <script data-card-contents-for-ri="4138" type="text/json">{"id":4138,"name":"Hybridity","url":"https://www.academia.edu/Documents/in/Hybridity?f_ri=19425","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="19425" rel="nofollow" href="https://www.academia.edu/Documents/in/Polyphony">Polyphony</a>, <script data-card-contents-for-ri="19425" type="text/json">{"id":19425,"name":"Polyphony","url":"https://www.academia.edu/Documents/in/Polyphony?f_ri=19425","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="34211" rel="nofollow" href="https://www.academia.edu/Documents/in/Sylvie_Germain">Sylvie Germain</a>, <script data-card-contents-for-ri="34211" type="text/json">{"id":34211,"name":"Sylvie Germain","url":"https://www.academia.edu/Documents/in/Sylvie_Germain?f_ri=19425","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="56163" rel="nofollow" href="https://www.academia.edu/Documents/in/Otherness">Otherness</a><script data-card-contents-for-ri="56163" type="text/json">{"id":56163,"name":"Otherness","url":"https://www.academia.edu/Documents/in/Otherness?f_ri=19425","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=41289874]'), work: {"id":41289874,"title":"Hybridité et altérité dans Magnus de Sylvie Germain","created_at":"2019-12-13T15:02:42.803-08:00","url":"https://www.academia.edu/41289874/Hybridit%C3%A9_et_alt%C3%A9rit%C3%A9_dans_Magnus_de_Sylvie_Germain?f_ri=19425","dom_id":"work_41289874","summary":"Magnus, a novel from Sylvie Germain published in 2005, is a narration made up of several marks of hybridity – structural, generic and discursive hybridity. Those marks are not simply formal but emphasize the necessity of a true presence towards the world and others. The itinerary of the character is a spiritual one, and the novel reveals the part played by reading and writing in the reconsideration of our relationship towards the world and the other people.","downloadable_attachments":[{"id":61507818,"asset_id":41289874,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":129500398,"first_name":"Quêtes","last_name":"littéraires","domain_name":"kul","page_name":"Queteslitteraires","display_name":"Quêtes littéraires","profile_url":"https://kul.academia.edu/Queteslitteraires?f_ri=19425","photo":"https://0.academia-photos.com/129500398/33434805/29795590/s65_qu_tes.litt_raires.jpg"}],"research_interests":[{"id":4138,"name":"Hybridity","url":"https://www.academia.edu/Documents/in/Hybridity?f_ri=19425","nofollow":true},{"id":19425,"name":"Polyphony","url":"https://www.academia.edu/Documents/in/Polyphony?f_ri=19425","nofollow":true},{"id":34211,"name":"Sylvie Germain","url":"https://www.academia.edu/Documents/in/Sylvie_Germain?f_ri=19425","nofollow":true},{"id":56163,"name":"Otherness","url":"https://www.academia.edu/Documents/in/Otherness?f_ri=19425","nofollow":true},{"id":60235,"name":"Alterity","url":"https://www.academia.edu/Documents/in/Alterity?f_ri=19425"},{"id":421462,"name":"Altérité","url":"https://www.academia.edu/Documents/in/Alt%C3%A9rit%C3%A9?f_ri=19425"},{"id":975020,"name":"Concept of Otherness","url":"https://www.academia.edu/Documents/in/Concept_of_Otherness?f_ri=19425"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_37987936" data-work_id="37987936" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/37987936/The_Polyphony_that_Echoes_in_the_Varthamanappusthakam">The Polyphony that Echoes in the Varthamanappusthakam</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">The Varthamanappusthakam is the description of the travel to Rome performed by Paremmackal Thoma Kathanar and Kariyattil Joseph Malpan both of whom were members of the Kerala Nazrani Church. This is one of the early travelogues in the... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_37987936" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">The Varthamanappusthakam is the description of the travel to Rome performed by Paremmackal Thoma Kathanar and Kariyattil Joseph Malpan both of whom were members of the Kerala Nazrani Church. This is one of the early travelogues in the Indian languages and the first one in Malayalam. This book is considered from different angles in the history of literature. This work is not to be confined to the limits of the literary branch of travelogue; instead, it is a work that embraces literature, language, history and religion with its emphasis on difference of opinions. In other words, it is a narration that extends to different spheres of knowledge. It represents an important stage in the standardization of language. The basis of the historical importance of the Varthamanappusthakam is that it is the first Malayalam work in which the national feeling of India and the Indians was manifested. For the appreciators of travelogue, it is a historical document that gives in a picturesque manner the life styles and particulars of Europe and America which two Malayalis visited at a time when distant lands were a nightmare.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/37987936" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="4b6fc8164cc952c5f4ea0f0d597b779c" rel="nofollow" data-download="{"attachment_id":58006344,"asset_id":37987936,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/58006344/download_file?st=MTc0MTA5NTQ2NSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="98853078" href="https://independent.academia.edu/IJIRMPS">IJIRMPS International Journal</a><script data-card-contents-for-user="98853078" type="text/json">{"id":98853078,"first_name":"IJIRMPS","last_name":"International Journal","domain_name":"independent","page_name":"IJIRMPS","display_name":"IJIRMPS International Journal","profile_url":"https://independent.academia.edu/IJIRMPS?f_ri=19425","photo":"https://0.academia-photos.com/98853078/21551220/35575826/s65_ijirmps.international_journal.png"}</script></span></span></li><li class="js-paper-rank-work_37987936 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="37987936"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 37987936, container: ".js-paper-rank-work_37987936", }); 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$(".js-view-count[data-work-id=37987936]").text(description); $(".js-view-count-work_37987936").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_37987936").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="37987936"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">4</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="2418" rel="nofollow" href="https://www.academia.edu/Documents/in/Literature">Literature</a>, <script data-card-contents-for-ri="2418" type="text/json">{"id":2418,"name":"Literature","url":"https://www.academia.edu/Documents/in/Literature?f_ri=19425","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="19425" rel="nofollow" href="https://www.academia.edu/Documents/in/Polyphony">Polyphony</a>, <script data-card-contents-for-ri="19425" type="text/json">{"id":19425,"name":"Polyphony","url":"https://www.academia.edu/Documents/in/Polyphony?f_ri=19425","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="39513" rel="nofollow" href="https://www.academia.edu/Documents/in/Malayalam_Literature">Malayalam Literature</a>, <script data-card-contents-for-ri="39513" type="text/json">{"id":39513,"name":"Malayalam Literature","url":"https://www.academia.edu/Documents/in/Malayalam_Literature?f_ri=19425","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="1083722" rel="nofollow" href="https://www.academia.edu/Documents/in/Syrian_Christians_Kerala">Syrian Christians Kerala</a><script data-card-contents-for-ri="1083722" type="text/json">{"id":1083722,"name":"Syrian Christians Kerala","url":"https://www.academia.edu/Documents/in/Syrian_Christians_Kerala?f_ri=19425","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=37987936]'), work: {"id":37987936,"title":"The Polyphony that Echoes in the Varthamanappusthakam","created_at":"2018-12-16T06:23:42.681-08:00","url":"https://www.academia.edu/37987936/The_Polyphony_that_Echoes_in_the_Varthamanappusthakam?f_ri=19425","dom_id":"work_37987936","summary":"The Varthamanappusthakam is the description of the travel to Rome performed by Paremmackal Thoma Kathanar and Kariyattil Joseph Malpan both of whom were members of the Kerala Nazrani Church. This is one of the early travelogues in the Indian languages and the first one in Malayalam. This book is considered from different angles in the history of literature. This work is not to be confined to the limits of the literary branch of travelogue; instead, it is a work that embraces literature, language, history and religion with its emphasis on difference of opinions. In other words, it is a narration that extends to different spheres of knowledge. It represents an important stage in the standardization of language. The basis of the historical importance of the Varthamanappusthakam is that it is the first Malayalam work in which the national feeling of India and the Indians was manifested. For the appreciators of travelogue, it is a historical document that gives in a picturesque manner the life styles and particulars of Europe and America which two Malayalis visited at a time when distant lands were a nightmare.","downloadable_attachments":[{"id":58006344,"asset_id":37987936,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":98853078,"first_name":"IJIRMPS","last_name":"International Journal","domain_name":"independent","page_name":"IJIRMPS","display_name":"IJIRMPS International Journal","profile_url":"https://independent.academia.edu/IJIRMPS?f_ri=19425","photo":"https://0.academia-photos.com/98853078/21551220/35575826/s65_ijirmps.international_journal.png"}],"research_interests":[{"id":2418,"name":"Literature","url":"https://www.academia.edu/Documents/in/Literature?f_ri=19425","nofollow":true},{"id":19425,"name":"Polyphony","url":"https://www.academia.edu/Documents/in/Polyphony?f_ri=19425","nofollow":true},{"id":39513,"name":"Malayalam Literature","url":"https://www.academia.edu/Documents/in/Malayalam_Literature?f_ri=19425","nofollow":true},{"id":1083722,"name":"Syrian Christians Kerala","url":"https://www.academia.edu/Documents/in/Syrian_Christians_Kerala?f_ri=19425","nofollow":true}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_34279142" data-work_id="34279142" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/34279142/Alexander_Agricola_Motet_Chanson_Belles_sur_toutes_Tota_pulchra_es_Florence_Bibliotea_del_Conservatorio_Luigi_Cherubini_MS_2439_ff_63v_64r_">Alexander Agricola: Motet Chanson, "Belles sur toutes - Tota pulchra es" (Florence, Bibliotea del Conservatorio Luigi Cherubini, MS 2439 ff. 63v-64r)</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">A non-barred critical transcription of Alexander Agricola's motet-chanson "Belles sur toutes - Tota pulchra es" from Florence, Bibliotea del Conservatorio Luigi Cherubini, MS 2439 ff. 63v-64r. For a recording of the music with a... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_34279142" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">A non-barred critical transcription of Alexander Agricola's motet-chanson "Belles sur toutes - Tota pulchra es" from Florence, Bibliotea del Conservatorio Luigi Cherubini,  MS 2439 ff. 63v-64r. <br /> <br />For a recording of the music with a score-video see link below: <br /><a href="https://www.youtube.com/watch?v=r2N_Ru9xjuA" rel="nofollow">https://www.youtube.com/watch?v=r2N_Ru9xjuA</a></div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/34279142" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa 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itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="6283566" href="https://florida.academia.edu/JordanAlexanderKey">Jordan Alexander Key</a><script data-card-contents-for-user="6283566" type="text/json">{"id":6283566,"first_name":"Jordan Alexander","last_name":"Key","domain_name":"florida","page_name":"JordanAlexanderKey","display_name":"Jordan Alexander Key","profile_url":"https://florida.academia.edu/JordanAlexanderKey?f_ri=19425","photo":"https://0.academia-photos.com/6283566/2960433/67736632/s65_jordan_alexander.key.jpg"}</script></span></span></li><li class="js-paper-rank-work_34279142 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="34279142"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 34279142, container: ".js-paper-rank-work_34279142", }); });</script></li><li 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var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=34279142]").text(description); $(".js-view-count-work_34279142").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_34279142").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="34279142"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">55</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="685" rel="nofollow" href="https://www.academia.edu/Documents/in/Music_History">Music History</a>, <script data-card-contents-for-ri="685" type="text/json">{"id":685,"name":"Music History","url":"https://www.academia.edu/Documents/in/Music_History?f_ri=19425","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="687" rel="nofollow" href="https://www.academia.edu/Documents/in/Musicology">Musicology</a>, <script data-card-contents-for-ri="687" type="text/json">{"id":687,"name":"Musicology","url":"https://www.academia.edu/Documents/in/Musicology?f_ri=19425","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="2987" rel="nofollow" href="https://www.academia.edu/Documents/in/Renaissance_Studies">Renaissance Studies</a>, <script data-card-contents-for-ri="2987" type="text/json">{"id":2987,"name":"Renaissance Studies","url":"https://www.academia.edu/Documents/in/Renaissance_Studies?f_ri=19425","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="3612" rel="nofollow" href="https://www.academia.edu/Documents/in/Renaissance">Renaissance</a><script data-card-contents-for-ri="3612" type="text/json">{"id":3612,"name":"Renaissance","url":"https://www.academia.edu/Documents/in/Renaissance?f_ri=19425","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=34279142]'), work: {"id":34279142,"title":"Alexander Agricola: Motet Chanson, \"Belles sur toutes - Tota pulchra es\" (Florence, Bibliotea del Conservatorio Luigi Cherubini, MS 2439 ff. 63v-64r)","created_at":"2017-08-19T21:54:03.178-07:00","url":"https://www.academia.edu/34279142/Alexander_Agricola_Motet_Chanson_Belles_sur_toutes_Tota_pulchra_es_Florence_Bibliotea_del_Conservatorio_Luigi_Cherubini_MS_2439_ff_63v_64r_?f_ri=19425","dom_id":"work_34279142","summary":"A non-barred critical transcription of Alexander Agricola's motet-chanson \"Belles sur toutes - Tota pulchra es\" from Florence, Bibliotea del Conservatorio Luigi Cherubini, MS 2439 ff. 63v-64r.