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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">Early Music</h1><div class="u-tcGrayDark">31,760 Followers</div><div class="u-tcGrayDark u-mt2x">Recent papers in <b>Early Music</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/Early_Music">Top Papers</a></li><li><a href="https://www.academia.edu/Documents/in/Early_Music/MostCited">Most Cited Papers</a></li><li><a href="https://www.academia.edu/Documents/in/Early_Music/MostDownloaded">Most Downloaded Papers</a></li><li><a href="https://www.academia.edu/Documents/in/Early_Music/MostRecent">Newest Papers</a></li><li><a class="" href="https://www.academia.edu/People/Early_Music">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_41062547" data-work_id="41062547" 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/41062547/Postmodern_Views_on_the_Early_Music_Practice_Analysis_Performance_and_Society">Postmodern Views on the Early Music Practice: Analysis, Performance, and Society</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 Early Music movement has generated a shift in performance practices of Western Art music and in its pedagogy. Musical analysis, if it became a key in the production of Historically Informed Performances, was always accompanied by a... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_41062547" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">The Early Music movement has generated a shift in performance practices of Western Art music and in its pedagogy. Musical analysis, if it became a key in the production of Historically Informed Performances, was always accompanied by a serious contextualization. In this article I will show how practices in Early Music can be seen as essentially postmodern (Jameson, Butt), recalling principles of deconstruction (Norris) for both its epistemology and its pedagogy. Early Musicians build on their knowledge of pre-modern music theories to promote non-canonized forms through an "insistent questioning of [their] own methods and practices" (Tomlinson). This postmodern attitude in knowledge transmission reveals a deep shift in social practices related to fields as diverse as politics and labour organization, and the recent debates between professional musicians are the mirror of difficulties to define one's positioning, especially when founded over such an ungraspable and moveable background. Oscillating between modern ideologies inherited from the Enlightenment and pre-modern concepts of art consumption, between literacy and orality (Goody), this practice, defined by acts of deconstruction, struggles to construct its identity. I consider these attempts as reflecting the peregrinations of a twenty-first-century epistemology in search of itself. In this essay, I partly based my work on ethnographic researches in Southern Europe, alongside scholarship readings and textual analyses.</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/41062547" 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="9ca042d054f2dc7208d5408af65eb2ca" rel="nofollow" data-download="{"attachment_id":61332411,"asset_id":41062547,"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/61332411/download_file?st=MTczMjk3OTA3MCw4LjIyMi4yMDguMTQ2&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="10800717" href="https://ucsc.academia.edu/M%C3%A9lodieMichel">Melodie Michel</a><script data-card-contents-for-user="10800717" type="text/json">{"id":10800717,"first_name":"Melodie","last_name":"Michel","domain_name":"ucsc","page_name":"MélodieMichel","display_name":"Melodie Michel","profile_url":"https://ucsc.academia.edu/M%C3%A9lodieMichel?f_ri=681","photo":"https://0.academia-photos.com/10800717/3233828/3805819/s65_m_lodie.michel.jpg"}</script></span></span></li><li class="js-paper-rank-work_41062547 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="41062547"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 41062547, container: ".js-paper-rank-work_41062547", }); 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$(".js-view-count[data-work-id=41062547]").text(description); $(".js-view-count-work_41062547").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_41062547").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="41062547"><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="681" 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=681","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1219" href="https://www.academia.edu/Documents/in/Southern_Europe">Southern Europe</a>, <script data-card-contents-for-ri="1219" type="text/json">{"id":1219,"name":"Southern Europe","url":"https://www.academia.edu/Documents/in/Southern_Europe?f_ri=681","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1987" 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=681","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="2170" href="https://www.academia.edu/Documents/in/Ethnography">Ethnography</a><script data-card-contents-for-ri="2170" type="text/json">{"id":2170,"name":"Ethnography","url":"https://www.academia.edu/Documents/in/Ethnography?f_ri=681","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=41062547]'), work: {"id":41062547,"title":"Postmodern Views on the Early Music Practice: Analysis, Performance, and Society","created_at":"2019-11-25T11:12:54.491-08:00","url":"https://www.academia.edu/41062547/Postmodern_Views_on_the_Early_Music_Practice_Analysis_Performance_and_Society?f_ri=681","dom_id":"work_41062547","summary":"The Early Music movement has generated a shift in performance practices of Western Art music and in its pedagogy. Musical analysis, if it became a key in the production of Historically Informed Performances, was always accompanied by a serious contextualization. In this article I will show how practices in Early Music can be seen as essentially postmodern (Jameson, Butt), recalling principles of deconstruction (Norris) for both its epistemology and its pedagogy. Early Musicians build on their knowledge of pre-modern music theories to promote non-canonized forms through an \"insistent questioning of [their] own methods and practices\" (Tomlinson). This postmodern attitude in knowledge transmission reveals a deep shift in social practices related to fields as diverse as politics and labour organization, and the recent debates between professional musicians are the mirror of difficulties to define one's positioning, especially when founded over such an ungraspable and moveable background. Oscillating between modern ideologies inherited from the Enlightenment and pre-modern concepts of art consumption, between literacy and orality (Goody), this practice, defined by acts of deconstruction, struggles to construct its identity. I consider these attempts as reflecting the peregrinations of a twenty-first-century epistemology in search of itself. In this essay, I partly based my work on ethnographic researches in Southern Europe, alongside scholarship readings and textual analyses.","downloadable_attachments":[{"id":61332411,"asset_id":41062547,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":10800717,"first_name":"Melodie","last_name":"Michel","domain_name":"ucsc","page_name":"MélodieMichel","display_name":"Melodie Michel","profile_url":"https://ucsc.academia.edu/M%C3%A9lodieMichel?f_ri=681","photo":"https://0.academia-photos.com/10800717/3233828/3805819/s65_m_lodie.michel.jpg"}],"research_interests":[{"id":681,"name":"Early Music","url":"https://www.academia.edu/Documents/in/Early_Music?f_ri=681","nofollow":false},{"id":1219,"name":"Southern Europe","url":"https://www.academia.edu/Documents/in/Southern_Europe?f_ri=681","nofollow":false},{"id":1987,"name":"Ethnomusicology","url":"https://www.academia.edu/Documents/in/Ethnomusicology?f_ri=681","nofollow":false},{"id":2170,"name":"Ethnography","url":"https://www.academia.edu/Documents/in/Ethnography?f_ri=681","nofollow":false},{"id":455647,"name":"Early music and historically informed performance practice","url":"https://www.academia.edu/Documents/in/Early_music_and_historically_informed_performance_practice?f_ri=681"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_179901" data-work_id="179901" 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/179901/D_art_et_de_science_au_temps_de_Louis_XIII_ou_De_la_musique_comme_un_Janus_Descartes_Mersenne_">D’art et de science au temps de Louis XIII ou De la musique comme un Janus (Descartes, Mersenne)</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/179901" 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="906520c762f2709a0b23ce41d817f06f" rel="nofollow" data-download="{"attachment_id":34556404,"asset_id":179901,"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/34556404/download_file?st=MTczMjk3OTA3MCw4LjIyMi4yMDguMTQ2&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="39964" href="https://paris-sorbonne.academia.edu/psychoyou">Théodora Psychoyou</a><script data-card-contents-for-user="39964" type="text/json">{"id":39964,"first_name":"Théodora","last_name":"Psychoyou","domain_name":"paris-sorbonne","page_name":"psychoyou","display_name":"Théodora Psychoyou","profile_url":"https://paris-sorbonne.academia.edu/psychoyou?f_ri=681","photo":"https://0.academia-photos.com/39964/4252279/4946871/s65_th_odora.psychoyou.jpg"}</script></span></span></li><li class="js-paper-rank-work_179901 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="179901"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 179901, container: ".js-paper-rank-work_179901", }); });</script></li><li class="js-percentile-work_179901 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 = 179901; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_179901"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_179901 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="179901"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 179901; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=179901]").text(description); $(".js-view-count-work_179901").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_179901").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="179901"><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="681" 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=681","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="911" href="https://www.academia.edu/Documents/in/17th_Century_and_Early_Modern_Philosophy">17th Century & Early Modern Philosophy</a>, <script data-card-contents-for-ri="911" type="text/json">{"id":911,"name":"17th Century \u0026 Early Modern Philosophy","url":"https://www.academia.edu/Documents/in/17th_Century_and_Early_Modern_Philosophy?f_ri=681","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="8724" href="https://www.academia.edu/Documents/in/17th-Century_Studies">17th-Century Studies</a>, <script data-card-contents-for-ri="8724" type="text/json">{"id":8724,"name":"17th-Century Studies","url":"https://www.academia.edu/Documents/in/17th-Century_Studies?f_ri=681","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="8825" href="https://www.academia.edu/Documents/in/Robert_Fludd_Robertus_de_Fluctibus_">Robert Fludd (Robertus de Fluctibus)</a><script data-card-contents-for-ri="8825" type="text/json">{"id":8825,"name":"Robert Fludd (Robertus de Fluctibus)","url":"https://www.academia.edu/Documents/in/Robert_Fludd_Robertus_de_Fluctibus_?f_ri=681","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=179901]'), work: {"id":179901,"title":"D’art et de science au temps de Louis XIII ou De la musique comme un Janus (Descartes, Mersenne)","created_at":"2009-05-10T04:08:16.126-07:00","url":"https://www.academia.edu/179901/D_art_et_de_science_au_temps_de_Louis_XIII_ou_De_la_musique_comme_un_Janus_Descartes_Mersenne_?f_ri=681","dom_id":"work_179901","summary":null,"downloadable_attachments":[{"id":34556404,"asset_id":179901,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":39964,"first_name":"Théodora","last_name":"Psychoyou","domain_name":"paris-sorbonne","page_name":"psychoyou","display_name":"Théodora Psychoyou","profile_url":"https://paris-sorbonne.academia.edu/psychoyou?f_ri=681","photo":"https://0.academia-photos.com/39964/4252279/4946871/s65_th_odora.psychoyou.jpg"}],"research_interests":[{"id":681,"name":"Early Music","url":"https://www.academia.edu/Documents/in/Early_Music?f_ri=681","nofollow":false},{"id":911,"name":"17th Century \u0026 Early Modern Philosophy","url":"https://www.academia.edu/Documents/in/17th_Century_and_Early_Modern_Philosophy?f_ri=681","nofollow":false},{"id":8724,"name":"17th-Century Studies","url":"https://www.academia.edu/Documents/in/17th-Century_Studies?f_ri=681","nofollow":false},{"id":8825,"name":"Robert Fludd (Robertus de Fluctibus)","url":"https://www.academia.edu/Documents/in/Robert_Fludd_Robertus_de_Fluctibus_?f_ri=681","nofollow":false},{"id":8927,"name":"Art and Science","url":"https://www.academia.edu/Documents/in/Art_and_Science?f_ri=681"},{"id":12541,"name":"Music And Religion","url":"https://www.academia.edu/Documents/in/Music_And_Religion?f_ri=681"},{"id":21608,"name":"Descartes, René","url":"https://www.academia.edu/Documents/in/Descartes_Ren%C3%A9?f_ri=681"},{"id":25667,"name":"17th Century Music","url":"https://www.academia.edu/Documents/in/17th_Century_Music?f_ri=681"},{"id":27397,"name":"Scientific Revolution","url":"https://www.academia.edu/Documents/in/Scientific_Revolution?f_ri=681"},{"id":34336,"name":"Histoire de la musique","url":"https://www.academia.edu/Documents/in/Histoire_de_la_musique?f_ri=681"},{"id":43913,"name":"Perception of music and sound","url":"https://www.academia.edu/Documents/in/Perception_of_music_and_sound?f_ri=681"},{"id":65924,"name":"Marin Mersenne","url":"https://www.academia.edu/Documents/in/Marin_Mersenne?f_ri=681"},{"id":301646,"name":"Music and Science","url":"https://www.academia.edu/Documents/in/Music_and_Science?f_ri=681"},{"id":444238,"name":"Music and philosophy","url":"https://www.academia.edu/Documents/in/Music_and_philosophy?f_ri=681"},{"id":517541,"name":"History of Acoustics","url":"https://www.academia.edu/Documents/in/History_of_Acoustics?f_ri=681"},{"id":772773,"name":"Louis XIII","url":"https://www.academia.edu/Documents/in/Louis_XIII?f_ri=681"},{"id":989506,"name":"History of Music Theory and Acoustics","url":"https://www.academia.edu/Documents/in/History_of_Music_Theory_and_Acoustics?f_ri=681"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_9197181" data-work_id="9197181" 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/9197181/Sebasti%C3%A1n_Raval_and_the_Spanish_Arrogance_how_the_reputation_of_a_sixteenth_century_composer_was_destroyed">Sebastián Raval and the ‘Spanish Arrogance’: how the reputation of a sixteenth-century composer was destroyed</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 undertakes a historiographical review of the composer Sebastián Raval as a case study illuminating the influence of ideology on the shaping of history and the perpetuation of established views. The portrayal of Raval as an... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_9197181" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">This article undertakes a historiographical review of the composer Sebastián Raval as a case study illuminating the influence of ideology on the shaping of history and the perpetuation of established views. The portrayal of Raval as an arrogant Spaniard originated in his participation in two musical contests celebrated in Rome and Palermo. Whereas this characteristic was mainly understood as a stereotypical description in the Early Modern period, the influence of nationalism in the nineteenth century led to it becoming an objectionable personal flaw. This was enough to start a process of vilifying the composer in which the assessment of his professional stature outweighed the actual analysis of his music.</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/9197181" 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="abfadb5f06cdcec9e4cd93af5c3caf06" rel="nofollow" data-download="{"attachment_id":35478251,"asset_id":9197181,"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/35478251/download_file?st=MTczMjk3OTA3MCw4LjIyMi4yMDguMTQ2&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="247718" href="https://ucm.academia.edu/EsperanzaRodr%C3%ADguezGarc%C3%ADa">Esperanza Rodríguez-García</a><script data-card-contents-for-user="247718" type="text/json">{"id":247718,"first_name":"Esperanza","last_name":"Rodríguez-García","domain_name":"ucm","page_name":"EsperanzaRodríguezGarcía","display_name":"Esperanza Rodríguez-García","profile_url":"https://ucm.academia.edu/EsperanzaRodr%C3%ADguezGarc%C3%ADa?f_ri=681","photo":"/images/s65_no_pic.png"}</script></span></span></li><li class="js-paper-rank-work_9197181 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="9197181"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 9197181, container: ".js-paper-rank-work_9197181", }); 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$(".js-view-count[data-work-id=9197181]").text(description); $(".js-view-count-work_9197181").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_9197181").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="9197181"><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="681" 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=681","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1727" href="https://www.academia.edu/Documents/in/Early_Modern_History">Early Modern History</a>, <script data-card-contents-for-ri="1727" type="text/json">{"id":1727,"name":"Early Modern History","url":"https://www.academia.edu/Documents/in/Early_Modern_History?f_ri=681","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="3524" href="https://www.academia.edu/Documents/in/Historiography">Historiography</a>, <script data-card-contents-for-ri="3524" type="text/json">{"id":3524,"name":"Historiography","url":"https://www.academia.edu/Documents/in/Historiography?f_ri=681","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="5878" href="https://www.academia.edu/Documents/in/Nationalism">Nationalism</a><script data-card-contents-for-ri="5878" type="text/json">{"id":5878,"name":"Nationalism","url":"https://www.academia.edu/Documents/in/Nationalism?f_ri=681","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=9197181]'), work: {"id":9197181,"title":"Sebastián Raval and the ‘Spanish Arrogance’: how the reputation of a sixteenth-century composer was destroyed","created_at":"2014-11-08T19:52:21.079-08:00","url":"https://www.academia.edu/9197181/Sebasti%C3%A1n_Raval_and_the_Spanish_Arrogance_how_the_reputation_of_a_sixteenth_century_composer_was_destroyed?f_ri=681","dom_id":"work_9197181","summary":"This article undertakes a historiographical review of the composer Sebastián Raval as a case study illuminating the influence of ideology on the shaping of history and the perpetuation of established views. The portrayal of Raval as an arrogant Spaniard originated in his participation in two musical contests celebrated in Rome and Palermo. Whereas this characteristic was mainly understood as a stereotypical description in the Early Modern period, the influence of nationalism in the nineteenth century led to it becoming an objectionable personal flaw. This was enough to start a process of vilifying the composer in which the assessment of his professional stature outweighed the actual analysis of his music.","downloadable_attachments":[{"id":35478251,"asset_id":9197181,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":247718,"first_name":"Esperanza","last_name":"Rodríguez-García","domain_name":"ucm","page_name":"EsperanzaRodríguezGarcía","display_name":"Esperanza Rodríguez-García","profile_url":"https://ucm.academia.edu/EsperanzaRodr%C3%ADguezGarc%C3%ADa?f_ri=681","photo":"/images/s65_no_pic.png"}],"research_interests":[{"id":681,"name":"Early Music","url":"https://www.academia.edu/Documents/in/Early_Music?f_ri=681","nofollow":false},{"id":1727,"name":"Early Modern History","url":"https://www.academia.edu/Documents/in/Early_Modern_History?f_ri=681","nofollow":false},{"id":3524,"name":"Historiography","url":"https://www.academia.edu/Documents/in/Historiography?f_ri=681","nofollow":false},{"id":5878,"name":"Nationalism","url":"https://www.academia.edu/Documents/in/Nationalism?f_ri=681","nofollow":false},{"id":6245,"name":"Stereotypes and Prejudice","url":"https://www.academia.edu/Documents/in/Stereotypes_and_Prejudice?f_ri=681"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_11461981" data-work_id="11461981" 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/11461981/LA_M%C3%9ASICA_MEDIEVAL_EN_ESPA%C3%91A">LA MÚSICA MEDIEVAL EN ESPAÑA</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">(Kassel, Reichenberger, 2001). Reviews in: Romanischen Forschungen 117/4 (2005); Speculum (2004); Revista Portuguesa de Musicología XIII (2003); Revista de Literatura medieval XV (2003); Musicology Australia XXVI (2003); Revista Musical... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_11461981" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">(Kassel, Reichenberger, 2001). Reviews in: Romanischen Forschungen 117/4 (2005); Speculum (2004); Revista Portuguesa de Musicología XIII (2003); Revista de Literatura medieval XV (2003); Musicology Australia XXVI (2003); Revista Musical Catalana 222 (2003); Revista de Musicología XXV (2002); Goldberg XX (2002); La Vanguardia (8 marzo 2002);</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/11461981" 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="4e546cdf57755dc7903faffad5f6b609" rel="nofollow" data-download="{"attachment_id":38907043,"asset_id":11461981,"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/38907043/download_file?st=MTczMjk3OTA3MCw4LjIyMi4yMDguMTQ2&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="8581059" href="https://uab.academia.edu/MaricarmenG%C3%B3mezMuntan%C3%A9">Maricarmen Gómez Muntané</a><script data-card-contents-for-user="8581059" type="text/json">{"id":8581059,"first_name":"Maricarmen","last_name":"Gómez Muntané","domain_name":"uab","page_name":"MaricarmenGómezMuntané","display_name":"Maricarmen Gómez Muntané","profile_url":"https://uab.academia.edu/MaricarmenG%C3%B3mezMuntan%C3%A9?f_ri=681","photo":"https://0.academia-photos.com/8581059/7934244/8888312/s65_maricarmen.g_mez_muntan_.jpg"}</script></span></span></li><li class="js-paper-rank-work_11461981 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="11461981"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 11461981, container: ".js-paper-rank-work_11461981", }); });</script></li><li class="js-percentile-work_11461981 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 = 11461981; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_11461981"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_11461981 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="11461981"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 11461981; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=11461981]").text(description); $(".js-view-count-work_11461981").