\r\n\r\nFor a recording of the music with a score-video see link below:\r\nhttps://www.youtube.com/watch?v=r2N_Ru9xjuA","downloadable_attachments":[{"id":54185779,"asset_id":34279142,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":6283566,"first_name":"Jordan Alexander","last_name":"Key","domain_name":"florida","page_name":"JordanAlexanderKey","display_name":"Jordan Alexander Key","profile_url":"https://florida.academia.edu/JordanAlexanderKey?f_ri=19425","photo":"https://0.academia-photos.com/6283566/2960433/67736632/s65_jordan_alexander.key.jpg"}],"research_interests":[{"id":685,"name":"Music History","url":"https://www.academia.edu/Documents/in/Music_History?f_ri=19425","nofollow":true},{"id":687,"name":"Musicology","url":"https://www.academia.edu/Documents/in/Musicology?f_ri=19425","nofollow":true},{"id":2987,"name":"Renaissance 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Composition","url":"https://www.academia.edu/Documents/in/Music_Composition?f_ri=19425"},{"id":17547,"name":"Renaissance music","url":"https://www.academia.edu/Documents/in/Renaissance_music?f_ri=19425"},{"id":19425,"name":"Polyphony","url":"https://www.academia.edu/Documents/in/Polyphony?f_ri=19425"},{"id":22842,"name":"14th-16th Centuries Counterpoint","url":"https://www.academia.edu/Documents/in/14th-16th_Centuries_Counterpoint?f_ri=19425"},{"id":22845,"name":"Renaissance Music Theory","url":"https://www.academia.edu/Documents/in/Renaissance_Music_Theory?f_ri=19425"},{"id":24365,"name":"History of Musicology","url":"https://www.academia.edu/Documents/in/History_of_Musicology?f_ri=19425"},{"id":30530,"name":"History of music","url":"https://www.academia.edu/Documents/in/History_of_music?f_ri=19425"},{"id":32242,"name":"Form (Music Theory)","url":"https://www.academia.edu/Documents/in/Form_Music_Theory_?f_ri=19425"},{"id":32861,"name":"Renaissance Music (Music)","url":"https://www.academia.edu/Documents/in/Renaissance_Music_Music_?f_ri=19425"},{"id":35456,"name":"15th Century Burgundy","url":"https://www.academia.edu/Documents/in/15th_Century_Burgundy?f_ri=19425"},{"id":53275,"name":"Vocal Polyphony","url":"https://www.academia.edu/Documents/in/Vocal_Polyphony?f_ri=19425"},{"id":58850,"name":"Historical Musicology","url":"https://www.academia.edu/Documents/in/Historical_Musicology?f_ri=19425"},{"id":67681,"name":"Burgundian history","url":"https://www.academia.edu/Documents/in/Burgundian_history?f_ri=19425"},{"id":67682,"name":"Burgundian Low Countries","url":"https://www.academia.edu/Documents/in/Burgundian_Low_Countries?f_ri=19425"},{"id":71582,"name":"Valois Burgundy","url":"https://www.academia.edu/Documents/in/Valois_Burgundy?f_ri=19425"},{"id":127008,"name":"Burgundian Netherlands","url":"https://www.academia.edu/Documents/in/Burgundian_Netherlands?f_ri=19425"},{"id":139040,"name":"Medieval, Renaissance and Baroque 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For a video of the score with a performance see the link below.... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_30723397" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Performance score of Francesco Landini's madrigal, " Musica Son - Già Furon - Ciascun Vuol" transcribed from the Squarcialupi Codex (121v-122r). For a video of the score with a performance see the link below.<br /><br /><a href="https://www.youtube.com/watch?v=YNcfZSBF9ow" rel="nofollow">https://www.youtube.com/watch?v=YNcfZSBF9ow</a></div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/30723397" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="860579c40c3de9515561d8b2cc1c98b2" rel="nofollow" data-download="{"attachment_id":51171987,"asset_id":30723397,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/51171987/download_file?st=MTc0MTA5NTQ2NSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="6283566" href="https://florida.academia.edu/JordanAlexanderKey">Jordan Alexander Key</a><script data-card-contents-for-user="6283566" type="text/json">{"id":6283566,"first_name":"Jordan Alexander","last_name":"Key","domain_name":"florida","page_name":"JordanAlexanderKey","display_name":"Jordan Alexander Key","profile_url":"https://florida.academia.edu/JordanAlexanderKey?f_ri=19425","photo":"https://0.academia-photos.com/6283566/2960433/67736632/s65_jordan_alexander.key.jpg"}</script></span></span></li><li class="js-paper-rank-work_30723397 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="30723397"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 30723397, container: ".js-paper-rank-work_30723397", }); 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Key","url":"https://www.academia.edu/Documents/in/Jordan_A._Key?f_ri=19425"},{"id":2551688,"name":"Transcription (Music)","url":"https://www.academia.edu/Documents/in/Transcription_Music_?f_ri=19425"},{"id":2592732,"name":"Codex Squarcialupi","url":"https://www.academia.edu/Documents/in/Codex_Squarcialupi?f_ri=19425"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_32361457" data-work_id="32361457" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/32361457/Problemas_de_estilo_y_autor%C3%ADa_en_una_Salve_Regina_de_Victoria_conservada_en_la_Catedral_de_Puebla">Problemas de estilo y autoría en una Salve Regina de 'Victoria' conservada en la Catedral de Puebla</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Se aborda el estudio y edición crítica de una extensa Salve Regina a cuatro voces conservada en la Catedral de Puebla, que ha sido atribuida a Tomás Luis de Victoria (1548-1611), pero que no coincide con ninguna de las versiones... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_32361457" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Se aborda el estudio y edición crítica de una extensa Salve Regina a cuatro voces conservada en la Catedral de Puebla, que ha sido atribuida a Tomás Luis de Victoria (1548-1611), pero que no  coincide con ninguna de las versiones publicadas de este autor. El autor considera que decir esto es posible porque el estudio de la circulación de la obra del compositor abulense, en fuentes manuscritas, ha permitido la identificación de nuevas piezas, nunca publicadas, que se añaden al catálogo de ese autor. Tras analizar distintas evidencias litúrgicas, estilísticas y contextuales, se cuestiona la atribución de esa Salve Regina a Tomás Luis de Victoria, dada por auténtica hasta ahora, y propone una nueva hipótesis que llevaría a considerar a Juan de Victoria, maestro de capilla de la Catedral de Puebla entre 1566 y 1569-1570, el verdadero autor de la obra.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/32361457" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="6ed64f8bd8fabcde4282194f70e66b01" rel="nofollow" data-download="{"attachment_id":52567344,"asset_id":32361457,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/52567344/download_file?st=MTc0MTA5NTQ2NSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="541245" href="https://jaen.academia.edu/JavierMarinLopez">Javier Marín-López</a><script data-card-contents-for-user="541245" type="text/json">{"id":541245,"first_name":"Javier","last_name":"Marín-López","domain_name":"jaen","page_name":"JavierMarinLopez","display_name":"Javier Marín-López","profile_url":"https://jaen.academia.edu/JavierMarinLopez?f_ri=19425","photo":"https://0.academia-photos.com/541245/2929659/21124521/s65_javier.mar_n-l_pez.jpg"}</script></span></span></li><li class="js-paper-rank-work_32361457 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="32361457"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 32361457, container: ".js-paper-rank-work_32361457", }); 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$(".js-view-count[data-work-id=32361457]").text(description); $(".js-view-count-work_32361457").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_32361457").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="32361457"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">17</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="5599" rel="nofollow" href="https://www.academia.edu/Documents/in/Authorship_Attribution">Authorship Attribution</a>, <script data-card-contents-for-ri="5599" type="text/json">{"id":5599,"name":"Authorship Attribution","url":"https://www.academia.edu/Documents/in/Authorship_Attribution?f_ri=19425","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="17547" rel="nofollow" href="https://www.academia.edu/Documents/in/Renaissance_music">Renaissance music</a>, <script data-card-contents-for-ri="17547" type="text/json">{"id":17547,"name":"Renaissance music","url":"https://www.academia.edu/Documents/in/Renaissance_music?f_ri=19425","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="19425" rel="nofollow" href="https://www.academia.edu/Documents/in/Polyphony">Polyphony</a>, <script data-card-contents-for-ri="19425" type="text/json">{"id":19425,"name":"Polyphony","url":"https://www.academia.edu/Documents/in/Polyphony?f_ri=19425","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="21945" rel="nofollow" href="https://www.academia.edu/Documents/in/Spanish_Music">Spanish Music</a><script data-card-contents-for-ri="21945" type="text/json">{"id":21945,"name":"Spanish Music","url":"https://www.academia.edu/Documents/in/Spanish_Music?f_ri=19425","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=32361457]'), work: {"id":32361457,"title":"Problemas de estilo y autoría en una Salve Regina de 'Victoria' conservada en la Catedral de Puebla","created_at":"2017-04-10T04:29:53.502-07:00","url":"https://www.academia.edu/32361457/Problemas_de_estilo_y_autor%C3%ADa_en_una_Salve_Regina_de_Victoria_conservada_en_la_Catedral_de_Puebla?f_ri=19425","dom_id":"work_32361457","summary":"Se aborda el estudio y edición crítica de una extensa Salve Regina a cuatro voces conservada en la Catedral de Puebla, que ha sido atribuida a Tomás Luis de Victoria (1548-1611), pero que no coincide con ninguna de las versiones publicadas de este autor. El autor considera que decir esto es posible porque el estudio de la circulación de la obra del compositor abulense, en fuentes manuscritas, ha permitido la identificación de nuevas piezas, nunca publicadas, que se añaden al catálogo de ese autor. Tras analizar distintas evidencias litúrgicas, estilísticas y contextuales, se cuestiona la atribución de esa Salve Regina a Tomás Luis de Victoria, dada por auténtica hasta ahora, y propone una nueva hipótesis que llevaría a considerar a Juan de Victoria, maestro de capilla de la Catedral de Puebla entre 1566 y 1569-1570, el verdadero autor de la obra.","downloadable_attachments":[{"id":52567344,"asset_id":32361457,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":541245,"first_name":"Javier","last_name":"Marín-López","domain_name":"jaen","page_name":"JavierMarinLopez","display_name":"Javier Marín-López","profile_url":"https://jaen.academia.edu/JavierMarinLopez?f_ri=19425","photo":"https://0.academia-photos.com/541245/2929659/21124521/s65_javier.mar_n-l_pez.jpg"}],"research_interests":[{"id":5599,"name":"Authorship Attribution","url":"https://www.academia.edu/Documents/in/Authorship_Attribution?f_ri=19425","nofollow":true},{"id":17547,"name":"Renaissance music","url":"https://www.academia.edu/Documents/in/Renaissance_music?f_ri=19425","nofollow":true},{"id":19425,"name":"Polyphony","url":"https://www.academia.edu/Documents/in/Polyphony?f_ri=19425","nofollow":true},{"id":21945,"name":"Spanish Music","url":"https://www.academia.edu/Documents/in/Spanish_Music?f_ri=19425","nofollow":true},{"id":34816,"name":"Tomás Luis de Victoria","url":"https://www.academia.edu/Documents/in/Tomas_Luis_de_Victoria?f_ri=19425"},{"id":53275,"name":"Vocal Polyphony","url":"https://www.academia.edu/Documents/in/Vocal_Polyphony?f_ri=19425"},{"id":59791,"name":"Nueva España","url":"https://www.academia.edu/Documents/in/Nueva_Espana?f_ri=19425"},{"id":61672,"name":"Attributional Style","url":"https://www.academia.edu/Documents/in/Attributional_Style?f_ri=19425"},{"id":88523,"name":"Musicology, Spanish Music Historiography","url":"https://www.academia.edu/Documents/in/Musicology_Spanish_Music_Historiography?f_ri=19425"},{"id":119247,"name":"Devotional music","url":"https://www.academia.edu/Documents/in/Devotional_music?f_ri=19425"},{"id":169616,"name":"Latin American Colonial Music","url":"https://www.academia.edu/Documents/in/Latin_American_Colonial_Music?f_ri=19425"},{"id":187488,"name":"Spanish Renaissance and Baroque Art","url":"https://www.academia.edu/Documents/in/Spanish_Renaissance_and_Baroque_Art?f_ri=19425"},{"id":369316,"name":"Sixteenth Century Music","url":"https://www.academia.edu/Documents/in/Sixteenth_Century_Music?f_ri=19425"},{"id":379947,"name":"Mexican Music","url":"https://www.academia.edu/Documents/in/Mexican_Music?f_ri=19425"},{"id":537738,"name":"Spanish Renaissance Music","url":"https://www.academia.edu/Documents/in/Spanish_Renaissance_Music?f_ri=19425"},{"id":707452,"name":"Antiphon","url":"https://www.academia.edu/Documents/in/Antiphon?f_ri=19425"},{"id":801093,"name":"Catedral de México","url":"https://www.academia.edu/Documents/in/Catedral_de_Mexico?f_ri=19425"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_16352967" data-work_id="16352967" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/16352967/GIOVANNI_GIACOMO_GASTOLDI_Balletti_a_tre_voci">GIOVANNI GIACOMO GASTOLDI, Balletti a tre voci</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Edizione critica dei 16 Balletti a tre voci (trascritti dall'edizione a stampa di Anversa, 1631). Raffinate e giocose miniature sonore dedicate all’intrattenimento di corte, i balletti di Gastoldi erano pensati “per cantare, sonare et... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_16352967" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Edizione critica dei 16 Balletti a tre voci (trascritti dall'edizione a stampa di Anversa, 1631). <br />Raffinate e giocose miniature sonore dedicate all’intrattenimento di corte, i balletti di Gastoldi erano pensati “per cantare, sonare et ballare”, così come si può leggere nei frontespizi delle edizioni originali a stampa. I testi sono per lo più di intonazione amorosa: il compositore tratteggia con piglio divertito e con felice mano contrappuntistica diverse tipologie di carattere (Il felice, Il risentito, Il curioso, Il passionato...), donando a ognuna di esse una sapida atmosfera, nel costante rispetto metrico della versificazione e dei cadenzati passi della danza.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/16352967" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="76ccbd1ae80c5932dbd9b6574fcd5530" rel="nofollow" data-download="{"attachment_id":38957039,"asset_id":16352967,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/38957039/download_file?st=MTc0MTA5NTQ2Niw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="9804761" href="https://independent.academia.edu/MarcoBerrini">Marco Berrini</a><script data-card-contents-for-user="9804761" type="text/json">{"id":9804761,"first_name":"Marco","last_name":"Berrini","domain_name":"independent","page_name":"MarcoBerrini","display_name":"Marco Berrini","profile_url":"https://independent.academia.edu/MarcoBerrini?f_ri=19425","photo":"https://0.academia-photos.com/9804761/4052373/4727805/s65_marco.berrini.jpg"}</script></span></span></li><li class="js-paper-rank-work_16352967 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="16352967"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 16352967, container: ".js-paper-rank-work_16352967", }); });</script></li><li class="js-percentile-work_16352967 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 16352967; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_16352967"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_16352967 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="16352967"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 16352967; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=16352967]").text(description); $(".js-view-count-work_16352967").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_16352967").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="16352967"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">4</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="17547" rel="nofollow" href="https://www.academia.edu/Documents/in/Renaissance_music">Renaissance music</a>, <script data-card-contents-for-ri="17547" type="text/json">{"id":17547,"name":"Renaissance music","url":"https://www.academia.edu/Documents/in/Renaissance_music?f_ri=19425","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="19425" rel="nofollow" href="https://www.academia.edu/Documents/in/Polyphony">Polyphony</a>, <script data-card-contents-for-ri="19425" type="text/json">{"id":19425,"name":"Polyphony","url":"https://www.academia.edu/Documents/in/Polyphony?f_ri=19425","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="21710" rel="nofollow" href="https://www.academia.edu/Documents/in/Choral_Music">Choral Music</a>, <script data-card-contents-for-ri="21710" type="text/json">{"id":21710,"name":"Choral Music","url":"https://www.academia.edu/Documents/in/Choral_Music?f_ri=19425","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="165916" rel="nofollow" href="https://www.academia.edu/Documents/in/16th-Century_Polyphony">16th-Century Polyphony</a><script data-card-contents-for-ri="165916" type="text/json">{"id":165916,"name":"16th-Century Polyphony","url":"https://www.academia.edu/Documents/in/16th-Century_Polyphony?f_ri=19425","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=16352967]'), work: {"id":16352967,"title":"GIOVANNI GIACOMO GASTOLDI, Balletti a tre voci","created_at":"2015-10-01T02:38:50.923-07:00","url":"https://www.academia.edu/16352967/GIOVANNI_GIACOMO_GASTOLDI_Balletti_a_tre_voci?f_ri=19425","dom_id":"work_16352967","summary":"Edizione critica dei 16 Balletti a tre voci (trascritti dall'edizione a stampa di Anversa, 1631). \r\nRaffinate e giocose miniature sonore dedicate all’intrattenimento di corte, i balletti di Gastoldi erano pensati “per cantare, sonare et ballare”, così come si può leggere nei frontespizi delle edizioni originali a stampa. I testi sono per lo più di intonazione amorosa: il compositore tratteggia con piglio divertito e con felice mano contrappuntistica diverse tipologie di carattere (Il felice, Il risentito, Il curioso, Il passionato...), donando a ognuna di esse una sapida atmosfera, nel costante rispetto metrico della versificazione e dei cadenzati passi della danza.","downloadable_attachments":[{"id":38957039,"asset_id":16352967,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":9804761,"first_name":"Marco","last_name":"Berrini","domain_name":"independent","page_name":"MarcoBerrini","display_name":"Marco Berrini","profile_url":"https://independent.academia.edu/MarcoBerrini?f_ri=19425","photo":"https://0.academia-photos.com/9804761/4052373/4727805/s65_marco.berrini.jpg"}],"research_interests":[{"id":17547,"name":"Renaissance music","url":"https://www.academia.edu/Documents/in/Renaissance_music?f_ri=19425","nofollow":true},{"id":19425,"name":"Polyphony","url":"https://www.academia.edu/Documents/in/Polyphony?f_ri=19425","nofollow":true},{"id":21710,"name":"Choral Music","url":"https://www.academia.edu/Documents/in/Choral_Music?f_ri=19425","nofollow":true},{"id":165916,"name":"16th-Century Polyphony","url":"https://www.academia.edu/Documents/in/16th-Century_Polyphony?f_ri=19425","nofollow":true}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_12202910" data-work_id="12202910" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/12202910/C%C3%B3mo_leer_cantar_o_grabar_el_Cancionero_de_Uppsala_1556_de_principio_a_fin">Cómo leer, cantar o grabar el Cancionero de Uppsala (1556): ¿de principio a fin?</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Resumen: El impreso musical conocido como Cancionero de Uppsala (Venecia, 1556) ha recibido mucha atención por parte de músicos prácticos, y ha sido objeto de varias ediciones totales o parciales y de diversas grabaciones que han... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_12202910" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Resumen: El impreso musical conocido como Cancionero de Uppsala (Venecia, 1556) ha recibido mucha atención por parte de músicos prácticos, y ha sido objeto de varias ediciones totales o parciales y de diversas grabaciones que han permitido poner al alcance de los estudiosos y del público en general este importante repertorio de cincuenta y cuatro villancicos. El presente estudio sugiere que el recopilador ordenó estas obras preexistentes no sólo atendiendo, como se pensaba, a un posible uso pedagógico, con incremento progresivo del número de voces -a dos, a tres, a cuatro y a cinco-, sino también de acuerdo con un plan narrativo que ha pasado desapercibido hasta ahora, que implica una nueva lectura de este Cancionero y, especialmente, una nueva aproximación a su interpretación musical. Considerando este posible programa narrativo, el Cancionero incluso podría ser representado teatralmente. La única pieza atribuida en él a un compositor (Nicolas Gombert) adquiere especial relevancia, lo que, sumado a las características de este impreso, cuestiona la hasta ahora asumida procedencia de la corte valenciana del Duque de Calabria (1488-1550.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/12202910" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="458faef944808fb8264a4351bf7c2891" rel="nofollow" data-download="{"attachment_id":37487928,"asset_id":12202910,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/37487928/download_file?st=MTc0MTA5NTQ2Niw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="349203" href="https://csic.academia.edu/EmilioRosF%C3%A1bregas">Emilio Ros-Fábregas</a><script data-card-contents-for-user="349203" type="text/json">{"id":349203,"first_name":"Emilio","last_name":"Ros-Fábregas","domain_name":"csic","page_name":"EmilioRosFábregas","display_name":"Emilio Ros-Fábregas","profile_url":"https://csic.academia.edu/EmilioRosF%C3%A1bregas?f_ri=19425","photo":"https://0.academia-photos.com/349203/94753/39180276/s65_emilio.ros-f_bregas.png"}</script></span></span></li><li class="js-paper-rank-work_12202910 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="12202910"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 12202910, container: ".js-paper-rank-work_12202910", }); 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$(".js-view-count[data-work-id=12202910]").text(description); $(".js-view-count-work_12202910").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_12202910").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="12202910"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">8</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="17547" rel="nofollow" href="https://www.academia.edu/Documents/in/Renaissance_music">Renaissance music</a>, <script data-card-contents-for-ri="17547" type="text/json">{"id":17547,"name":"Renaissance music","url":"https://www.academia.edu/Documents/in/Renaissance_music?f_ri=19425","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="19425" rel="nofollow" href="https://www.academia.edu/Documents/in/Polyphony">Polyphony</a>, <script data-card-contents-for-ri="19425" type="text/json">{"id":19425,"name":"Polyphony","url":"https://www.academia.edu/Documents/in/Polyphony?f_ri=19425","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="21945" rel="nofollow" href="https://www.academia.edu/Documents/in/Spanish_Music">Spanish Music</a>, <script data-card-contents-for-ri="21945" type="text/json">{"id":21945,"name":"Spanish Music","url":"https://www.academia.edu/Documents/in/Spanish_Music?f_ri=19425","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="88523" rel="nofollow" href="https://www.academia.edu/Documents/in/Musicology_Spanish_Music_Historiography">Musicology, Spanish Music Historiography</a><script data-card-contents-for-ri="88523" type="text/json">{"id":88523,"name":"Musicology, Spanish Music Historiography","url":"https://www.academia.edu/Documents/in/Musicology_Spanish_Music_Historiography?f_ri=19425","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=12202910]'), work: {"id":12202910,"title":"Cómo leer, cantar o grabar el Cancionero de Uppsala (1556): ¿de principio a fin?","created_at":"2015-05-03T04:20:26.029-07:00","url":"https://www.academia.edu/12202910/C%C3%B3mo_leer_cantar_o_grabar_el_Cancionero_de_Uppsala_1556_de_principio_a_fin?f_ri=19425","dom_id":"work_12202910","summary":"Resumen: El impreso musical conocido como Cancionero de Uppsala (Venecia, 1556) ha recibido mucha atención por parte de músicos prácticos, y ha sido objeto de varias ediciones totales o parciales y de diversas grabaciones que han permitido poner al alcance de los estudiosos y del público en general este importante repertorio de cincuenta y cuatro villancicos. El presente estudio sugiere que el recopilador ordenó estas obras preexistentes no sólo atendiendo, como se pensaba, a un posible uso pedagógico, con incremento progresivo del número de voces -a dos, a tres, a cuatro y a cinco-, sino también de acuerdo con un plan narrativo que ha pasado desapercibido hasta ahora, que implica una nueva lectura de este Cancionero y, especialmente, una nueva aproximación a su interpretación musical. Considerando este posible programa narrativo, el Cancionero incluso podría ser representado teatralmente. La única pieza atribuida en él a un compositor (Nicolas Gombert) adquiere especial relevancia, lo que, sumado a las características de este impreso, cuestiona la hasta ahora asumida procedencia de la corte valenciana del Duque de Calabria (1488-1550.","downloadable_attachments":[{"id":37487928,"asset_id":12202910,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":349203,"first_name":"Emilio","last_name":"Ros-Fábregas","domain_name":"csic","page_name":"EmilioRosFábregas","display_name":"Emilio Ros-Fábregas","profile_url":"https://csic.academia.edu/EmilioRosF%C3%A1bregas?f_ri=19425","photo":"https://0.academia-photos.com/349203/94753/39180276/s65_emilio.ros-f_bregas.png"}],"research_interests":[{"id":17547,"name":"Renaissance music","url":"https://www.academia.edu/Documents/in/Renaissance_music?f_ri=19425","nofollow":true},{"id":19425,"name":"Polyphony","url":"https://www.academia.edu/Documents/in/Polyphony?f_ri=19425","nofollow":true},{"id":21945,"name":"Spanish Music","url":"https://www.academia.edu/Documents/in/Spanish_Music?f_ri=19425","nofollow":true},{"id":88523,"name":"Musicology, Spanish Music Historiography","url":"https://www.academia.edu/Documents/in/Musicology_Spanish_Music_Historiography?f_ri=19425","nofollow":true},{"id":140922,"name":"Cancionero","url":"https://www.academia.edu/Documents/in/Cancionero?f_ri=19425"},{"id":389420,"name":"Villancicos","url":"https://www.academia.edu/Documents/in/Villancicos?f_ri=19425"},{"id":611835,"name":"Music printing in the 16th and 17th centuries","url":"https://www.academia.edu/Documents/in/Music_printing_in_the_16th_and_17th_centuries?f_ri=19425"},{"id":1182542,"name":"Nicolas Gombert","url":"https://www.academia.edu/Documents/in/Nicolas_Gombert?f_ri=19425"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_35696265" data-work_id="35696265" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/35696265/Baude_Cordier_Circle_Canon_Tout_par_compas_suy_composes_three_realizations_with_text_translations_Source_late_14th_century_Manuscript_Chantilly_Mus%C3%A9e_Cond%C3%A9_564_fol_12_">Baude Cordier: Circle Canon, "Tout par compas suy composes" (three realizations with text translations) (Source: late 14th century, Manuscript Chantilly, Musée Condé 564, fol 12)</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">This is a threefold transcription of Baude Cordier's "circle canon," two versions in rondeau form and one in perpetual canon. Included with the music transcriptions are full translations from Medieval French to English of all the... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_35696265" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">This is a threefold transcription of Baude Cordier's "circle canon," two versions in rondeau form and one in perpetual canon. Included with the music transcriptions are full translations from Medieval French to English of all the accompanying texts as well as an English text underlay for the music. <br /> <br />Also included is a full explanation of the various mensurations and colorations that appear in the piece. <br /> <br />The design of the scores attempts to illustrate the rondeau form overlaying the canonic conceit. <br /> <br />For a score animation with the transcription and original manuscript, see this link: <br /><a href="https://www.youtube.com/watch?v=iaeOWdXM4Pg" rel="nofollow">https://www.youtube.com/watch?v=iaeOWdXM4Pg</a></div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/35696265" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="dae47abf08e550339f728bbe2284ad6c" rel="nofollow" data-download="{"attachment_id":55567762,"asset_id":35696265,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/55567762/download_file?st=MTc0MTA5NTQ2Niw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="6283566" href="https://florida.academia.edu/JordanAlexanderKey">Jordan Alexander Key</a><script data-card-contents-for-user="6283566" type="text/json">{"id":6283566,"first_name":"Jordan Alexander","last_name":"Key","domain_name":"florida","page_name":"JordanAlexanderKey","display_name":"Jordan Alexander Key","profile_url":"https://florida.academia.edu/JordanAlexanderKey?f_ri=19425","photo":"https://0.academia-photos.com/6283566/2960433/67736632/s65_jordan_alexander.key.jpg"}</script></span></span></li><li class="js-paper-rank-work_35696265 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="35696265"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 35696265, container: ".js-paper-rank-work_35696265", }); 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$(".js-view-count[data-work-id=35696265]").text(description); $(".js-view-count-work_35696265").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_35696265").