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_11461981").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="11461981"><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="681" 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=681","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="685" 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=681","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="687" 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=681","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="6859" href="https://www.academia.edu/Documents/in/Medieval_Iberian_History">Medieval Iberian History</a><script data-card-contents-for-ri="6859" type="text/json">{"id":6859,"name":"Medieval Iberian History","url":"https://www.academia.edu/Documents/in/Medieval_Iberian_History?f_ri=681","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=11461981]'), work: {"id":11461981,"title":"LA MÚSICA MEDIEVAL EN ESPAÑA","created_at":"2015-03-16T08:13:45.681-07:00","url":"https://www.academia.edu/11461981/LA_M%C3%9ASICA_MEDIEVAL_EN_ESPA%C3%91A?f_ri=681","dom_id":"work_11461981","summary":"(Kassel, Reichenberger, 2001). Reviews in: Romanischen Forschungen 117/4 (2005); Speculum (2004); Revista Portuguesa de Musicología XIII (2003); Revista de Literatura medieval XV (2003); Musicology Australia XXVI (2003); Revista Musical Catalana 222 (2003); Revista de Musicología XXV (2002); Goldberg XX (2002); La Vanguardia (8 marzo 2002); \r\n\r\n","downloadable_attachments":[{"id":38907043,"asset_id":11461981,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":8581059,"first_name":"Maricarmen","last_name":"Gómez Muntané","domain_name":"uab","page_name":"MaricarmenGómezMuntané","display_name":"Maricarmen Gómez Muntané","profile_url":"https://uab.academia.edu/MaricarmenG%C3%B3mezMuntan%C3%A9?f_ri=681","photo":"https://0.academia-photos.com/8581059/7934244/8888312/s65_maricarmen.g_mez_muntan_.jpg"}],"research_interests":[{"id":681,"name":"Early Music","url":"https://www.academia.edu/Documents/in/Early_Music?f_ri=681","nofollow":false},{"id":685,"name":"Music History","url":"https://www.academia.edu/Documents/in/Music_History?f_ri=681","nofollow":false},{"id":687,"name":"Musicology","url":"https://www.academia.edu/Documents/in/Musicology?f_ri=681","nofollow":false},{"id":6859,"name":"Medieval Iberian History","url":"https://www.academia.edu/Documents/in/Medieval_Iberian_History?f_ri=681","nofollow":false}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_384043" data-work_id="384043" 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/384043/Liturgical_drama_in_Bach_s_St_Matthew_Passion">Liturgical drama in Bach’s St. Matthew Passion</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/384043" 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="133f6d975af42bfd5433fbf2fb20578b" rel="nofollow" data-download="{"attachment_id":1874534,"asset_id":384043,"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/1874534/download_file?st=MTczMjk3OTA3MCw4LjIyMi4yMDguMTQ2&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="141188" href="https://cantab.academia.edu/UriGolomb">Uri Golomb</a><script data-card-contents-for-user="141188" type="text/json">{"id":141188,"first_name":"Uri","last_name":"Golomb","domain_name":"cantab","page_name":"UriGolomb","display_name":"Uri Golomb","profile_url":"https://cantab.academia.edu/UriGolomb?f_ri=681","photo":"https://0.academia-photos.com/141188/37451/34398/s65_uri.golomb.jpeg"}</script></span></span></li><li class="js-paper-rank-work_384043 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="384043"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 384043, container: ".js-paper-rank-work_384043", }); 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followed by an Anthology of musical compositions from the same... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_4995307" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Historical survey of music in the West of the Iberian Peninsula (448-1578), with musical examples and selected colour plates of notated manuscripts, by Manuel Pedro Ferreira; followed by an Anthology of musical compositions from the same period, transcribed by Manuel Pedro Ferreira and his collaborators: João Pedro d'Alvarenga, Bernadette Nelson, Nuno Miranda, Owen Rees, Tess Knighton, João Vaz & Sílvia Seixas Rodrigues.</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/4995307" 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="0ac28a7a1cebd329b03d4873e565e0bc" rel="nofollow" data-download="{"attachment_id":79574774,"asset_id":4995307,"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/79574774/download_file?st=MTczMjk3OTA3MCw4LjIyMi4yMDguMTQ2&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="1116732" href="https://fcsh-unl.academia.edu/ManuelPedroFerreira">Manuel Pedro Ferreira</a><script data-card-contents-for-user="1116732" type="text/json">{"id":1116732,"first_name":"Manuel Pedro","last_name":"Ferreira","domain_name":"fcsh-unl","page_name":"ManuelPedroFerreira","display_name":"Manuel Pedro Ferreira","profile_url":"https://fcsh-unl.academia.edu/ManuelPedroFerreira?f_ri=681","photo":"https://0.academia-photos.com/1116732/400155/11257181/s65_manuel_pedro.ferreira.jpeg"}</script></span></span></li><li class="js-paper-rank-work_4995307 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="4995307"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 4995307, container: ".js-paper-rank-work_4995307", }); });</script></li><li class="js-percentile-work_4995307 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 4995307; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_4995307"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_4995307 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="4995307"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 4995307; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); 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The scribe case of Jacques Bittner</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/40482343" 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="b3381c3a5da13228110f0a85e77efd78" rel="nofollow" data-download="{"attachment_id":60749346,"asset_id":40482343,"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/60749346/download_file?st=MTczMjk3OTA3MCw4LjIyMi4yMDguMTQ2&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="1214446" href="https://wroc.academia.edu/GrzegorzJoachimiak">Grzegorz Joachimiak</a><script data-card-contents-for-user="1214446" type="text/json">{"id":1214446,"first_name":"Grzegorz","last_name":"Joachimiak","domain_name":"wroc","page_name":"GrzegorzJoachimiak","display_name":"Grzegorz Joachimiak","profile_url":"https://wroc.academia.edu/GrzegorzJoachimiak?f_ri=681","photo":"https://0.academia-photos.com/1214446/438044/3140287/s65_grzegorz.joachimiak.jpg"}</script></span></span></li><li class="js-paper-rank-work_40482343 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="40482343"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 40482343, container: ".js-paper-rank-work_40482343", }); 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$(".js-view-count[data-work-id=40482343]").text(description); $(".js-view-count-work_40482343").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_40482343").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="40482343"><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="681" 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=681","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="14954" href="https://www.academia.edu/Documents/in/Baroque_Music">Baroque Music</a>, <script data-card-contents-for-ri="14954" type="text/json">{"id":14954,"name":"Baroque Music","url":"https://www.academia.edu/Documents/in/Baroque_Music?f_ri=681","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="30530" href="https://www.academia.edu/Documents/in/History_of_music">History of music</a>, <script data-card-contents-for-ri="30530" type="text/json">{"id":30530,"name":"History of music","url":"https://www.academia.edu/Documents/in/History_of_music?f_ri=681","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="64536" href="https://www.academia.edu/Documents/in/Lute_Music">Lute Music</a><script data-card-contents-for-ri="64536" type="text/json">{"id":64536,"name":"Lute Music","url":"https://www.academia.edu/Documents/in/Lute_Music?f_ri=681","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=40482343]'), work: {"id":40482343,"title":"The Reception of Lute Pieces by the Silesian Lutenist Esaias Reusner Junior in the Levoča Manuscripts. The scribe case of Jacques Bittner","created_at":"2019-09-30T11:21:59.208-07:00","url":"https://www.academia.edu/40482343/The_Reception_of_Lute_Pieces_by_the_Silesian_Lutenist_Esaias_Reusner_Junior_in_the_Levo%C4%8Da_Manuscripts_The_scribe_case_of_Jacques_Bittner?f_ri=681","dom_id":"work_40482343","summary":null,"downloadable_attachments":[{"id":60749346,"asset_id":40482343,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":1214446,"first_name":"Grzegorz","last_name":"Joachimiak","domain_name":"wroc","page_name":"GrzegorzJoachimiak","display_name":"Grzegorz Joachimiak","profile_url":"https://wroc.academia.edu/GrzegorzJoachimiak?f_ri=681","photo":"https://0.academia-photos.com/1214446/438044/3140287/s65_grzegorz.joachimiak.jpg"}],"research_interests":[{"id":681,"name":"Early Music","url":"https://www.academia.edu/Documents/in/Early_Music?f_ri=681","nofollow":false},{"id":14954,"name":"Baroque Music","url":"https://www.academia.edu/Documents/in/Baroque_Music?f_ri=681","nofollow":false},{"id":30530,"name":"History of music","url":"https://www.academia.edu/Documents/in/History_of_music?f_ri=681","nofollow":false},{"id":64536,"name":"Lute Music","url":"https://www.academia.edu/Documents/in/Lute_Music?f_ri=681","nofollow":false},{"id":72909,"name":"History of Silesia","url":"https://www.academia.edu/Documents/in/History_of_Silesia?f_ri=681"},{"id":1483626,"name":"Spisz","url":"https://www.academia.edu/Documents/in/Spisz?f_ri=681"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_30541916" data-work_id="30541916" 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/30541916/_Old_Chant_New_Songs_Plainchant_and_Monody_in_Sixteenth_Century_Rome_">“Old Chant, New Songs: Plainchant and Monody in Sixteenth-Century Rome.”