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="35696265"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">147</a>  </div><span class="InlineList-item-text u-textTruncate u-pl11x"><a class="InlineList-item-text" data-has-card-for-ri="685" rel="nofollow" href="https://www.academia.edu/Documents/in/Music_History">Music History</a>, <script data-card-contents-for-ri="685" type="text/json">{"id":685,"name":"Music History","url":"https://www.academia.edu/Documents/in/Music_History?f_ri=19425","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="687" rel="nofollow" href="https://www.academia.edu/Documents/in/Musicology">Musicology</a>, <script data-card-contents-for-ri="687" type="text/json">{"id":687,"name":"Musicology","url":"https://www.academia.edu/Documents/in/Musicology?f_ri=19425","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="1228" rel="nofollow" href="https://www.academia.edu/Documents/in/Medieval_Literature">Medieval Literature</a>, <script data-card-contents-for-ri="1228" type="text/json">{"id":1228,"name":"Medieval Literature","url":"https://www.academia.edu/Documents/in/Medieval_Literature?f_ri=19425","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="1446" rel="nofollow" href="https://www.academia.edu/Documents/in/Medieval_History">Medieval History</a><script data-card-contents-for-ri="1446" type="text/json">{"id":1446,"name":"Medieval History","url":"https://www.academia.edu/Documents/in/Medieval_History?f_ri=19425","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=35696265]'), work: {"id":35696265,"title":"Baude Cordier: Circle Canon, \"Tout par compas suy composes\" (three realizations with text translations) (Source: late 14th century, Manuscript Chantilly, Musée Condé 564, fol 12)","created_at":"2018-01-17T16:17:39.734-08:00","url":"https://www.academia.edu/35696265/Baude_Cordier_Circle_Canon_Tout_par_compas_suy_composes_three_realizations_with_text_translations_Source_late_14th_century_Manuscript_Chantilly_Mus%C3%A9e_Cond%C3%A9_564_fol_12_?f_ri=19425","dom_id":"work_35696265","summary":"This is a threefold transcription of Baude Cordier's \"circle canon,\" two versions in rondeau form and one in perpetual canon. Included with the music transcriptions are full translations from Medieval French to English of all the accompanying texts as well as an English text underlay for the music.\r\n\r\nAlso included is a full explanation of the various mensurations and colorations that appear in the piece.\r\n\r\nThe design of the scores attempts to illustrate the rondeau form overlaying the canonic conceit. \r\n\r\nFor a score animation with the transcription and original manuscript, see this link:\r\nhttps://www.youtube.com/watch?v=iaeOWdXM4Pg","downloadable_attachments":[{"id":55567762,"asset_id":35696265,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":6283566,"first_name":"Jordan Alexander","last_name":"Key","domain_name":"florida","page_name":"JordanAlexanderKey","display_name":"Jordan Alexander 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canon","url":"https://www.academia.edu/Documents/in/prolation_canon?f_ri=19425"},{"id":2524415,"name":"Jordan Key","url":"https://www.academia.edu/Documents/in/Jordan_Key?f_ri=19425"},{"id":2524416,"name":"Jordan Alexander Key","url":"https://www.academia.edu/Documents/in/Jordan_Alexander_Key?f_ri=19425"},{"id":2524417,"name":"Key, Jordan","url":"https://www.academia.edu/Documents/in/Key_Jordan?f_ri=19425"},{"id":2524418,"name":"Jordan A. Key","url":"https://www.academia.edu/Documents/in/Jordan_A._Key?f_ri=19425"},{"id":2536656,"name":"Mensuration Canon","url":"https://www.academia.edu/Documents/in/Mensuration_Canon?f_ri=19425"},{"id":2551688,"name":"Transcription (Music)","url":"https://www.academia.edu/Documents/in/Transcription_Music_?f_ri=19425"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_42252560" data-work_id="42252560" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/42252560/Ars_subtilior_in_Organ_Playing_c_1380_1420_Another_Glimpse_into_a_Late_Medieval_Unwritten_Performance_Practice">Ars subtilior in Organ Playing c.1380-1420: Another Glimpse into a Late Medieval Unwritten Performance Practice</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">References to organs and organists in fourteenth-century European institutions, both religious and secular, are literally uncountable. For a capsulized overview, see Peter Williams, A New History of the Organ (London and Boston: Indiana... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_42252560" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">References to organs and organists in fourteenth-century European institutions, both religious and secular, are literally uncountable. For a capsulized overview, see Peter Williams, A New History of the Organ (London and Boston: Indiana University Press, 1980): 46-51, where he summarizes how "organs were known in cathedrals less as an exception and more as a norm." 2 Only seven sources are currently known to represent fourteenth-century keyboard traditions, most of them being fragmentary manuscripts or transmitting isolated pieces. These sources are edited and / or discussed in</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/42252560" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="ce862aff62f876573ceb50e9ee603c50" rel="nofollow" data-download="{"attachment_id":67476380,"asset_id":42252560,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/67476380/download_file?st=MTc0MTA5NTQ2Niw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="1901422" href="https://uni-wuerzburg.academia.edu/DavidCatalunya">David Catalunya</a><script data-card-contents-for-user="1901422" type="text/json">{"id":1901422,"first_name":"David","last_name":"Catalunya","domain_name":"uni-wuerzburg","page_name":"DavidCatalunya","display_name":"David Catalunya","profile_url":"https://uni-wuerzburg.academia.edu/DavidCatalunya?f_ri=19425","photo":"https://0.academia-photos.com/1901422/643239/4540538/s65_david.catalu_ya.jpg"}</script></span></span></li><li class="js-paper-rank-work_42252560 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="42252560"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 42252560, container: ".js-paper-rank-work_42252560", }); 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$(".js-view-count[data-work-id=42252560]").text(description); $(".js-view-count-work_42252560").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_42252560").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="42252560"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">7</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="937" rel="nofollow" href="https://www.academia.edu/Documents/in/Improvisation">Improvisation</a>, <script data-card-contents-for-ri="937" type="text/json">{"id":937,"name":"Improvisation","url":"https://www.academia.edu/Documents/in/Improvisation?f_ri=19425","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="16420" rel="nofollow" href="https://www.academia.edu/Documents/in/Medieval_Music">Medieval Music</a>, <script data-card-contents-for-ri="16420" type="text/json">{"id":16420,"name":"Medieval Music","url":"https://www.academia.edu/Documents/in/Medieval_Music?f_ri=19425","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="19425" rel="nofollow" href="https://www.academia.edu/Documents/in/Polyphony">Polyphony</a>, <script data-card-contents-for-ri="19425" type="text/json">{"id":19425,"name":"Polyphony","url":"https://www.academia.edu/Documents/in/Polyphony?f_ri=19425","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="66363" rel="nofollow" href="https://www.academia.edu/Documents/in/Organ_Music">Organ Music</a><script data-card-contents-for-ri="66363" type="text/json">{"id":66363,"name":"Organ Music","url":"https://www.academia.edu/Documents/in/Organ_Music?f_ri=19425","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=42252560]'), work: {"id":42252560,"title":"Ars subtilior in Organ Playing c.1380-1420: Another Glimpse into a Late Medieval Unwritten Performance Practice","created_at":"2020-03-18T12:07:00.216-07:00","url":"https://www.academia.edu/42252560/Ars_subtilior_in_Organ_Playing_c_1380_1420_Another_Glimpse_into_a_Late_Medieval_Unwritten_Performance_Practice?f_ri=19425","dom_id":"work_42252560","summary":"References to organs and organists in fourteenth-century European institutions, both religious and secular, are literally uncountable. For a capsulized overview, see Peter Williams, A New History of the Organ (London and Boston: Indiana University Press, 1980): 46-51, where he summarizes how \"organs were known in cathedrals less as an exception and more as a norm.\" 2 Only seven sources are currently known to represent fourteenth-century keyboard traditions, most of them being fragmentary manuscripts or transmitting isolated pieces. These sources are edited and / or discussed in","downloadable_attachments":[{"id":67476380,"asset_id":42252560,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":1901422,"first_name":"David","last_name":"Catalunya","domain_name":"uni-wuerzburg","page_name":"DavidCatalunya","display_name":"David Catalunya","profile_url":"https://uni-wuerzburg.academia.edu/DavidCatalunya?f_ri=19425","photo":"https://0.academia-photos.com/1901422/643239/4540538/s65_david.catalu_ya.jpg"}],"research_interests":[{"id":937,"name":"Improvisation","url":"https://www.academia.edu/Documents/in/Improvisation?f_ri=19425","nofollow":true},{"id":16420,"name":"Medieval Music","url":"https://www.academia.edu/Documents/in/Medieval_Music?f_ri=19425","nofollow":true},{"id":19425,"name":"Polyphony","url":"https://www.academia.edu/Documents/in/Polyphony?f_ri=19425","nofollow":true},{"id":66363,"name":"Organ Music","url":"https://www.academia.edu/Documents/in/Organ_Music?f_ri=19425","nofollow":true},{"id":136113,"name":"Ars nova","url":"https://www.academia.edu/Documents/in/Ars_nova?f_ri=19425"},{"id":306050,"name":"Medieval musicology","url":"https://www.academia.edu/Documents/in/Medieval_musicology?f_ri=19425"},{"id":315173,"name":"Ars subtilior","url":"https://www.academia.edu/Documents/in/Ars_subtilior?f_ri=19425"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_41672695" data-work_id="41672695" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/41672695/Subjetividad_autoral_en_La_inapetencia_de_Rafael_Spregelburd_An%C3%A1lisis_de_la_imagen_del_Locutor_Dramaturgo_y_de_su_posicionamiento_enunciativo">Subjetividad autoral en La inapetencia de Rafael Spregelburd. Análisis de la imagen del "Locutor-Dramaturgo" y de su posicionamiento enunciativo</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">En términos generales, los estudios teatrales tradicionales afirman que una de las características distintivas del género texto dramático es que se trata de un "discurso sin sujeto" (cf. entre otros, De Toro, 2008; Helbo, 2012; Ubersfeld,... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_41672695" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">En términos generales, los estudios teatrales tradicionales afirman que una de las características distintivas del género texto dramático es que se trata de un "discurso sin sujeto" (cf. entre otros, De Toro, 2008; Helbo, 2012; Ubersfeld, 1989). Sin embargo, existen una serie de trabajos que establecen un diálogo polémico con esta tradición y sugieren que, en efecto, todo texto de teatro posee una voz que es mostrada como a cargo de la enunciación global y que puede ser identificada, por ejemplo, en el discurso didascálico (cf. entre otros, De Marinis, 2005; Veltrusky, 1997; Villegas, 1991). De hecho, desde nuestra perspectiva, el modo en que se configura esta voz, que queda asociada convencionalmente con la figura del dramaturgo en tanto ethos autoral (Maingeneau, 2002), define la perspectiva enunciativa de todo el texto dramático (i.e. el lugar desde el cual se presentan los hechos). En ese sentido, en este trabajo, que forma parte de una investigación de doctorado en curso, nos proponemos analizar la manera específica en que queda construido el responsable de la enunciación global en La inapetencia [1996] (2000), pieza teatral de Rafael Spregelburd. En particular, observaremos que el texto pone en escena una imagen del dramaturgo como la de alguien que adopta una posición de distancia crítica frente a los personajes del drama. Para dar cuenta de esta dimensión, estudiaremos el modo en que estos últimos queda representados en tanto Locutores en sus propios discursos, lo que nos permitirá evaluar la actitud con la que el "Locutor-Dramaturgo" aparece mostrado frente a ellos. Finalmente, en cuanto a nuestra perspectiva de trabajo, nos enmarcaremos en el Enfoque dialógico de la argumentación y la polifonía enunciativa (García Negroni, 2009; 2016a; 2016b; 2018), teoría no veritativista de la significación y no unicista del sujeto.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/41672695" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="fdad48074328ba3e2d7530d3046740d0" rel="nofollow" data-download="{"attachment_id":61828466,"asset_id":41672695,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/61828466/download_file?st=MTc0MTA5NTQ2Niw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="57886150" href="https://una-edu.academia.edu/MarianoZucchi">Mariano Zucchi</a><script data-card-contents-for-user="57886150" type="text/json">{"id":57886150,"first_name":"Mariano","last_name":"Zucchi","domain_name":"una-edu","page_name":"MarianoZucchi","display_name":"Mariano Zucchi","profile_url":"https://una-edu.academia.edu/MarianoZucchi?f_ri=19425","photo":"https://0.academia-photos.com/57886150/15171591/87579347/s65_mariano.zucchi.png"}</script></span></span></li><li class="js-paper-rank-work_41672695 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="41672695"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 41672695, container: ".js-paper-rank-work_41672695", }); 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$(".js-view-count[data-work-id=41672695]").text(description); $(".js-view-count-work_41672695").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_41672695").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="41672695"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">20</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="947" rel="nofollow" href="https://www.academia.edu/Documents/in/Theatre_Studies">Theatre Studies</a>, <script data-card-contents-for-ri="947" type="text/json">{"id":947,"name":"Theatre Studies","url":"https://www.academia.edu/Documents/in/Theatre_Studies?f_ri=19425","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="2521" rel="nofollow" href="https://www.academia.edu/Documents/in/Dramatic_Literature">Dramatic Literature</a>, <script data-card-contents-for-ri="2521" type="text/json">{"id":2521,"name":"Dramatic Literature","url":"https://www.academia.edu/Documents/in/Dramatic_Literature?f_ri=19425","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="3294" rel="nofollow" href="https://www.academia.edu/Documents/in/Dramaturgy">Dramaturgy</a>, <script data-card-contents-for-ri="3294" type="text/json">{"id":3294,"name":"Dramaturgy","url":"https://www.academia.edu/Documents/in/Dramaturgy?f_ri=19425","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="6222" rel="nofollow" href="https://www.academia.edu/Documents/in/Drama">Drama</a><script data-card-contents-for-ri="6222" type="text/json">{"id":6222,"name":"Drama","url":"https://www.academia.edu/Documents/in/Drama?f_ri=19425","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=41672695]'), work: {"id":41672695,"title":"Subjetividad autoral en La inapetencia de Rafael Spregelburd. Análisis de la imagen del \"Locutor-Dramaturgo\" y de su posicionamiento enunciativo","created_at":"2020-01-19T06:12:59.015-08:00","url":"https://www.academia.edu/41672695/Subjetividad_autoral_en_La_inapetencia_de_Rafael_Spregelburd_An%C3%A1lisis_de_la_imagen_del_Locutor_Dramaturgo_y_de_su_posicionamiento_enunciativo?f_ri=19425","dom_id":"work_41672695","summary":"En términos generales, los estudios teatrales tradicionales afirman que una de las características distintivas del género texto dramático es que se trata de un \"discurso sin sujeto\" (cf. entre otros, De Toro, 2008; Helbo, 2012; Ubersfeld, 1989). Sin embargo, existen una serie de trabajos que establecen un diálogo polémico con esta tradición y sugieren que, en efecto, todo texto de teatro posee una voz que es mostrada como a cargo de la enunciación global y que puede ser identificada, por ejemplo, en el discurso didascálico (cf. entre otros, De Marinis, 2005; Veltrusky, 1997; Villegas, 1991). De hecho, desde nuestra perspectiva, el modo en que se configura esta voz, que queda asociada convencionalmente con la figura del dramaturgo en tanto ethos autoral (Maingeneau, 2002), define la perspectiva enunciativa de todo el texto dramático (i.e. el lugar desde el cual se presentan los hechos). En ese sentido, en este trabajo, que forma parte de una investigación de doctorado en curso, nos proponemos analizar la manera específica en que queda construido el responsable de la enunciación global en La inapetencia [1996] (2000), pieza teatral de Rafael Spregelburd. En particular, observaremos que el texto pone en escena una imagen del dramaturgo como la de alguien que adopta una posición de distancia crítica frente a los personajes del drama. Para dar cuenta de esta dimensión, estudiaremos el modo en que estos últimos queda representados en tanto Locutores en sus propios discursos, lo que nos permitirá evaluar la actitud con la que el \"Locutor-Dramaturgo\" aparece mostrado frente a ellos. Finalmente, en cuanto a nuestra perspectiva de trabajo, nos enmarcaremos en el Enfoque dialógico de la argumentación y la polifonía enunciativa (García Negroni, 2009; 2016a; 2016b; 2018), teoría no veritativista de la significación y no unicista del sujeto. ","downloadable_attachments":[{"id":61828466,"asset_id":41672695,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":57886150,"first_name":"Mariano","last_name":"Zucchi","domain_name":"una-edu","page_name":"MarianoZucchi","display_name":"Mariano Zucchi","profile_url":"https://una-edu.academia.edu/MarianoZucchi?f_ri=19425","photo":"https://0.academia-photos.com/57886150/15171591/87579347/s65_mariano.zucchi.png"}],"research_interests":[{"id":947,"name":"Theatre Studies","url":"https://www.academia.edu/Documents/in/Theatre_Studies?f_ri=19425","nofollow":true},{"id":2521,"name":"Dramatic Literature","url":"https://www.academia.edu/Documents/in/Dramatic_Literature?f_ri=19425","nofollow":true},{"id":3294,"name":"Dramaturgy","url":"https://www.academia.edu/Documents/in/Dramaturgy?f_ri=19425","nofollow":true},{"id":6222,"name":"Drama","url":"https://www.academia.edu/Documents/in/Drama?f_ri=19425","nofollow":true},{"id":9394,"name":"Modern Drama","url":"https://www.academia.edu/Documents/in/Modern_Drama?f_ri=19425"},{"id":19425,"name":"Polyphony","url":"https://www.academia.edu/Documents/in/Polyphony?f_ri=19425"},{"id":24466,"name":"Theatre Theory","url":"https://www.academia.edu/Documents/in/Theatre_Theory?f_ri=19425"},{"id":29102,"name":"Theatre","url":"https://www.academia.edu/Documents/in/Theatre?f_ri=19425"},{"id":63938,"name":"Ethos","url":"https://www.academia.edu/Documents/in/Ethos?f_ri=19425"},{"id":73584,"name":"Dramaturgia","url":"https://www.academia.edu/Documents/in/Dramaturgia?f_ri=19425"},{"id":85694,"name":"Teatro","url":"https://www.academia.edu/Documents/in/Teatro?f_ri=19425"},{"id":145919,"name":"Subjetividad","url":"https://www.academia.edu/Documents/in/Subjetividad?f_ri=19425"},{"id":156267,"name":"Subjetividade","url":"https://www.academia.edu/Documents/in/Subjetividade?f_ri=19425"},{"id":159457,"name":"Theatre Arts","url":"https://www.academia.edu/Documents/in/Theatre_Arts?f_ri=19425"},{"id":176557,"name":"Teatro argentino","url":"https://www.academia.edu/Documents/in/Teatro_argentino?f_ri=19425"},{"id":228788,"name":"Teatrología","url":"https://www.academia.edu/Documents/in/Teatrolog%C3%ADa?f_ri=19425"},{"id":260291,"name":"Dramatic Arts","url":"https://www.academia.edu/Documents/in/Dramatic_Arts?f_ri=19425"},{"id":541847,"name":"Polifonía discursiva","url":"https://www.academia.edu/Documents/in/Polifonia_discursiva?f_ri=19425"},{"id":1188281,"name":"Texto dramático","url":"https://www.academia.edu/Documents/in/Texto_dramatico?f_ri=19425"},{"id":1546190,"name":"Teatro argentino postdictadura","url":"https://www.academia.edu/Documents/in/Teatro_argentino_postdictadura?f_ri=19425"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_15483902" data-work_id="15483902" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/15483902/A_Little_Known_Part_Book_from_Toledo_Music_by_Morales_Guerrero_Jorge_de_Santa_Mar%C3%ADa_Alonso_Lobo_and_Others_">A Little Known Part-Book from Toledo. Music by Morales, Guerrero, Jorge de Santa María, Alonso Lobo and Others...</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Full title: 'A Little Known Part-Book from Toledo. Music by Morales, Guerrero, Jorge de Santa María, Alonso Lobo and Others in Barcelona, Instituto Espanõl de Musicología, Fondo Reserva, Ms. 1'. Published in: Anuario Musical 65 (2010),... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_15483902" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Full title: 'A Little Known Part-Book from Toledo. Music by Morales, Guerrero, Jorge de Santa María, Alonso Lobo and Others in Barcelona, Instituto Espanõl de Musicología, Fondo Reserva, Ms. 1'.  <br />Published in: Anuario Musical 65 (2010), pp. 25-56. || ABSTRACT. A part-book preserved in the Instituto Español de Musicología, Barcelona, contains over fifty items of sacred music by composers associated with both the Cathedral and the Colegio de los Infantes in Toledo during the sixteenth and early seventeenth centuries. These composers range from Morales and Guerrero, to Francisco de Tapia and Jorge de Santa María—both Masters at the Colegio in the later sixteenth century—and Alonso Lobo, chapelmaster at the cathedral, 1593 to 1603. The majority of the music is unique to this source, and it also includes works by Morales that were revised for publication when he was in Italy. The part-book is very largely copied for second or first superius, and there are indications that much of the repertory was intended for high voices; but there is also the occasional piece for a lower voice part. The manuscript contains a wide range of Latin-texted sacred music that includes mass settings, Magnificats, motets and psalms. In addition to about a dozen items by Morales, the part- book includes rare settings of calendas by Santa Maria, examples of mass propers in contrapunto style by Francisco de Tapia, and a sequence of music for the Christmas Misa del gallo (midnight mass).</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/15483902" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="147b274f18c7e875e2026362d5216668" rel="nofollow" data-download="{"attachment_id":38693148,"asset_id":15483902,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/38693148/download_file?st=MTc0MTA5NTQ2Niw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="1810724" href="https://oxford.academia.edu/BernadetteNelson">Bernadette Nelson</a><script data-card-contents-for-user="1810724" type="text/json">{"id":1810724,"first_name":"Bernadette","last_name":"Nelson","domain_name":"oxford","page_name":"BernadetteNelson","display_name":"Bernadette Nelson","profile_url":"https://oxford.academia.edu/BernadetteNelson?f_ri=19425","photo":"https://0.academia-photos.com/1810724/10190000/11519419/s65_bernadette.nelson.jpg"}</script></span></span></li><li class="js-paper-rank-work_15483902 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="15483902"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 15483902, container: ".js-paper-rank-work_15483902", }); 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$(".js-view-count[data-work-id=15483902]").text(description); $(".js-view-count-work_15483902").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_15483902").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="15483902"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">9</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="681" rel="nofollow" href="https://www.academia.edu/Documents/in/Early_Music">Early Music</a>, <script data-card-contents-for-ri="681" type="text/json">{"id":681,"name":"Early Music","url":"https://www.academia.edu/Documents/in/Early_Music?f_ri=19425","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="19425" rel="nofollow" href="https://www.academia.edu/Documents/in/Polyphony">Polyphony</a>, <script data-card-contents-for-ri="19425" type="text/json">{"id":19425,"name":"Polyphony","url":"https://www.academia.edu/Documents/in/Polyphony?f_ri=19425","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="74005" rel="nofollow" href="https://www.academia.edu/Documents/in/Musical_sources">Musical sources</a>, <script data-card-contents-for-ri="74005" type="text/json">{"id":74005,"name":"Musical sources","url":"https://www.academia.edu/Documents/in/Musical_sources?f_ri=19425","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="88523" rel="nofollow" href="https://www.academia.edu/Documents/in/Musicology_Spanish_Music_Historiography">Musicology, Spanish Music Historiography</a><script data-card-contents-for-ri="88523" type="text/json">{"id":88523,"name":"Musicology, Spanish Music Historiography","url":"https://www.academia.edu/Documents/in/Musicology_Spanish_Music_Historiography?f_ri=19425","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=15483902]'), work: {"id":15483902,"title":"A Little Known Part-Book from Toledo. Music by Morales, Guerrero, Jorge de Santa María, Alonso Lobo and Others...","created_at":"2015-09-07T09:03:48.869-07:00","url":"https://www.academia.edu/15483902/A_Little_Known_Part_Book_from_Toledo_Music_by_Morales_Guerrero_Jorge_de_Santa_Mar%C3%ADa_Alonso_Lobo_and_Others_?f_ri=19425","dom_id":"work_15483902","summary":"Full title: 'A Little Known Part-Book from Toledo. Music by Morales, Guerrero, Jorge de Santa María, Alonso Lobo and Others in Barcelona, Instituto Espanõl de Musicología, Fondo Reserva, Ms. 1'. \nPublished in: Anuario Musical 65 (2010), pp. 25-56. || ABSTRACT. A part-book preserved in the Instituto Español de Musicología, Barcelona, contains over fifty items of sacred music by composers associated with both the Cathedral and the Colegio de los Infantes in Toledo during the sixteenth and early seventeenth centuries. These composers range from Morales and Guerrero, to Francisco de Tapia and Jorge de Santa María—both Masters at the Colegio in the later sixteenth century—and Alonso Lobo, chapelmaster at the cathedral, 1593 to 1603. The majority of the music is unique to this source, and it also includes works by Morales that were revised for publication when he was in Italy. The part-book is very largely copied for second or first superius, and there are indications that much of the repertory was intended for high voices; but there is also the occasional piece for a lower voice part. The manuscript contains a wide range of Latin-texted sacred music that includes mass settings, Magnificats, motets and psalms. In addition to about a dozen items by Morales, the part- book includes rare settings of calendas by Santa Maria, examples of mass propers in contrapunto style by Francisco de Tapia, and a sequence of music for the Christmas Misa del gallo (midnight mass).","downloadable_attachments":[{"id":38693148,"asset_id":15483902,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":1810724,"first_name":"Bernadette","last_name":"Nelson","domain_name":"oxford","page_name":"BernadetteNelson","display_name":"Bernadette Nelson","profile_url":"https://oxford.academia.edu/BernadetteNelson?f_ri=19425","photo":"https://0.academia-photos.com/1810724/10190000/11519419/s65_bernadette.nelson.jpg"}],"research_interests":[{"id":681,"name":"Early Music","url":"https://www.academia.edu/Documents/in/Early_Music?f_ri=19425","nofollow":true},{"id":19425,"name":"Polyphony","url":"https://www.academia.edu/Documents/in/Polyphony?f_ri=19425","nofollow":true},{"id":74005,"name":"Musical sources","url":"https://www.academia.edu/Documents/in/Musical_sources?f_ri=19425","nofollow":true},{"id":88523,"name":"Musicology, Spanish Music Historiography","url":"https://www.academia.edu/Documents/in/Musicology_Spanish_Music_Historiography?f_ri=19425","nofollow":true},{"id":165916,"name":"16th-Century Polyphony","url":"https://www.academia.edu/Documents/in/16th-Century_Polyphony?f_ri=19425"},{"id":389439,"name":"Polyphonic Mass Propers","url":"https://www.academia.edu/Documents/in/Polyphonic_Mass_Propers?f_ri=19425"},{"id":537739,"name":"Cristóbal de Morales","url":"https://www.academia.edu/Documents/in/Cristobal_de_Morales?f_ri=19425"},{"id":635851,"name":"Contrapunto","url":"https://www.academia.edu/Documents/in/Contrapunto?f_ri=19425"},{"id":1505239,"name":"16th Century Spanish Polyphony","url":"https://www.academia.edu/Documents/in/16th_Century_Spanish_Polyphony?f_ri=19425"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_45070938 coauthored" data-work_id="45070938" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/45070938/De_Mvsica_Hvmana_24o_Festival_de_M%C3%BAsica_Antigua_de_%C3%9Abeda_y_Baeza">De Mvsica Hvmana / 24º Festival de Música Antigua de Úbeda y Baeza</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Si algo ha demostrado la reciente y dramática eclosión de la Covid 19 es el alto nivel de interdependencia global entre todas las personas del mundo y la nueva dimensión que han adquirido valores típicamente humanos como la... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_45070938" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Si algo ha demostrado la reciente y dramática eclosión de la Covid 19 es el alto nivel de interdependencia global entre todas las personas del mundo y la nueva dimensión que han adquirido valores típicamente humanos como la responsabilidad, la solidaridad y la profesionalidad. El FeMAUB 2020, marcado por la expansión del virus, también quiere situar en el centro a las personas por medio del evocador lema “DE MVSICA HVMANA” (la música del hombre), término utilizado desde la Alta Edad Media para referirse a la armonía interior que une el alma y el cuerpo en la persona (por oposición a “mvsica mvndana” o del universo y a “mvsica instrumentalis” o de los instrumentos musicales). El concepto de “mvsica humana” ejerció una gran influencia en el Renacimiento –época de esplendor de Úbeda y Baeza– y cristalizó en el pensamiento humanista, que ubica al hombre en el centro del universo y del saber, en tanto criatura privilegiada. Desde esta perspectiva filosófica más humanizada y antropocentrista, el FeMAUB 2020 se dedica al conjunto de personas que hacen posible su celebración desde hace casi un cuarto de siglo: artistas, audiencias, organizadores, patrocinadores, proveedores y, en definitiva, a todos los que de manera directa e indirecta han participado y participan en el mismo, como metáfora expresiva e ideal, a pequeña escala, de la necesaria armonía universal. Todo ello sin perder de vista el elemento más característico desde su creación: la recuperación y difusión del patrimonio musical hispano en entornos artísticos excepcionales y únicos como son los constituidos por las ciudades de Úbeda y Baeza. // If the recent and dramatic emergence of the COVID-19 pandemic has taught anything, it is both the high level of global interdependence between people and the new dimension acquired by typically human values, such as responsibility, solidarity and professionality. The FeMAUB 2020, marked by the spread of the virus, also aims to put people at the centre by means of the evocative title “DE MVSICA HVMANA” (human music), a concept used from the early Middle Age in order to refer to the inner harmony that links the soul with the human body (as opposite both to the “mvsica mundana” or that of the cosmos, and to the “mvsica instrumentalis” or the music produced by musical instruments). The notion of “mvsica humana” exerted an important influence on the Renaissance –a flourishing period in Úbeda and Baeza– and crystallised in the humanist thought, which put the human being at the centre of both the universe and the knowledge, as it was considered a privileged creature. From this more humanised and anthropocentric philosophical perspective, the FeMAUB 2020 is dedicated to the group of people who has made it possible the celebration of the festival for nearly a quarter of a century: artists, audiences, organisers, sponsors, suppliers and, ultimately, all those who in a direct or indirect way have participated and continue to participate in the festival, as an ideal and expressive, small-scale metaphor for universal harmony. Nor is it overlooked that the most characteristic element from the creation of the festival has been the recovery and dissemination of Hispanic musical heritage in exceptional artistic settings such as those provided by the cities of Úbeda and Baeza.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/45070938" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="c0e3f1cbb9f8b16983899cbac40c684d" rel="nofollow" data-download="{"attachment_id":65627354,"asset_id":45070938,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/65627354/download_file?st=MTc0MTA5NTQ2Niw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="541245" href="https://jaen.academia.edu/JavierMarinLopez">Javier Marín-López</a><script data-card-contents-for-user="541245" type="text/json">{"id":541245,"first_name":"Javier","last_name":"Marín-López","domain_name":"jaen","page_name":"JavierMarinLopez","display_name":"Javier Marín-López","profile_url":"https://jaen.academia.edu/JavierMarinLopez?f_ri=19425","photo":"https://0.academia-photos.com/541245/2929659/21124521/s65_javier.mar_n-l_pez.jpg"}</script></span></span><span class="u-displayInlineBlock InlineList-item-text"> and <span class="u-textDecorationUnderline u-clickable InlineList-item-text js-work-more-authors-45070938">+1</span><div class="hidden js-additional-users-45070938"><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://jaen.academia.edu/VirginiaS%C3%A1nchezL%C3%B3pez">Virginia Sánchez-López</a></span></div></div></span><script>(function(){ var popoverSettings = { el: $('.js-work-more-authors-45070938'), placement: 'bottom', hide_delay: 200, html: true, content: function(){ return $('.js-additional-users-45070938').html(); 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El FeMAUB 2020, marcado por la expansión del virus, también quiere situar en el centro a las personas por medio del evocador lema “DE MVSICA HVMANA” (la música del hombre), término utilizado desde la Alta Edad Media para referirse a la armonía interior que une el alma y el cuerpo en la persona (por oposición a “mvsica mvndana” o del universo y a “mvsica instrumentalis” o de los instrumentos musicales). El concepto de “mvsica humana” ejerció una gran influencia en el Renacimiento –época de esplendor de Úbeda y Baeza– y cristalizó en el pensamiento humanista, que ubica al hombre en el centro del universo y del saber, en tanto criatura privilegiada. Desde esta perspectiva filosófica más humanizada y antropocentrista, el FeMAUB 2020 se dedica al conjunto de personas que hacen posible su celebración desde hace casi un cuarto de siglo: artistas, audiencias, organizadores, patrocinadores, proveedores y, en definitiva, a todos los que de manera directa e indirecta han participado y participan en el mismo, como metáfora expresiva e ideal, a pequeña escala, de la necesaria armonía universal. Todo ello sin perder de vista el elemento más característico desde su creación: la recuperación y difusión del patrimonio musical hispano en entornos artísticos excepcionales y únicos como son los constituidos por las ciudades de Úbeda y Baeza. // If the recent and dramatic emergence of the COVID-19 pandemic has taught anything, it is both the high level of global interdependence between people and the new dimension acquired by typically human values, such as responsibility, solidarity and professionality. The FeMAUB 2020, marked by the spread of the virus, also aims to put people at the centre by means of the evocative title “DE MVSICA HVMANA” (human music), a concept used from the early Middle Age in order to refer to the inner harmony that links the soul with the human body (as opposite both to the “mvsica mundana” or that of the cosmos, and to the “mvsica instrumentalis” or the music produced by musical instruments). The notion of “mvsica humana” exerted an important influence on the Renaissance –a flourishing period in Úbeda and Baeza– and crystallised in the humanist thought, which put the human being at the centre of both the universe and the knowledge, as it was considered a privileged creature. From this more humanised and anthropocentric philosophical perspective, the FeMAUB 2020 is dedicated to the group of people who has made it possible the celebration of the festival for nearly a quarter of a century: artists, audiences, organisers, sponsors, suppliers and, ultimately, all those who in a direct or indirect way have participated and continue to participate in the festival, as an ideal and expressive, small-scale metaphor for universal harmony. Nor is it overlooked that the most characteristic element from the creation of the festival has been the recovery and dissemination of Hispanic musical heritage in exceptional artistic settings such as those provided by the cities of Úbeda and Baeza.","downloadable_attachments":[{"id":65627354,"asset_id":45070938,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":541245,"first_name":"Javier","last_name":"Marín-López","domain_name":"jaen","page_name":"JavierMarinLopez","display_name":"Javier Marín-López","profile_url":"https://jaen.academia.edu/JavierMarinLopez?f_ri=19425","photo":"https://0.academia-photos.com/541245/2929659/21124521/s65_javier.mar_n-l_pez.jpg"},{"id":35281351,"first_name":"Virginia","last_name":"Sánchez-López","domain_name":"jaen","page_name":"VirginiaSánchezLópez","display_name":"Virginia Sánchez-López","profile_url":"https://jaen.academia.edu/VirginiaS%C3%A1nchezL%C3%B3pez?f_ri=19425","photo":"https://0.academia-photos.com/35281351/11171715/12466771/s65_virginia.s_nchez_l_pez.png"}],"research_interests":[{"id":681,"name":"Early Music","url":"https://www.academia.edu/Documents/in/Early_Music?f_ri=19425","nofollow":true},{"id":687,"name":"Musicology","url":"https://www.academia.edu/Documents/in/Musicology?f_ri=19425","nofollow":true},{"id":1057,"name":"Festivals and music","url":"https://www.academia.edu/Documents/in/Festivals_and_music?f_ri=19425","nofollow":true},{"id":14954,"name":"Baroque Music","url":"https://www.academia.edu/Documents/in/Baroque_Music?f_ri=19425","nofollow":true},{"id":16420,"name":"Medieval Music","url":"https://www.academia.edu/Documents/in/Medieval_Music?f_ri=19425"},{"id":16958,"name":"Latin American Music","url":"https://www.academia.edu/Documents/in/Latin_American_Music?f_ri=19425"},{"id":17547,"name":"Renaissance music","url":"https://www.academia.edu/Documents/in/Renaissance_music?f_ri=19425"},{"id":19425,"name":"Polyphony","url":"https://www.academia.edu/Documents/in/Polyphony?f_ri=19425"},{"id":21945,"name":"Spanish Music","url":"https://www.academia.edu/Documents/in/Spanish_Music?f_ri=19425"},{"id":30530,"name":"History of music","url":"https://www.academia.edu/Documents/in/History_of_music?f_ri=19425"},{"id":32239,"name":"Early 20th-century Music","url":"https://www.academia.edu/Documents/in/Early_20th-century_Music?f_ri=19425"},{"id":34816,"name":"Tomás Luis de Victoria","url":"https://www.academia.edu/Documents/in/Tomas_Luis_de_Victoria?f_ri=19425"},{"id":48549,"name":"Ludwig van Beethoven","url":"https://www.academia.edu/Documents/in/Ludwig_van_Beethoven?f_ri=19425"},{"id":58612,"name":"Johann Sebastian Bach","url":"https://www.academia.edu/Documents/in/Johann_Sebastian_Bach?f_ri=19425"},{"id":202846,"name":"Music festivals","url":"https://www.academia.edu/Documents/in/Music_festivals?f_ri=19425"},{"id":1693134,"name":"Ignacio Jerusalem","url":"https://www.academia.edu/Documents/in/Ignacio_Jerusalem?f_ri=19425"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_30502490" data-work_id="30502490" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/30502490/Gherardello_da_Firenze_c_1350_Caccia_Tosto_che_lalba_Comparative_manuscript_edition_">Gherardello da Firenze (c. 1350): Caccia, "Tosto che l'alba" (Comparative manuscript edition)</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">This is a comparative manuscript edition of Gherardello da Firenze's (c. 1350) caccia "Tosto che l'alba". Herein you can see the difference between the piece's three available sources listed below. For a performable realization of this... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_30502490" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">This is a comparative manuscript edition of Gherardello da Firenze's (c. 1350) caccia "Tosto che l'alba". Herein you can see the difference between the piece's three available sources listed below. For a performable realization of this piece taken from these three sources, see the related title under "performance edition".<br /><br />Biblioteca Medicea-Laurenziana [I-Fl], MS Mediceo Palatino 87 “Codex Squarcialupi”, no. 40 fol 25v-26r<br />Bibliothèque Nationale [F-PN], MS fonds italien 568 “Pit”, no. 40 fol. 25v-26r<br />British Library [GB-Lbl], Add. MS 29987, no 31 fol. 25r<br /><br />For a recording and video of the score see<br /><a href="https://www.youtube.com/watch?v=ok4VOFvLE2Y" rel="nofollow">https://www.youtube.com/watch?v=ok4VOFvLE2Y</a></div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/30502490" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="c634d6ced4c26ea766e9301c9722b5f9" rel="nofollow" data-download="{"attachment_id":50955043,"asset_id":30502490,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/50955043/download_file?st=MTc0MTA5NTQ2Niw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="6283566" href="https://florida.academia.edu/JordanAlexanderKey">Jordan Alexander Key</a><script data-card-contents-for-user="6283566" type="text/json">{"id":6283566,"first_name":"Jordan Alexander","last_name":"Key","domain_name":"florida","page_name":"JordanAlexanderKey","display_name":"Jordan Alexander Key","profile_url":"https://florida.academia.edu/JordanAlexanderKey?f_ri=19425","photo":"https://0.academia-photos.com/6283566/2960433/67736632/s65_jordan_alexander.key.jpg"}</script></span></span></li><li class="js-paper-rank-work_30502490 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="30502490"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 30502490, container: ".js-paper-rank-work_30502490", }); 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$(".js-view-count[data-work-id=30502490]").text(description); $(".js-view-count-work_30502490").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_30502490").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="30502490"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">58</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="671" rel="nofollow" href="https://www.academia.edu/Documents/in/Music">Music</a>, <script data-card-contents-for-ri="671" type="text/json">{"id":671,"name":"Music","url":"https://www.academia.edu/Documents/in/Music?f_ri=19425","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="681" rel="nofollow" href="https://www.academia.edu/Documents/in/Early_Music">Early Music</a>, <script data-card-contents-for-ri="681" type="text/json">{"id":681,"name":"Early Music","url":"https://www.academia.edu/Documents/in/Early_Music?f_ri=19425","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="683" rel="nofollow" href="https://www.academia.edu/Documents/in/Music_Education">Music Education</a>, <script data-card-contents-for-ri="683" type="text/json">{"id":683,"name":"Music Education","url":"https://www.academia.edu/Documents/in/Music_Education?f_ri=19425","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="685" rel="nofollow" href="https://www.academia.edu/Documents/in/Music_History">Music History</a><script data-card-contents-for-ri="685" type="text/json">{"id":685,"name":"Music History","url":"https://www.academia.edu/Documents/in/Music_History?f_ri=19425","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=30502490]'), work: {"id":30502490,"title":"Gherardello da Firenze (c. 1350): Caccia, \"Tosto che l'alba\" (Comparative manuscript edition)","created_at":"2016-12-18T00:32:34.908-08:00","url":"https://www.academia.edu/30502490/Gherardello_da_Firenze_c_1350_Caccia_Tosto_che_lalba_Comparative_manuscript_edition_?f_ri=19425","dom_id":"work_30502490","summary":"This is a comparative manuscript edition of Gherardello da Firenze's (c. 1350) caccia \"Tosto che l'alba\". Herein you can see the difference between the piece's three available sources listed below. For a performable realization of this piece taken from these three sources, see the related title under \"performance edition\".