</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/30541916" 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="40af3856ff63a240e4c54986d718a6e7" rel="nofollow" data-download="{"attachment_id":50985919,"asset_id":30541916,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm 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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=681","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="165922" href="https://www.academia.edu/Documents/in/Lamentations">Lamentations</a><script data-card-contents-for-ri="165922" type="text/json">{"id":165922,"name":"Lamentations","url":"https://www.academia.edu/Documents/in/Lamentations?f_ri=681","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=30541916]'), work: {"id":30541916,"title":"“Old Chant, New Songs: Plainchant and Monody in Sixteenth-Century 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data-has-card-for-ri="681" 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=681","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="31740" href="https://www.academia.edu/Documents/in/Guillaume_Du_Fay">Guillaume Du Fay</a>, <script data-card-contents-for-ri="31740" type="text/json">{"id":31740,"name":"Guillaume Du Fay","url":"https://www.academia.edu/Documents/in/Guillaume_Du_Fay?f_ri=681","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="609733" href="https://www.academia.edu/Documents/in/Musical_philology">Musical philology</a><script data-card-contents-for-ri="609733" type="text/json">{"id":609733,"name":"Musical philology","url":"https://www.academia.edu/Documents/in/Musical_philology?f_ri=681","nofollow":false}</script></span></li><script>(function(){ 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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=681","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=42107636]'), work: {"id":42107636,"title":"El códice E-GU 1: descripción, repertorio y compositores","created_at":"2020-03-01T04:45:29.562-08:00","url":"https://www.academia.edu/42107636/El_c%C3%B3dice_E_GU_1_descripci%C3%B3n_repertorio_y_compositores?f_ri=681","dom_id":"work_42107636","summary":null,"downloadable_attachments":[{"id":62240033,"asset_id":42107636,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":5664177,"first_name":"Francisco","last_name":"Rodilla","domain_name":"unex","page_name":"FranciscoRodillaLeón","display_name":"Francisco 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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/41603793/Vicentino21_Digitale_Edition_mit_%C3%9Cbersetzung_Kommentar_und_praktischer_Erkundung_von_Nicola_Vicentinos_L_antica_musica_ridotta_alla_moderna_prattica_Rom_1555_Schola_Cantorum_Basiliensis_Fachhochschule_Nordwestschweiz_FHNW_funded_by_the_Swiss_National_Science_Foundation_2020_2023">Vicentino21 – Digitale Edition mit Übersetzung, Kommentar und praktischer Erkundung von Nicola Vicentinos «L’antica musica ridotta alla moderna prattica» (Rom 1555). – Schola Cantorum Basiliensis (Fachhochschule Nordwestschweiz FHNW), funded by the Swiss National Science Foundation, 2020–2023</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><a href="http://p3.snf.ch/project-188922" 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Gesualdo","url":"https://www.academia.edu/Documents/in/Carlo_Gesualdo?f_ri=681"},{"id":844524,"name":"Madrigali","url":"https://www.academia.edu/Documents/in/Madrigali?f_ri=681"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_9481845" data-work_id="9481845" 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/9481845/Sobre_a_interpreta%C3%A7%C3%A3o_das_batalhas_ib%C3%A9ricas_para_%C3%B3rg%C3%A3o_do_s%C3%A9culo_XVII_Uma_leitura_da_Batalha_famoza_do_manuscrito_MM_43_da_Biblioteca_P%C3%BAblica_Municipal_do_Porto">Sobre a interpretação das batalhas ibéricas para órgão do século XVII: Uma leitura da Batalha famoza do manuscrito MM 43 da Biblioteca Pública Municipal do Porto</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 batalla is often considered as one of the most distinguishable genres of the Iberian Baroque organ literature. Paradoxically it is, from all genres of Hispanic organ music, the one on which praxis less information is known. The data... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_9481845" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">The batalla is often considered as one of the most distinguishable genres of the Iberian Baroque organ literature. Paradoxically it is, from all genres of Hispanic organ music, the one on which praxis less information is known. The data obtained from most seventeenth-century texts on keyboard music applies mainly to contrapuntal works, leaving unanswered many questions related to the eminently pictorial character of the batallas. On the other hand it is also interesting to note that some of the most convincing performances of batallas presently heard are those that result from a less literal reading of the musical text and that clearly intent to underline its descriptive character. The information found in Batalha famoza (included in manuscript MM 43 from Biblioteca Pública Municipal do Porto) and presented in this text seems to appeal to an interpretative effort from the player, not only through the use of the features of the Iberian organ, but also through a freer ornamentation that can emphasise the descriptive character of that musical genre.</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/9481845" 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="ff9d78cb8e7fde4c66185c05647386e9" rel="nofollow" data-download="{"attachment_id":35714494,"asset_id":9481845,"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/35714494/download_file?st=MTczMjk3OTA3MSw4LjIyMi4yMDguMTQ2&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="22188370" href="https://ipl-pt.academia.edu/Jo%C3%A3oVaz">João Vaz</a><script data-card-contents-for-user="22188370" type="text/json">{"id":22188370,"first_name":"João","last_name":"Vaz","domain_name":"ipl-pt","page_name":"JoãoVaz","display_name":"João Vaz","profile_url":"https://ipl-pt.academia.edu/Jo%C3%A3oVaz?f_ri=681","photo":"https://0.academia-photos.com/22188370/6069127/6883105/s65_jo_o.vaz.jpg_oh_138d014035cc329d06a9343533f0fa8f_oe_551e6b1a___gda___1426825120_ad11b17a25dab5c42b2d26339a856b8a"}</script></span></span></li><li class="js-paper-rank-work_9481845 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="9481845"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 9481845, container: ".js-paper-rank-work_9481845", }); 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$(".js-view-count[data-work-id=9481845]").text(description); $(".js-view-count-work_9481845").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_9481845").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="9481845"><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="671" 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=681","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="681" 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=681","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="691" href="https://www.academia.edu/Documents/in/Organ_And_Historical_Keyboards_E.G._Harpsichord_">Organ And Historical Keyboards (E.G., Harpsichord)</a>, <script data-card-contents-for-ri="691" type="text/json">{"id":691,"name":"Organ And Historical Keyboards (E.G., Harpsichord)","url":"https://www.academia.edu/Documents/in/Organ_And_Historical_Keyboards_E.G._Harpsichord_?f_ri=681","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="819382" href="https://www.academia.edu/Documents/in/Batallas">Batallas</a><script data-card-contents-for-ri="819382" type="text/json">{"id":819382,"name":"Batallas","url":"https://www.academia.edu/Documents/in/Batallas?f_ri=681","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=9481845]'), work: {"id":9481845,"title":"Sobre a interpretação das batalhas ibéricas para órgão do século XVII: Uma leitura da Batalha famoza do manuscrito MM 43 da Biblioteca Pública Municipal do Porto","created_at":"2014-11-24T17:39:19.879-08:00","url":"https://www.academia.edu/9481845/Sobre_a_interpreta%C3%A7%C3%A3o_das_batalhas_ib%C3%A9ricas_para_%C3%B3rg%C3%A3o_do_s%C3%A9culo_XVII_Uma_leitura_da_Batalha_famoza_do_manuscrito_MM_43_da_Biblioteca_P%C3%BAblica_Municipal_do_Porto?f_ri=681","dom_id":"work_9481845","summary":"The batalla is often considered as one of the most distinguishable genres of the Iberian Baroque organ literature. Paradoxically it is, from all genres of Hispanic organ music, the one on which praxis less information is known. The data obtained from most seventeenth-century texts on keyboard music applies mainly to contrapuntal works, leaving unanswered many questions related to the eminently pictorial character of the batallas. On the other hand it is also interesting to note that some of the most convincing performances of batallas presently heard are those that result from a less literal reading of the musical text and that clearly intent to underline its descriptive character. The information found in Batalha famoza (included in manuscript MM 43 from Biblioteca Pública Municipal do Porto) and presented in this text seems to appeal to an interpretative effort from the player, not only through the use of the features of the Iberian organ, but also through a freer ornamentation that can emphasise the descriptive character of that musical genre.","downloadable_attachments":[{"id":35714494,"asset_id":9481845,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":22188370,"first_name":"João","last_name":"Vaz","domain_name":"ipl-pt","page_name":"JoãoVaz","display_name":"João Vaz","profile_url":"https://ipl-pt.academia.edu/Jo%C3%A3oVaz?f_ri=681","photo":"https://0.academia-photos.com/22188370/6069127/6883105/s65_jo_o.vaz.jpg_oh_138d014035cc329d06a9343533f0fa8f_oe_551e6b1a___gda___1426825120_ad11b17a25dab5c42b2d26339a856b8a"}],"research_interests":[{"id":671,"name":"Music","url":"https://www.academia.edu/Documents/in/Music?f_ri=681","nofollow":false},{"id":681,"name":"Early Music","url":"https://www.academia.edu/Documents/in/Early_Music?f_ri=681","nofollow":false},{"id":691,"name":"Organ And Historical Keyboards (E.G., Harpsichord)","url":"https://www.academia.edu/Documents/in/Organ_And_Historical_Keyboards_E.G._Harpsichord_?f_ri=681","nofollow":false},{"id":819382,"name":"Batallas","url":"https://www.academia.edu/Documents/in/Batallas?f_ri=681","nofollow":false}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_70812026" data-work_id="70812026" 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/70812026/Natural_trumpet_parts_in_compositions_of_M_J_%C5%BBebrowski_in_light_of_other_works_from_The_High_Point_of_Clarino_Playing">Natural trumpet parts in compositions of M. J. Żebrowski in light of other works from The High Point of Clarino Playing</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/70812026" 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="d7ca4e0b47ff3e337040e01817dd9f84" rel="nofollow" data-download="{"attachment_id":80403717,"asset_id":70812026,"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/80403717/download_file?st=MTczMjk3OTA3MSw4LjIyMi4yMDguMTQ2&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="4742211" href="https://independent.academia.edu/PatrykFrankowski">Patryk Frankowski</a><script data-card-contents-for-user="4742211" type="text/json">{"id":4742211,"first_name":"Patryk","last_name":"Frankowski","domain_name":"independent","page_name":"PatrykFrankowski","display_name":"Patryk Frankowski","profile_url":"https://independent.academia.edu/PatrykFrankowski?f_ri=681","photo":"https://0.academia-photos.com/4742211/2008989/2369937/s65_patryk.frankowski.jpg"}</script></span></span></li><li class="js-paper-rank-work_70812026 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="70812026"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 70812026, container: ".js-paper-rank-work_70812026", }); 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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="1572099b5fb0fc083d6436d9957019b2" 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=MTczMjk3OTA3MSw4LjIyMi4yMDguMTQ2&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=681","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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Studies in Medieval and Early Modern Music, edited by Iain Fenlon</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Petersen, Peter: “Against the "dehumanization of music". On the occasion of the eighteenth birthday of the musicologist and historian Constantin Floros,” translated from: Musikforum 8 (2010), 58-59. “Specialisation without universality... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_7102448" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Petersen, Peter: “Against the "dehumanization of music". On the occasion of the eighteenth birthday of the musicologist and historian Constantin Floros,” translated from: Musikforum 8 (2010), 58-59.  <br /><br />“Specialisation without universality is blind. Universalism is blind. Universality without specialisation is a soap bubble.”  This is the maxim of the musicologist and historian Constantin Floros, whose academic life is now being celebrated.</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/7102448" 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="f0d4a144ca4ad6f5aba44498f212b2ae" rel="nofollow" data-download="{"attachment_id":33791612,"asset_id":7102448,"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/33791612/download_file?st=MTczMjk3OTA3MSw4LjIyMi4yMDguMTQ2&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="5561591" href="https://independent.academia.edu/MoranNeil">Neil Moran</a><script data-card-contents-for-user="5561591" type="text/json">{"id":5561591,"first_name":"Neil","last_name":"Moran","domain_name":"independent","page_name":"MoranNeil","display_name":"Neil Moran","profile_url":"https://independent.academia.edu/MoranNeil?f_ri=681","photo":"https://0.academia-photos.com/5561591/2910572/3401466/s65_neil.moran.jpg"}</script></span></span></li><li class="js-paper-rank-work_7102448 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="7102448"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 7102448, container: ".js-paper-rank-work_7102448", }); });</script></li><li class="js-percentile-work_7102448 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 = 7102448; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_7102448"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_7102448 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="7102448"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 7102448; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=7102448]").text(description); $(".js-view-count-work_7102448").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_7102448").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="7102448"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">2</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="681" 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=681","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1446" 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=681","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=7102448]'), work: {"id":7102448,"title":"Early Music History I. 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Universality without specialisation is a soap bubble.” This is the maxim of the musicologist and historian Constantin Floros, whose academic life is now being celebrated.","downloadable_attachments":[{"id":33791612,"asset_id":7102448,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":5561591,"first_name":"Neil","last_name":"Moran","domain_name":"independent","page_name":"MoranNeil","display_name":"Neil Moran","profile_url":"https://independent.academia.edu/MoranNeil?f_ri=681","photo":"https://0.academia-photos.com/5561591/2910572/3401466/s65_neil.moran.jpg"}],"research_interests":[{"id":681,"name":"Early Music","url":"https://www.academia.edu/Documents/in/Early_Music?f_ri=681","nofollow":false},{"id":1446,"name":"Medieval History","url":"https://www.academia.edu/Documents/in/Medieval_History?f_ri=681","nofollow":false}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_42643032" data-work_id="42643032" 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/42643032/Musica_ai_tempi_di_Raffaello">Musica ai tempi di Raffaello</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">Breve ricerca sul profondo rapporto di Raffaello Sanzio con l'ambiente di corte e , in particolar modo, con l'aspetto musicale.</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/42643032" 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="42f299b0b10343fcb3e477a506540c26" rel="nofollow" data-download="{"attachment_id":62848832,"asset_id":42643032,"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/62848832/download_file?st=MTczMjk3OTA3MSw4LjIyMi4yMDguMTQ2&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="106056376" href="https://unibo.academia.edu/CamillaAcampora">Camilla Acampora</a><script data-card-contents-for-user="106056376" type="text/json">{"id":106056376,"first_name":"Camilla","last_name":"Acampora","domain_name":"unibo","page_name":"CamillaAcampora","display_name":"Camilla Acampora","profile_url":"https://unibo.academia.edu/CamillaAcampora?f_ri=681","photo":"https://0.academia-photos.com/106056376/24372326/23292926/s65_camilla.acampora.jpg"}</script></span></span></li><li class="js-paper-rank-work_42643032 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="42643032"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 42643032, container: ".js-paper-rank-work_42643032", }); 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$(".js-view-count[data-work-id=42643032]").text(description); $(".js-view-count-work_42643032").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_42643032").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="42643032"><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="681" 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=681","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="16368" href="https://www.academia.edu/Documents/in/Italian_Renaissance_Art">Italian Renaissance Art</a>, <script data-card-contents-for-ri="16368" type="text/json">{"id":16368,"name":"Italian Renaissance Art","url":"https://www.academia.edu/Documents/in/Italian_Renaissance_Art?f_ri=681","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="97839" href="https://www.academia.edu/Documents/in/STORIA_DELLARTE">STORIA DELL'ARTE</a>, <script data-card-contents-for-ri="97839" type="text/json">{"id":97839,"name":"STORIA DELL'ARTE","url":"https://www.academia.edu/Documents/in/STORIA_DELLARTE?f_ri=681","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="162349" href="https://www.academia.edu/Documents/in/Rinascimento">Rinascimento</a><script data-card-contents-for-ri="162349" type="text/json">{"id":162349,"name":"Rinascimento","url":"https://www.academia.edu/Documents/in/Rinascimento?f_ri=681","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=42643032]'), work: {"id":42643032,"title":"Musica ai tempi di Raffaello","created_at":"2020-04-06T10:35:31.867-07:00","url":"https://www.academia.edu/42643032/Musica_ai_tempi_di_Raffaello?f_ri=681","dom_id":"work_42643032","summary":"Breve ricerca sul profondo rapporto di Raffaello Sanzio con l'ambiente di corte e , in particolar modo, con l'aspetto musicale.","downloadable_attachments":[{"id":62848832,"asset_id":42643032,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":106056376,"first_name":"Camilla","last_name":"Acampora","domain_name":"unibo","page_name":"CamillaAcampora","display_name":"Camilla Acampora","profile_url":"https://unibo.academia.edu/CamillaAcampora?f_ri=681","photo":"https://0.academia-photos.com/106056376/24372326/23292926/s65_camilla.acampora.jpg"}],"research_interests":[{"id":681,"name":"Early Music","url":"https://www.academia.edu/Documents/in/Early_Music?f_ri=681","nofollow":false},{"id":16368,"name":"Italian Renaissance Art","url":"https://www.academia.edu/Documents/in/Italian_Renaissance_Art?f_ri=681","nofollow":false},{"id":97839,"name":"STORIA DELL'ARTE","url":"https://www.academia.edu/Documents/in/STORIA_DELLARTE?f_ri=681","nofollow":false},{"id":162349,"name":"Rinascimento","url":"https://www.academia.edu/Documents/in/Rinascimento?f_ri=681","nofollow":false},{"id":181821,"name":"Castiglione Baldassarre","url":"https://www.academia.edu/Documents/in/Castiglione_Baldassarre?f_ri=681"},{"id":1464989,"name":"Raffaello Sanzio","url":"https://www.academia.edu/Documents/in/Raffaello_Sanzio?f_ri=681"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_10027811" data-work_id="10027811" 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/10027811/XII_R%C3%A9citals_Johann_Sebastian_Bach_Le_Clavier_bien_temp%C3%A9r%C3%A9_BWV_870_893_second_volume_">XII. Récitals Johann Sebastian Bach, Le Clavier bien tempéré BWV 870-893 (second volume)</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Présentation Douzième volet de l’intégrale Johann Sebastian Bach (1685-1750) pour clavier, le second volume du Clavier bien tempéré est présenté en deux récitals, chaque fois au clavecin, à savoir les préludes et fugues 1 à 12 (BWV 870... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_10027811" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Présentation <br /> <br />Douzième volet de l’intégrale Johann Sebastian Bach (1685-1750) pour clavier, le second volume du Clavier bien tempéré est présenté en deux récitals, chaque fois au clavecin, à savoir les préludes et fugues 1 à 12 (BWV 870 à 881), puis les préludes et fugues 13 à 24 (BWV 882 à 893), autrement dit la première moitié du recueil, de do majeur à fa mineur, puis la seconde moitié, de fa dièse majeur à si mineur.</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/10027811" 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="612f907027a7ed9f6bf9cd400beaa9da" rel="nofollow" data-download="{"attachment_id":37198290,"asset_id":10027811,"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/37198290/download_file?st=MTczMjk3OTA3MSw4LjIyMi4yMDguMTQ2&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="2956596" href="https://independent.academia.edu/EspacedeAndr%C3%A9sMissirlianRomainm%C3%B4tier">Espace de Andrés-Missirlian Romainmôtier</a><script data-card-contents-for-user="2956596" type="text/json">{"id":2956596,"first_name":"Espace de Andrés-Missirlian","last_name":"Romainmôtier","domain_name":"independent","page_name":"EspacedeAndrésMissirlianRomainmôtier","display_name":"Espace de Andrés-Missirlian Romainmôtier","profile_url":"https://independent.academia.edu/EspacedeAndr%C3%A9sMissirlianRomainm%C3%B4tier?f_ri=681","photo":"https://0.academia-photos.com/2956596/976397/2480166/s65_espace_de_andr_s-missirlian.romainm_tier.jpg"}</script></span></span></li><li class="js-paper-rank-work_10027811 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="10027811"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 10027811, container: ".js-paper-rank-work_10027811", }); 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$(".js-view-count[data-work-id=10027811]").text(description); $(".js-view-count-work_10027811").