\n\nBiblioteca Medicea-Laurenziana [I-Fl], MS Mediceo Palatino 87 “Codex Squarcialupi”, no. 40 fol 25v-26r\nBibliothèque Nationale [F-PN], MS fonds italien 568 “Pit”, no. 40 fol. 25v-26r\nBritish Library [GB-Lbl], Add. MS 29987, no 31 fol. 25r\n\nFor a recording and video of the score see\nhttps://www.youtube.com/watch?v=ok4VOFvLE2Y","downloadable_attachments":[{"id":50955043,"asset_id":30502490,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":6283566,"first_name":"Jordan Alexander","last_name":"Key","domain_name":"florida","page_name":"JordanAlexanderKey","display_name":"Jordan Alexander Key","profile_url":"https://florida.academia.edu/JordanAlexanderKey?f_ri=19425","photo":"https://0.academia-photos.com/6283566/2960433/67736632/s65_jordan_alexander.key.jpg"}],"research_interests":[{"id":671,"name":"Music","url":"https://www.academia.edu/Documents/in/Music?f_ri=19425","nofollow":true},{"id":681,"name":"Early Music","url":"https://www.academia.edu/Documents/in/Early_Music?f_ri=19425","nofollow":true},{"id":683,"name":"Music Education","url":"https://www.academia.edu/Documents/in/Music_Education?f_ri=19425","nofollow":true},{"id":685,"name":"Music 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Music","url":"https://www.academia.edu/Documents/in/Canons_In_Early_Music?f_ri=19425"},{"id":1364135,"name":"Medieval and Renaissance Music Theory","url":"https://www.academia.edu/Documents/in/Medieval_and_Renaissance_Music_Theory?f_ri=19425"},{"id":1757209,"name":"Ars Nova Polyphony","url":"https://www.academia.edu/Documents/in/Ars_Nova_Polyphony?f_ri=19425"},{"id":2053120,"name":"Musical Transcription","url":"https://www.academia.edu/Documents/in/Musical_Transcription?f_ri=19425"},{"id":2231766,"name":"Transcription of Music","url":"https://www.academia.edu/Documents/in/Transcription_of_Music?f_ri=19425"},{"id":2524415,"name":"Jordan Key","url":"https://www.academia.edu/Documents/in/Jordan_Key?f_ri=19425"},{"id":2524416,"name":"Jordan Alexander Key","url":"https://www.academia.edu/Documents/in/Jordan_Alexander_Key?f_ri=19425"},{"id":2524417,"name":"Key, Jordan","url":"https://www.academia.edu/Documents/in/Key_Jordan?f_ri=19425"},{"id":2524418,"name":"Jordan A. Key","url":"https://www.academia.edu/Documents/in/Jordan_A._Key?f_ri=19425"},{"id":2551688,"name":"Transcription (Music)","url":"https://www.academia.edu/Documents/in/Transcription_Music_?f_ri=19425"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_34352886" data-work_id="34352886" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/34352886/The_Poetics_of_In_visibility_A_Stylistic_Analysis_of_Caryl_Phillips_Foreigners_Three_English_Lives">The Poetics of (In)visibility: A Stylistic Analysis of Caryl Phillips' Foreigners: Three English Lives</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Caryl Phillips' multi-voiced texts have often been studied through the lens of Bakhtinian polyphony. In this essay I focus on the volume of fictionalized biographies Foreigners: Three English Lives (2007) to demonstrate that polyphony in... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_34352886" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Caryl Phillips' multi-voiced texts have often been studied through the lens of Bakhtinian polyphony. In this essay I focus on the volume of fictionalized biographies Foreigners: Three English Lives (2007) to demonstrate that polyphony in Phillips' work resides not only in the structural confrontation of characters' and narrators' voices but also in the subtle inscription of the implied author's subjectivity within his texts. Borrowing methods from the discipline of stylistics, I first establish through a focus on the use of adjectives and modality (that is, grammatical means indicating how speakers position themselves in relation to propositions) in the opening section of Foreigners, "Dr Johnson's Watch," how the first-person narrator gradually transitions from tentativeness to self-confidence. This change enables the implied author, on the one hand, to expose the thwarted logic of the colonially tinted discourse of his eighteenth-century narrator and, on the other, to reflect on the process of ideological encoding inherent in the writing of historiography. Such an investigation based on modality further allows me to challenge the critical consensus that the second section of the book, "Made in Wales," is a straightforward factual account. I suggest that the story of the rise and fall of mixed-race boxer Randolph Turpin is in fact a highly polyphonic narrative that features increasingly marked clashes in modality and point of view. These clashes, I argue, draw attention to the construction of historiographical discourse deceptively made to appear so commonsense by the narrator of "Dr Johnson's Watch."</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/34352886" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="c6962a9045edde7b76c4433f32306b3f" rel="nofollow" data-download="{"attachment_id":56205368,"asset_id":34352886,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/56205368/download_file?st=MTc0MTA5NTQ2Niw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="2744158" href="https://ulg.academia.edu/DariaTunca">Daria Tunca</a><script data-card-contents-for-user="2744158" type="text/json">{"id":2744158,"first_name":"Daria","last_name":"Tunca","domain_name":"ulg","page_name":"DariaTunca","display_name":"Daria Tunca","profile_url":"https://ulg.academia.edu/DariaTunca?f_ri=19425","photo":"https://0.academia-photos.com/2744158/888749/30223067/s65_daria.tunca.jpg"}</script></span></span></li><li class="js-paper-rank-work_34352886 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="34352886"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 34352886, container: ".js-paper-rank-work_34352886", }); 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$(".js-view-count[data-work-id=34352886]").text(description); $(".js-view-count-work_34352886").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_34352886").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="34352886"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">5</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="6259" rel="nofollow" href="https://www.academia.edu/Documents/in/Caribbean_Literature">Caribbean Literature</a>, <script data-card-contents-for-ri="6259" type="text/json">{"id":6259,"name":"Caribbean Literature","url":"https://www.academia.edu/Documents/in/Caribbean_Literature?f_ri=19425","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="9213" rel="nofollow" href="https://www.academia.edu/Documents/in/Modality">Modality</a>, <script data-card-contents-for-ri="9213" type="text/json">{"id":9213,"name":"Modality","url":"https://www.academia.edu/Documents/in/Modality?f_ri=19425","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="15863" rel="nofollow" href="https://www.academia.edu/Documents/in/Postcolonial_Literature">Postcolonial Literature</a>, <script data-card-contents-for-ri="15863" type="text/json">{"id":15863,"name":"Postcolonial Literature","url":"https://www.academia.edu/Documents/in/Postcolonial_Literature?f_ri=19425","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="19425" rel="nofollow" href="https://www.academia.edu/Documents/in/Polyphony">Polyphony</a><script data-card-contents-for-ri="19425" type="text/json">{"id":19425,"name":"Polyphony","url":"https://www.academia.edu/Documents/in/Polyphony?f_ri=19425","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=34352886]'), work: {"id":34352886,"title":"The Poetics of (In)visibility: A Stylistic Analysis of Caryl Phillips' Foreigners: Three English Lives","created_at":"2017-08-25T08:04:45.532-07:00","url":"https://www.academia.edu/34352886/The_Poetics_of_In_visibility_A_Stylistic_Analysis_of_Caryl_Phillips_Foreigners_Three_English_Lives?f_ri=19425","dom_id":"work_34352886","summary":"Caryl Phillips' multi-voiced texts have often been studied through the lens of Bakhtinian polyphony. In this essay I focus on the volume of fictionalized biographies Foreigners: Three English Lives (2007) to demonstrate that polyphony in Phillips' work resides not only in the structural confrontation of characters' and narrators' voices but also in the subtle inscription of the implied author's subjectivity within his texts. Borrowing methods from the discipline of stylistics, I first establish through a focus on the use of adjectives and modality (that is, grammatical means indicating how speakers position themselves in relation to propositions) in the opening section of Foreigners, \"Dr Johnson's Watch,\" how the first-person narrator gradually transitions from tentativeness to self-confidence. This change enables the implied author, on the one hand, to expose the thwarted logic of the colonially tinted discourse of his eighteenth-century narrator and, on the other, to reflect on the process of ideological encoding inherent in the writing of historiography. Such an investigation based on modality further allows me to challenge the critical consensus that the second section of the book, \"Made in Wales,\" is a straightforward factual account. I suggest that the story of the rise and fall of mixed-race boxer Randolph Turpin is in fact a highly polyphonic narrative that features increasingly marked clashes in modality and point of view. These clashes, I argue, draw attention to the construction of historiographical discourse deceptively made to appear so commonsense by the narrator of \"Dr Johnson's Watch.\"","downloadable_attachments":[{"id":56205368,"asset_id":34352886,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":2744158,"first_name":"Daria","last_name":"Tunca","domain_name":"ulg","page_name":"DariaTunca","display_name":"Daria Tunca","profile_url":"https://ulg.academia.edu/DariaTunca?f_ri=19425","photo":"https://0.academia-photos.com/2744158/888749/30223067/s65_daria.tunca.jpg"}],"research_interests":[{"id":6259,"name":"Caribbean Literature","url":"https://www.academia.edu/Documents/in/Caribbean_Literature?f_ri=19425","nofollow":true},{"id":9213,"name":"Modality","url":"https://www.academia.edu/Documents/in/Modality?f_ri=19425","nofollow":true},{"id":15863,"name":"Postcolonial Literature","url":"https://www.academia.edu/Documents/in/Postcolonial_Literature?f_ri=19425","nofollow":true},{"id":19425,"name":"Polyphony","url":"https://www.academia.edu/Documents/in/Polyphony?f_ri=19425","nofollow":true},{"id":109801,"name":"Caryl Phillips","url":"https://www.academia.edu/Documents/in/Caryl_Phillips?f_ri=19425"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_45102707" data-work_id="45102707" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/45102707/Serafino_Razzi_s_Storia_di_Raugia_or_How_Renaissance_Dubrovnik_Might_Not_Have_Heard_Polyphony_in_February_1588_Towards_a_Liturgical_Reconstruction_of_the_Feast_of_Saint_Blaise">Serafino Razzi’s Storia di Raugia, or, How Renaissance Dubrovnik (Might Not Have?) Heard Polyphony in February 1588: Towards a Liturgical Reconstruction of the Feast of Saint Blaise</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">With the emergence of the legend of Saint Blaise, who protected the people of Dubrovnik against the Venetian menace, the city of Dubrovnik has been continuously organizing a feast in Saint Blaise's honour on the 3rd of February of each... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_45102707" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">With the emergence of the legend of Saint Blaise, who protected the people of Dubrovnik against the Venetian menace, the city of Dubrovnik has been continuously organizing a feast in Saint Blaise's honour on the 3rd of February of each year. In addition to the social importance of this event, it also emphasizes musical activity as the daily Liturgy of the Hour is modified to fit the festivity and enriched with musical instruments which accompany the main services. In this article, we will travel back to the feast of 1588, where Serafi no Razzi, a Dominican friar on a two-year canonical visitation to Dubrovnik, witnessed the festivity. What did Razzi have a possibility of hearing at that time in Dubrovnik, were there performing forces to support the festivity, and what did the liturgy look like on the 2nd and 3rd of February 1588 are the main questions this paper will address through a thorough analysis of Razzi's account, its comparison with other performances in European city-states, and extensive use of available sources.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/45102707" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="41792edb00d84ee571fe6c3da0cf999d" rel="nofollow" data-download="{"attachment_id":65666763,"asset_id":45102707,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/65666763/download_file?st=MTc0MTA5NTQ2Niw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="54796688" href="https://unibe-ch2.academia.edu/TinCugelj">Tin Cugelj</a><script data-card-contents-for-user="54796688" type="text/json">{"id":54796688,"first_name":"Tin","last_name":"Cugelj","domain_name":"unibe-ch2","page_name":"TinCugelj","display_name":"Tin Cugelj","profile_url":"https://unibe-ch2.academia.edu/TinCugelj?f_ri=19425","photo":"https://0.academia-photos.com/54796688/19401093/58837892/s65_tin.cugelj.jpg"}</script></span></span></li><li class="js-paper-rank-work_45102707 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="45102707"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 45102707, container: ".js-paper-rank-work_45102707", }); 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$(".js-view-count[data-work-id=45102707]").text(description); $(".js-view-count-work_45102707").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_45102707").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="45102707"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">18</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="128" rel="nofollow" href="https://www.academia.edu/Documents/in/History">History</a>, <script data-card-contents-for-ri="128" type="text/json">{"id":128,"name":"History","url":"https://www.academia.edu/Documents/in/History?f_ri=19425","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="685" rel="nofollow" href="https://www.academia.edu/Documents/in/Music_History">Music History</a>, <script data-card-contents-for-ri="685" type="text/json">{"id":685,"name":"Music History","url":"https://www.academia.edu/Documents/in/Music_History?f_ri=19425","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="1367" rel="nofollow" href="https://www.academia.edu/Documents/in/Renaissance_History">Renaissance History</a>, <script data-card-contents-for-ri="1367" type="text/json">{"id":1367,"name":"Renaissance History","url":"https://www.academia.edu/Documents/in/Renaissance_History?f_ri=19425","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="2546" rel="nofollow" href="https://www.academia.edu/Documents/in/Liturgy">Liturgy</a><script data-card-contents-for-ri="2546" type="text/json">{"id":2546,"name":"Liturgy","url":"https://www.academia.edu/Documents/in/Liturgy?f_ri=19425","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=45102707]'), work: {"id":45102707,"title":"Serafino Razzi’s Storia di Raugia, or, How Renaissance Dubrovnik (Might Not Have?) Heard Polyphony in February 1588: Towards a Liturgical Reconstruction of the Feast of Saint Blaise","created_at":"2021-02-11T12:39:02.419-08:00","url":"https://www.academia.edu/45102707/Serafino_Razzi_s_Storia_di_Raugia_or_How_Renaissance_Dubrovnik_Might_Not_Have_Heard_Polyphony_in_February_1588_Towards_a_Liturgical_Reconstruction_of_the_Feast_of_Saint_Blaise?f_ri=19425","dom_id":"work_45102707","summary":"With the emergence of the legend of Saint Blaise, who protected the people of Dubrovnik against the Venetian menace, the city of Dubrovnik has been continuously organizing a feast in Saint Blaise's honour on the 3rd of February of each year. In addition to the social importance of this event, it also emphasizes musical activity as the daily Liturgy of the Hour is modified to fit the festivity and enriched with musical instruments which accompany the main services. In this article, we will travel back to the feast of 1588, where Serafi no Razzi, a Dominican friar on a two-year canonical visitation to Dubrovnik, witnessed the festivity. What did Razzi have a possibility of hearing at that time in Dubrovnik, were there performing forces to support the festivity, and what did the liturgy look like on the 2nd and 3rd of February 1588 are the main questions this paper will address through a thorough analysis of Razzi's account, its comparison with other performances in European city-states, and extensive use of available sources.","downloadable_attachments":[{"id":65666763,"asset_id":45102707,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":54796688,"first_name":"Tin","last_name":"Cugelj","domain_name":"unibe-ch2","page_name":"TinCugelj","display_name":"Tin Cugelj","profile_url":"https://unibe-ch2.academia.edu/TinCugelj?f_ri=19425","photo":"https://0.academia-photos.com/54796688/19401093/58837892/s65_tin.cugelj.jpg"}],"research_interests":[{"id":128,"name":"History","url":"https://www.academia.edu/Documents/in/History?f_ri=19425","nofollow":true},{"id":685,"name":"Music History","url":"https://www.academia.edu/Documents/in/Music_History?f_ri=19425","nofollow":true},{"id":1367,"name":"Renaissance History","url":"https://www.academia.edu/Documents/in/Renaissance_History?f_ri=19425","nofollow":true},{"id":2546,"name":"Liturgy","url":"https://www.academia.edu/Documents/in/Liturgy?f_ri=19425","nofollow":true},{"id":9099,"name":"Croatian History","url":"https://www.academia.edu/Documents/in/Croatian_History?f_ri=19425"},{"id":17547,"name":"Renaissance music","url":"https://www.academia.edu/Documents/in/Renaissance_music?f_ri=19425"},{"id":18206,"name":"Gregorian Chant","url":"https://www.academia.edu/Documents/in/Gregorian_Chant?f_ri=19425"},{"id":19425,"name":"Polyphony","url":"https://www.academia.edu/Documents/in/Polyphony?f_ri=19425"},{"id":53275,"name":"Vocal Polyphony","url":"https://www.academia.edu/Documents/in/Vocal_Polyphony?f_ri=19425"},{"id":93461,"name":"Medieval feasts","url":"https://www.academia.edu/Documents/in/Medieval_feasts?f_ri=19425"},{"id":185211,"name":"Processions","url":"https://www.academia.edu/Documents/in/Processions?f_ri=19425"},{"id":241954,"name":"Medieval Dubrovnik (Ragusa)","url":"https://www.academia.edu/Documents/in/Medieval_Dubrovnik_Ragusa_?f_ri=19425"},{"id":245115,"name":"Dubrovnik","url":"https://www.academia.edu/Documents/in/Dubrovnik?f_ri=19425"},{"id":345925,"name":"Sixteenth Century History","url":"https://www.academia.edu/Documents/in/Sixteenth_Century_History?f_ri=19425"},{"id":373163,"name":"Ritual Practices","url":"https://www.academia.edu/Documents/in/Ritual_Practices?f_ri=19425"},{"id":1317913,"name":"Religious Feasts","url":"https://www.academia.edu/Documents/in/Religious_Feasts?f_ri=19425"},{"id":2500206,"name":"Serafino Razzi","url":"https://www.academia.edu/Documents/in/Serafino_Razzi?f_ri=19425"},{"id":3010521,"name":"Saint Blaise","url":"https://www.academia.edu/Documents/in/Saint_Blaise?f_ri=19425"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_35740034 coauthored" data-work_id="35740034" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/35740034/Aportaciones_al_estudio_de_la_m%C3%BAsica_en_la_Santa_Capilla_de_San_Andr%C3%A9s_de_Ja%C3%A9n_durante_el_siglo_XVI_dos_juegos_de_versos_para_ministriles_de_Gil_de_%C3%81vila_fl_1574_1597_">Aportaciones al estudio de la música en la Santa Capilla de San Andrés de Jaén durante el siglo XVI: dos juegos de versos para ministriles de Gil de Ávila (fl. 1574-1597)</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">2015 marks the 500th anniversary of the foundation in Jaén of a major confraternity attached to the parish church of San Andrés and known as Santa Capilla. What differentiates this brotherhood of others created in Spain at the time is the... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_35740034" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">2015 marks the 500th anniversary of the foundation in Jaén of a major confraternity attached to the parish church of San Andrés and known as Santa Capilla. What differentiates this brotherhood of others created in Spain at the time is the bylaws established presence of a music chapel in order to exalt its religious celebrations. This article offers a panoramic study of the Santa Capilla as a musical institution during the 16th century, based on new archival findings. The work includes an analysis of models of patronage that its founder, the Apostolic Protonotary Gutierre González Doncel, might have in mind; a critical review of the musical activities of singers, instrumentalists and chapelmasteres at the service of the institution; some hypotheses about the repertoire used; and a specific study, accompanied by the critical edition, of two odd sets of verses for minstrels by Gil de Ávila, the only pieces preserved by the only 16th-century chapelmaster of the Santa Capilla with known musical production. // En el año 2015 se conmemora el quinto centenario de la fundación en Jaén de una importante cofradía adscrita a la iglesia parroquial de San Andrés y conocida con el nombre de Santa Capilla. Lo que diferencia a esta hermandad de otras creadas en la España de la época es la presencia, estatutariamente establecida, de una capilla de música con el propósito de enaltecer sus celebraciones religiosas. El presente artículo ofrece un estudio panorámico sobre la Santa Capilla como institución musical durante el siglo XVI, basándose en nuevos hallazgos archivísticos. El trabajo incluye un análisis de los modelos de mecenazgo que pudo tener en mente su fundador, el protonotario apostólico Gutierre González Doncel; una revisión crítica de las actividades musicales de cantores, instrumentistas y maestros de capilla al servicio de la cofradía; algunas hipótesis sobre el repertorio musical empleado; y un estudio específico, acompañado de la edición crítica, de dos singulares juegos de versos para ministriles de Gil de Ávila, únicas piezas del único maestro de la Santa Capilla del siglo XVI del que conocemos música.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/35740034" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="ad52d163f70cdb0ee9d76378ba675132" rel="nofollow" data-download="{"attachment_id":55614324,"asset_id":35740034,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/55614324/download_file?st=MTc0MTA5NTQ2Niw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="541245" href="https://jaen.academia.edu/JavierMarinLopez">Javier Marín-López</a><script data-card-contents-for-user="541245" type="text/json">{"id":541245,"first_name":"Javier","last_name":"Marín-López","domain_name":"jaen","page_name":"JavierMarinLopez","display_name":"Javier Marín-López","profile_url":"https://jaen.academia.edu/JavierMarinLopez?f_ri=19425","photo":"https://0.academia-photos.com/541245/2929659/21124521/s65_javier.mar_n-l_pez.jpg"}</script></span></span><span class="u-displayInlineBlock InlineList-item-text"> and <span class="u-textDecorationUnderline u-clickable InlineList-item-text js-work-more-authors-35740034">+2</span><div class="hidden js-additional-users-35740034"><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://jaen.academia.edu/VirginiaS%C3%A1nchezL%C3%B3pez">Virginia Sánchez-López</a></span></div><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://ugr.academia.edu/Jos%C3%A9AntonioGuti%C3%A9rrez%C3%81lvarez">José Antonio Gutiérrez-Álvarez</a></span></div></div></span><script>(function(){ var popoverSettings = { el: $('.js-work-more-authors-35740034'), placement: 'bottom', hide_delay: 200, html: true, content: function(){ return $('.js-additional-users-35740034').html(); } } new HoverPopover(popoverSettings); })();</script></li><li class="js-paper-rank-work_35740034 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="35740034"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 35740034, container: ".js-paper-rank-work_35740034", }); });</script></li><li class="js-percentile-work_35740034 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 35740034; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_35740034"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_35740034 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="35740034"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 35740034; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=35740034]").text(description); $(".js-view-count-work_35740034").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_35740034").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="35740034"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">20</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="12522" rel="nofollow" href="https://www.academia.edu/Documents/in/Patronage_Music_">Patronage (Music)</a>, <script data-card-contents-for-ri="12522" type="text/json">{"id":12522,"name":"Patronage (Music)","url":"https://www.academia.edu/Documents/in/Patronage_Music_?f_ri=19425","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="14869" rel="nofollow" href="https://www.academia.edu/Documents/in/Josquin_des_Prez">Josquin des Prez</a>, <script data-card-contents-for-ri="14869" type="text/json">{"id":14869,"name":"Josquin des Prez","url":"https://www.academia.edu/Documents/in/Josquin_des_Prez?f_ri=19425","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="17547" rel="nofollow" href="https://www.academia.edu/Documents/in/Renaissance_music">Renaissance music</a>, <script data-card-contents-for-ri="17547" type="text/json">{"id":17547,"name":"Renaissance music","url":"https://www.academia.edu/Documents/in/Renaissance_music?f_ri=19425","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="19425" rel="nofollow" href="https://www.academia.edu/Documents/in/Polyphony">Polyphony</a><script data-card-contents-for-ri="19425" type="text/json">{"id":19425,"name":"Polyphony","url":"https://www.academia.edu/Documents/in/Polyphony?f_ri=19425","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=35740034]'), work: {"id":35740034,"title":"Aportaciones al estudio de la música en la Santa Capilla de San Andrés de Jaén durante el siglo XVI: dos juegos de versos para ministriles de Gil de Ávila (fl. 1574-1597)","created_at":"2018-01-23T07:02:30.520-08:00","url":"https://www.academia.edu/35740034/Aportaciones_al_estudio_de_la_m%C3%BAsica_en_la_Santa_Capilla_de_San_Andr%C3%A9s_de_Ja%C3%A9n_durante_el_siglo_XVI_dos_juegos_de_versos_para_ministriles_de_Gil_de_%C3%81vila_fl_1574_1597_?f_ri=19425","dom_id":"work_35740034","summary":"2015 marks the 500th anniversary of the foundation in Jaén of a major confraternity attached to the parish church of San Andrés and known as Santa Capilla. What differentiates this brotherhood of others created in Spain at the time is the bylaws established presence of a music chapel in order to exalt its religious celebrations. This article offers a panoramic study of the Santa Capilla as a musical institution during the 16th century, based on new archival findings. The work includes an analysis of models of patronage that its founder, the Apostolic Protonotary Gutierre González Doncel, might have in mind; a critical review of the musical activities of singers, instrumentalists and chapelmasteres at the service of the institution; some hypotheses about the repertoire used; and a specific study, accompanied by the critical edition, of two odd sets of verses for minstrels by Gil de Ávila, the only pieces preserved by the only 16th-century chapelmaster of the Santa Capilla with known musical production. // En el año 2015 se conmemora el quinto centenario de la fundación en Jaén de una importante cofradía adscrita a la iglesia parroquial de San Andrés y conocida con el nombre de Santa Capilla. Lo que diferencia a esta hermandad de otras creadas en la España de la época es la presencia, estatutariamente establecida, de una capilla de música con el propósito de enaltecer sus celebraciones religiosas. El presente artículo ofrece un estudio panorámico sobre la Santa Capilla como institución musical durante el siglo XVI, basándose en nuevos hallazgos archivísticos. El trabajo incluye un análisis de los modelos de mecenazgo que pudo tener en mente su fundador, el protonotario apostólico Gutierre González Doncel; una revisión crítica de las actividades musicales de cantores, instrumentistas y maestros de capilla al servicio de la cofradía; algunas hipótesis sobre el repertorio musical empleado; y un estudio específico, acompañado de la edición crítica, de dos singulares juegos de versos para ministriles de Gil de Ávila, únicas piezas del único maestro de la Santa Capilla del siglo XVI del que conocemos música.","downloadable_attachments":[{"id":55614324,"asset_id":35740034,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":541245,"first_name":"Javier","last_name":"Marín-López","domain_name":"jaen","page_name":"JavierMarinLopez","display_name":"Javier 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Canon, "Salve Radix" (Source: British Library, London, England [GB-Lbl], Royal 11 E XI, fol. 2v-3r, c. 1516)</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">A pedagogical transcription of Richard Sampson's (attr.) motet in double canon, "Salve radix," written to celebrate the union of Henry VIII to Catherine of Aragon and the birth of their daughter, Mary. For a video with recording... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_35844311" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">A pedagogical transcription of Richard Sampson's (attr.) motet in double canon, "Salve radix," written to celebrate the union of Henry VIII to Catherine of Aragon and the birth of their daughter, Mary.<br /><br />For a video with recording accompanying the modern transcription with side-by-side animated original notated music see the link below:<br /><a href="https://www.youtube.com/watch?v=R9wl1XqV6Nk" rel="nofollow">https://www.youtube.com/watch?v=R9wl1XqV6Nk</a></div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/35844311" data-share-source="work_strip" 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