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_10027811").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="10027811"><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" 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=681","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="691" href="https://www.academia.edu/Documents/in/Organ_And_Historical_Keyboards_E.G._Harpsichord_">Organ And Historical Keyboards (E.G., Harpsichord)</a>, <script data-card-contents-for-ri="691" type="text/json">{"id":691,"name":"Organ And Historical Keyboards (E.G., Harpsichord)","url":"https://www.academia.edu/Documents/in/Organ_And_Historical_Keyboards_E.G._Harpsichord_?f_ri=681","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="14954" href="https://www.academia.edu/Documents/in/Baroque_Music">Baroque Music</a>, <script data-card-contents-for-ri="14954" type="text/json">{"id":14954,"name":"Baroque Music","url":"https://www.academia.edu/Documents/in/Baroque_Music?f_ri=681","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="18798" href="https://www.academia.edu/Documents/in/J_S_Bach">J S Bach</a><script data-card-contents-for-ri="18798" type="text/json">{"id":18798,"name":"J S Bach","url":"https://www.academia.edu/Documents/in/J_S_Bach?f_ri=681","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=10027811]'), work: {"id":10027811,"title":"XII. Récitals Johann Sebastian Bach, Le Clavier bien tempéré BWV 870-893 (second volume)","created_at":"2015-01-06T02:22:11.630-08:00","url":"https://www.academia.edu/10027811/XII_R%C3%A9citals_Johann_Sebastian_Bach_Le_Clavier_bien_temp%C3%A9r%C3%A9_BWV_870_893_second_volume_?f_ri=681","dom_id":"work_10027811","summary":"Présentation\r\n\r\nDouzième volet de l’intégrale Johann Sebastian Bach (1685-1750) pour clavier, le second volume du Clavier bien tempéré est présenté en deux récitals, chaque fois au clavecin, à savoir les préludes et fugues 1 à 12 (BWV 870 à 881), puis les préludes et fugues 13 à 24 (BWV 882 à 893), autrement dit la première moitié du recueil, de do majeur à fa mineur, puis la seconde moitié, de fa dièse majeur à si mineur.","downloadable_attachments":[{"id":37198290,"asset_id":10027811,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":2956596,"first_name":"Espace de Andrés-Missirlian","last_name":"Romainmôtier","domain_name":"independent","page_name":"EspacedeAndrésMissirlianRomainmôtier","display_name":"Espace de Andrés-Missirlian Romainmôtier","profile_url":"https://independent.academia.edu/EspacedeAndr%C3%A9sMissirlianRomainm%C3%B4tier?f_ri=681","photo":"https://0.academia-photos.com/2956596/976397/2480166/s65_espace_de_andr_s-missirlian.romainm_tier.jpg"}],"research_interests":[{"id":681,"name":"Early Music","url":"https://www.academia.edu/Documents/in/Early_Music?f_ri=681","nofollow":false},{"id":691,"name":"Organ And Historical Keyboards (E.G., Harpsichord)","url":"https://www.academia.edu/Documents/in/Organ_And_Historical_Keyboards_E.G._Harpsichord_?f_ri=681","nofollow":false},{"id":14954,"name":"Baroque Music","url":"https://www.academia.edu/Documents/in/Baroque_Music?f_ri=681","nofollow":false},{"id":18798,"name":"J S Bach","url":"https://www.academia.edu/Documents/in/J_S_Bach?f_ri=681","nofollow":false},{"id":24668,"name":"Harpsichord","url":"https://www.academia.edu/Documents/in/Harpsichord?f_ri=681"},{"id":174729,"name":"Early Music \u0026 Early Tuning Temperaments","url":"https://www.academia.edu/Documents/in/Early_Music_and_Early_Tuning_Temperaments?f_ri=681"},{"id":209812,"name":"J.S. Bach","url":"https://www.academia.edu/Documents/in/J.S._Bach?f_ri=681"},{"id":390824,"name":"Keyboard Music","url":"https://www.academia.edu/Documents/in/Keyboard_Music?f_ri=681"},{"id":617120,"name":"Bach, Johann Sebastian","url":"https://www.academia.edu/Documents/in/Bach_Johann_Sebastian?f_ri=681"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_67372878" data-work_id="67372878" 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/67372878/Natural_trumpet_parts_in_compositions_of_M_J_%C5%BBebrowski_in_light_of_other_works_from_The_High_Point_of_Clarino_Playing">Natural trumpet parts in compositions of M. J. Żebrowski in light of other works from The High Point of Clarino Playing</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">Paper presented at The Second International Historic Brass Symposium (New York, July 12-15, 2012)</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/67372878" 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="8ad1d05d75129594525e4d86b4353d62" rel="nofollow" data-download="{"attachment_id":78213347,"asset_id":67372878,"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/78213347/download_file?st=MTczMjk3OTA3MSw4LjIyMi4yMDguMTQ2&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="1173038" href="https://jagiellonian.academia.edu/MaciejJochymczyk">Maciej Jochymczyk</a><script data-card-contents-for-user="1173038" type="text/json">{"id":1173038,"first_name":"Maciej","last_name":"Jochymczyk","domain_name":"jagiellonian","page_name":"MaciejJochymczyk","display_name":"Maciej Jochymczyk","profile_url":"https://jagiellonian.academia.edu/MaciejJochymczyk?f_ri=681","photo":"https://0.academia-photos.com/1173038/417353/61937194/s65_maciej.jochymczyk.jpg"}</script></span></span></li><li class="js-paper-rank-work_67372878 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="67372878"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 67372878, container: ".js-paper-rank-work_67372878", }); 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S. Bach - By Mark A. 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Growing interest in these iconic instruments has led to a need for new research... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_11082480" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">The Lamont and Queen Mary harps of National Museums Scotland are two of the oldest surviving examples of the harp of Ireland and the Highlands of Scotland. Growing interest in these iconic instruments has led to a need for new research into their materials and construction. With recent advances in imaging and analytical tools, these instruments can now be examined and understood to a much greater degree than previously possible. <br /> <br />With this in mind, the authors have undertaken a research project to study the Lamont and Queen Mary harps. Each harp underwent CT-scanning, and a visual and photographic survey, with x-ray fluorescence and scanning electron microscopy – energy dispersive x-ray spectroscopy of selected areas of interest.  The CT scanning was conducted at the Clinical Research Imaging Centre of Queen's Medical Research Institute, and the survey and laboratory analysis were conducted at the National Museums Scotland Collection Centre. <br /> <br />This paper presents the initial findings of this project. The interior construction of the harps, hidden internal damage and repairs, pattern of the wood grain, and current state of the wood are discussed. Results of the visual and photographic survey and analysis of the composition of pigments and metal parts are also presented and discussed in the context of the findings from the CT scans. Additionally, contour maps of the soundboard thickness generated from the CT scanning data for each harp are presented.</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/11082480" 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="fee88152b400c6acf2a3d087fb4a9983" rel="nofollow" data-download="{"attachment_id":36769734,"asset_id":11082480,"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/36769734/download_file?st=MTczMjk3OTA3MSw4LjIyMi4yMDguMTQ2&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="244604" href="https://independent.academia.edu/KarenLoomis">Karen Loomis</a><script data-card-contents-for-user="244604" type="text/json">{"id":244604,"first_name":"Karen","last_name":"Loomis","domain_name":"independent","page_name":"KarenLoomis","display_name":"Karen Loomis","profile_url":"https://independent.academia.edu/KarenLoomis?f_ri=681","photo":"https://0.academia-photos.com/244604/53044/33742676/s65_karen.loomis.jpg"}</script></span></span></li><li class="js-paper-rank-work_11082480 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="11082480"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 11082480, container: ".js-paper-rank-work_11082480", }); 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Growing interest in these iconic instruments has led to a need for new research into their materials and construction. With recent advances in imaging and analytical tools, these instruments can now be examined and understood to a much greater degree than previously possible.\r\n\r\nWith this in mind, the authors have undertaken a research project to study the Lamont and Queen Mary harps. Each harp underwent CT-scanning, and a visual and photographic survey, with x-ray fluorescence and scanning electron microscopy – energy dispersive x-ray spectroscopy of selected areas of interest. The CT scanning was conducted at the Clinical Research Imaging Centre of Queen's Medical Research Institute, and the survey and laboratory analysis were conducted at the National Museums Scotland Collection Centre.\r\n\r\nThis paper presents the initial findings of this project. The interior construction of the harps, hidden internal damage and repairs, pattern of the wood grain, and current state of the wood are discussed. Results of the visual and photographic survey and analysis of the composition of pigments and metal parts are also presented and discussed in the context of the findings from the CT scans. Additionally, contour maps of the soundboard thickness generated from the CT scanning data for each harp are presented. \r\n","downloadable_attachments":[{"id":36769734,"asset_id":11082480,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":244604,"first_name":"Karen","last_name":"Loomis","domain_name":"independent","page_name":"KarenLoomis","display_name":"Karen Loomis","profile_url":"https://independent.academia.edu/KarenLoomis?f_ri=681","photo":"https://0.academia-photos.com/244604/53044/33742676/s65_karen.loomis.jpg"}],"research_interests":[{"id":681,"name":"Early Music","url":"https://www.academia.edu/Documents/in/Early_Music?f_ri=681","nofollow":false},{"id":685,"name":"Music History","url":"https://www.academia.edu/Documents/in/Music_History?f_ri=681","nofollow":false},{"id":1648,"name":"Computed Tomography","url":"https://www.academia.edu/Documents/in/Computed_Tomography?f_ri=681","nofollow":false},{"id":4843,"name":"Organology","url":"https://www.academia.edu/Documents/in/Organology?f_ri=681","nofollow":false},{"id":11156,"name":"Irish Music","url":"https://www.academia.edu/Documents/in/Irish_Music?f_ri=681"},{"id":16385,"name":"Development of the harp","url":"https://www.academia.edu/Documents/in/Development_of_the_harp?f_ri=681"},{"id":51021,"name":"Music Archaeology","url":"https://www.academia.edu/Documents/in/Music_Archaeology?f_ri=681"},{"id":53272,"name":"Musical Instruments","url":"https://www.academia.edu/Documents/in/Musical_Instruments?f_ri=681"},{"id":114053,"name":"Harps","url":"https://www.academia.edu/Documents/in/Harps?f_ri=681"},{"id":120904,"name":"Scottish Archaeology","url":"https://www.academia.edu/Documents/in/Scottish_Archaeology?f_ri=681"},{"id":252390,"name":"Medieval woodcarving","url":"https://www.academia.edu/Documents/in/Medieval_woodcarving?f_ri=681"},{"id":429615,"name":"Late Medieval Gaelic Ireland and Gaelic Scotland","url":"https://www.academia.edu/Documents/in/Late_Medieval_Gaelic_Ireland_and_Gaelic_Scotland?f_ri=681"},{"id":1146027,"name":"Irish Harp","url":"https://www.academia.edu/Documents/in/Irish_Harp?f_ri=681"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_6437918" data-work_id="6437918" 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/6437918/Music_Has_Not_Been_Invented">Music Has Not Been Invented</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/6437918" 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="f558ded20e506b0992c892cb9d8240b3" rel="nofollow" data-download="{"attachment_id":33236323,"asset_id":6437918,"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/33236323/download_file?st=MTczMjk3OTA3MSw4LjIyMi4yMDguMTQ2&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="4075271" href="https://art-ir.academia.edu/Azadehfar">Mohammad Reza Azadehfar محمدرضا آزاده فر</a><script data-card-contents-for-user="4075271" type="text/json">{"id":4075271,"first_name":"Mohammad Reza","last_name":"Azadehfar محمدرضا آزاده فر","domain_name":"art-ir","page_name":"Azadehfar","display_name":"Mohammad Reza Azadehfar محمدرضا آزاده فر","profile_url":"https://art-ir.academia.edu/Azadehfar?f_ri=681","photo":"https://0.academia-photos.com/4075271/1608170/3236894/s65_mohammad_reza.azadehfar_.jpg"}</script></span></span></li><li class="js-paper-rank-work_6437918 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="6437918"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 6437918, container: ".js-paper-rank-work_6437918", }); 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Musica antica nell’Italia del secondo dopoguerra, edited by Livio Aragona and Claudio Toscani (Lucca: Libreria Musicale Italiana, 2017). Rivista Italiana di Musicologia 54 (2019), 226-231.</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/41239733" 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="e06da8480ae41dc83c3761b7d854f318" rel="nofollow" data-download="{"attachment_id":61466826,"asset_id":41239733,"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/61466826/download_file?st=MTczMjk3OTA3MSw4LjIyMi4yMDguMTQ2&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="6736121" href="https://unipi.academia.edu/SielAgugliaro">Siel Agugliaro</a><script data-card-contents-for-user="6736121" type="text/json">{"id":6736121,"first_name":"Siel","last_name":"Agugliaro","domain_name":"unipi","page_name":"SielAgugliaro","display_name":"Siel Agugliaro","profile_url":"https://unipi.academia.edu/SielAgugliaro?f_ri=681","photo":"https://0.academia-photos.com/6736121/2867684/37221919/s65_siel.agugliaro.png"}</script></span></span></li><li class="js-paper-rank-work_41239733 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="41239733"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 41239733, container: ".js-paper-rank-work_41239733", }); 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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/15274178/Journal_of_the_Australian_Early_Medieval_Association_vol_3_2007">Journal of the Australian Early Medieval Association, vol. 3, 2007</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/15274178" 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="c66287b55ddabd839248f4eaff8cc282" rel="nofollow" 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Transylvania","url":"https://www.academia.edu/Documents/in/Early_Medieval_Transylvania?f_ri=681"},{"id":433249,"name":"Early Medieval Period","url":"https://www.academia.edu/Documents/in/Early_Medieval_Period?f_ri=681"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_49231751" data-work_id="49231751" 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/49231751/Lutnia_w_klasztorze_Fenomen_dworskiego_instrumentu_w_kulturze_%C5%9Al%C4%85ska_XVII_i_XVIII_wieku_The_lute_in_the_monastery_The_phenomenon_of_a_courtly_instrument_in_the_culture_of_Silesia_of_the_seventeenth_and_eighteenth_centuries_">Lutnia w klasztorze. Fenomen dworskiego instrumentu w kulturze Śląska XVII i XVIII wieku [The lute in the monastery. The phenomenon of a courtly instrument in the culture of Silesia of the seventeenth and eighteenth centuries]</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 present book is devoted to a cultural phenomenon in the form of a collection of musical manuscripts written with a specific instrument in mind in a monastic milieu, but one which contains no liturgical compositions. The collection in... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_49231751" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">The present book is devoted to a cultural phenomenon in the form of a collection of musical manuscripts written with a specific instrument in mind in a monastic milieu, but one which contains no liturgical compositions. The collection in question comprises handwritten lute tablatures from the Cistercian Abbey of Krzeszów (German: Grüssau). The author presents the Baroque lute in a humanistic perspective, a perspective of selected social phenomena in European culture of the<br />second half of the seventeenth century and the first half of the eighteenth century, as well as selected questions relating to performance practice. This concerns the functioning of the lute particularly in the musical culture of Silesia, the context of musical life in the Cistercian Abbey of Krzeszów and questions relating to musical source studies, questions like concordance based on European sources.<br />The book draws on a doctoral dissertation, written under the guidance of Professor Remigiusz Pośpiech at the Institute of Musicology, University of Wrocław, which in 2017 brought Dr G. Joachimiak the first prize in the Professor H. Feicht Competition, awarded by the Musicological Section of the Polish Composers’ Union.<br />The manuscripts of lute tablatures from the Krzeszów Abbey have never before been the subject of holistic research, which has required a number of detailed studies over many years. The author has used both the method of a music historian and a perspective based on experiences in music performance. Readers will find here the results of the author’s research, with details of the research process to be found in the doctoral dissertation. Given the limited publication possibilities, the material presented in the book has had to be reduced, which has affected largely ensemble music.<br />The analysed collection comprises fifteen manuscripts, which are currently dispersed. It contains over 2000 individual works, which makes the collection one of the largest of this kind in the world. The surviving sources contain only pieces for the lute in a popular eighteenth-century tuning. These are solo and ensemble pieces in which missing instrument parts are sometimes filled by concordances. The results of the research into the reconstruction of selected compositions make it possible to prepare the material for performance and to explore selected elements of monastic life in the eighteenth century, especially the music performed by the monks. This concerns, for example, the Tafelmusik<br />practice as well as limitations relating to the performance of this kind of music at the monastery or the way in which the Cistercians used the lute and secular compositions to develop monastic piety.<br />The book also contains information originating in the correspondence of monks from the Krzeszów abbey, including lute-playing monks like Father Hermann Kniebandl. In the last stage of his life he was associated with the Cistercian provostship in Cieplice Śląskie (German: Bad Warmbrunn), where his duties included, in addition to pastoral work, the running of the thermal springs which the monastery had received from the Schaffgotsch family. However, the relations between the family and the Krzeszów Cistercians are limited here to the context of musical patronage and support of musical activities associated with the analysed lute collection.<br />The lute tablature manuscripts also contain information which is significant from the perspective of the history of music theory — information in the form lute playing instructions, strictly practical<br />elements like marking of fingering for both hands in the various pieces, examples of playing exercises or explanation of the notation and embellishments in lute playing. This makes the whole material<br />twice as valuable, because every such “didactic source” is the best source in modern historically informed performance, providing scholars with an insight into reception of the repertoire and styles of playing. On the other hand it sheds light on the Krzeszów Cistercians’ actual participation in the cultivation and development of secular Baroque lute repertoire, popular at royal courts and among townsmen, irrespective of their confessional affiliation.<br />Compositions from the analysed collection include pieces which show that the Krzeszów Cistercians were stylistically well-versed in the solo or ensemble repertoire as well as pieces which are unique in Europe. This is undoubtedly linked to the great popularity of the lute in the first half of<br />the eighteenth century in Central Europe, where Silesia served as one of the most important European centres of lute music. This was the place from which came and where were educated the most sought-after lutenists in royal and courtly ensembles, lutenists like Esaias Reusner the Younger, Silvius Leopold Weiss, Ernst Gottlieb Baron and many others. This situation undoubtedly had a huge impact on the interest in the lute among the Krzeszów Cistercians. That is why the author of the book takes into account compositions not only by well-known composers and patrons of their music, but also pieces by local composers, including those from among the Krzeszów Cistercians. In the last chapter the author devotes some attention to the use of the lute in work associated with Cistercian spirituality, taking into account the specificity of the Krzeszów Cistercians — to be more precise, in spiritual exercises. The Krzeszów Cistercians took over the Exercitia spiritualis from the Silesian Jesuits and carried them out in accordance with St. Ignatius Loyola’s method.<br />All these elements provoke questions of why the Cistercian Abbey of Krzeszów became a friendly place for the making of lute tablature manuscripts and interest in the lute, an instrument used mostly<br />in court circles. How to describe the phenomenon of the Baroque lute in the monastery in the context of the musical culture of Silesia in the seventeenth and eighteenth centuries? Is the Cistercian Abbey in Krzeszów the only such example of musical activity in the history of music? Answers to these and other questions can be found in the four chapters of the present book supported by an extensive introduction and three appendices.<br /><br />Książka poświęcona jest kolekcji 15 rękopisów muzycznych z pierwszej połowy XVIII w., zapisanych specyficzną notacją muzyczną tabulatury lutniowej w odmianie francuskiej (literowej). Jest to jeden z największych zbiorów tego typu. Dlaczego zatem powstał na Śląsku i w środowisku opactwa cystersów w Krzeszowie? To pytanie towarzyszyło autorowi tej książki przez cały okres jej przygotowania. Odpowiedź jest złożona, dlatego w książce pojawiają się informacje wskazujące na specyfikę kultury muzycznej Śląska XVII i XVIII wieku, potwierdzające wyjątkowość tego regionu dla kultywowania muzyki lutniowej. W omawianych źródłach nie ma przykładów muzyki liturgicznej. Większość tego repertuaru wykonywano na dworach królewskich niemalże całej ówczesnej Europy, ale są też przykłady utworów kompozytorów działających wyłącznie lokalnie, w tym również z grona cystersów. W książce znaleźć można informacje o muzyce lutniowej przedstawione w perspektywie humanistycznej, z uwzględnieniem metodyki gry, wybranego repertuaru i zagadnień źródłoznawczych. Jak zatem scharakteryzować określenie zjawiska „fenomenu lutni barokowej w klasztorze”? Odpowiedzi na te i inne pytania znajdują się w czterech rozdziałach niniejszej książki, wspartych rozbudowanym wstępem i trzema aneksami.</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/49231751" 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="e0204dff0b2a63edb4b739d78859a7ef" rel="nofollow" data-download="{"attachment_id":67615774,"asset_id":49231751,"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/67615774/download_file?st=MTczMjk3OTA3MSw4LjIyMi4yMDguMTQ2&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="1214446" href="https://wroc.academia.edu/GrzegorzJoachimiak">Grzegorz Joachimiak</a><script data-card-contents-for-user="1214446" type="text/json">{"id":1214446,"first_name":"Grzegorz","last_name":"Joachimiak","domain_name":"wroc","page_name":"GrzegorzJoachimiak","display_name":"Grzegorz Joachimiak","profile_url":"https://wroc.academia.edu/GrzegorzJoachimiak?f_ri=681","photo":"https://0.academia-photos.com/1214446/438044/3140287/s65_grzegorz.joachimiak.jpg"}</script></span></span></li><li class="js-paper-rank-work_49231751 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="49231751"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 49231751, container: ".js-paper-rank-work_49231751", }); 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$(".js-view-count[data-work-id=49231751]").text(description); $(".js-view-count-work_49231751").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_49231751").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="49231751"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">13</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="681" 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=681","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="14954" href="https://www.academia.edu/Documents/in/Baroque_Music">Baroque Music</a>, <script data-card-contents-for-ri="14954" type="text/json">{"id":14954,"name":"Baroque Music","url":"https://www.academia.edu/Documents/in/Baroque_Music?f_ri=681","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="16718" href="https://www.academia.edu/Documents/in/Cistercians">Cistercians</a>, <script data-card-contents-for-ri="16718" type="text/json">{"id":16718,"name":"Cistercians","url":"https://www.academia.edu/Documents/in/Cistercians?f_ri=681","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="20815" href="https://www.academia.edu/Documents/in/German_Baroque_Music">German Baroque Music</a><script data-card-contents-for-ri="20815" type="text/json">{"id":20815,"name":"German Baroque Music","url":"https://www.academia.edu/Documents/in/German_Baroque_Music?f_ri=681","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=49231751]'), work: {"id":49231751,"title":"Lutnia w klasztorze. Fenomen dworskiego instrumentu w kulturze Śląska XVII i XVIII wieku [The lute in the monastery. The phenomenon of a courtly instrument in the culture of Silesia of the seventeenth and eighteenth centuries]","created_at":"2021-06-13T11:12:25.602-07:00","url":"https://www.academia.edu/49231751/Lutnia_w_klasztorze_Fenomen_dworskiego_instrumentu_w_kulturze_%C5%9Al%C4%85ska_XVII_i_XVIII_wieku_The_lute_in_the_monastery_The_phenomenon_of_a_courtly_instrument_in_the_culture_of_Silesia_of_the_seventeenth_and_eighteenth_centuries_?f_ri=681","dom_id":"work_49231751","summary":"The present book is devoted to a cultural phenomenon in the form of a collection of musical manuscripts written with a specific instrument in mind in a monastic milieu, but one which contains no liturgical compositions. The collection in question comprises handwritten lute tablatures from the Cistercian Abbey of Krzeszów (German: Grüssau). The author presents the Baroque lute in a humanistic perspective, a perspective of selected social phenomena in European culture of the\nsecond half of the seventeenth century and the first half of the eighteenth century, as well as selected questions relating to performance practice. This concerns the functioning of the lute particularly in the musical culture of Silesia, the context of musical life in the Cistercian Abbey of Krzeszów and questions relating to musical source studies, questions like concordance based on European sources.\nThe book draws on a doctoral dissertation, written under the guidance of Professor Remigiusz Pośpiech at the Institute of Musicology, University of Wrocław, which in 2017 brought Dr G. Joachimiak the first prize in the Professor H. Feicht Competition, awarded by the Musicological Section of the Polish Composers’ Union.\nThe manuscripts of lute tablatures from the Krzeszów Abbey have never before been the subject of holistic research, which has required a number of detailed studies over many years. The author has used both the method of a music historian and a perspective based on experiences in music performance. Readers will find here the results of the author’s research, with details of the research process to be found in the doctoral dissertation. Given the limited publication possibilities, the material presented in the book has had to be reduced, which has affected largely ensemble music.\nThe analysed collection comprises fifteen manuscripts, which are currently dispersed. It contains over 2000 individual works, which makes the collection one of the largest of this kind in the world. The surviving sources contain only pieces for the lute in a popular eighteenth-century tuning. These are solo and ensemble pieces in which missing instrument parts are sometimes filled by concordances. The results of the research into the reconstruction of selected compositions make it possible to prepare the material for performance and to explore selected elements of monastic life in the eighteenth century, especially the music performed by the monks. This concerns, for example, the Tafelmusik\npractice as well as limitations relating to the performance of this kind of music at the monastery or the way in which the Cistercians used the lute and secular compositions to develop monastic piety.\nThe book also contains information originating in the correspondence of monks from the Krzeszów abbey, including lute-playing monks like Father Hermann Kniebandl. In the last stage of his life he was associated with the Cistercian provostship in Cieplice Śląskie (German: Bad Warmbrunn), where his duties included, in addition to pastoral work, the running of the thermal springs which the monastery had received from the Schaffgotsch family. However, the relations between the family and the Krzeszów Cistercians are limited here to the context of musical patronage and support of musical activities associated with the analysed lute collection.\nThe lute tablature manuscripts also contain information which is significant from the perspective of the history of music theory — information in the form lute playing instructions, strictly practical\nelements like marking of fingering for both hands in the various pieces, examples of playing exercises or explanation of the notation and embellishments in lute playing. This makes the whole material\ntwice as valuable, because every such “didactic source” is the best source in modern historically informed performance, providing scholars with an insight into reception of the repertoire and styles of playing. On the other hand it sheds light on the Krzeszów Cistercians’ actual participation in the cultivation and development of secular Baroque lute repertoire, popular at royal courts and among townsmen, irrespective of their confessional affiliation.\nCompositions from the analysed collection include pieces which show that the Krzeszów Cistercians were stylistically well-versed in the solo or ensemble repertoire as well as pieces which are unique in Europe. This is undoubtedly linked to the great popularity of the lute in the first half of\nthe eighteenth century in Central Europe, where Silesia served as one of the most important European centres of lute music. This was the place from which came and where were educated the most sought-after lutenists in royal and courtly ensembles, lutenists like Esaias Reusner the Younger, Silvius Leopold Weiss, Ernst Gottlieb Baron and many others. This situation undoubtedly had a huge impact on the interest in the lute among the Krzeszów Cistercians. That is why the author of the book takes into account compositions not only by well-known composers and patrons of their music, but also pieces by local composers, including those from among the Krzeszów Cistercians. In the last chapter the author devotes some attention to the use of the lute in work associated with Cistercian spirituality, taking into account the specificity of the Krzeszów Cistercians — to be more precise, in spiritual exercises. The Krzeszów Cistercians took over the Exercitia spiritualis from the Silesian Jesuits and carried them out in accordance with St. Ignatius Loyola’s method.\nAll these elements provoke questions of why the Cistercian Abbey of Krzeszów became a friendly place for the making of lute tablature manuscripts and interest in the lute, an instrument used mostly\nin court circles. How to describe the phenomenon of the Baroque lute in the monastery in the context of the musical culture of Silesia in the seventeenth and eighteenth centuries? Is the Cistercian Abbey in Krzeszów the only such example of musical activity in the history of music? Answers to these and other questions can be found in the four chapters of the present book supported by an extensive introduction and three appendices.\n\nKsiążka poświęcona jest kolekcji 15 rękopisów muzycznych z pierwszej połowy XVIII w., zapisanych specyficzną notacją muzyczną tabulatury lutniowej w odmianie francuskiej (literowej). Jest to jeden z największych zbiorów tego typu. Dlaczego zatem powstał na Śląsku i w środowisku opactwa cystersów w Krzeszowie? To pytanie towarzyszyło autorowi tej książki przez cały okres jej przygotowania. Odpowiedź jest złożona, dlatego w książce pojawiają się informacje wskazujące na specyfikę kultury muzycznej Śląska XVII i XVIII wieku, potwierdzające wyjątkowość tego regionu dla kultywowania muzyki lutniowej. W omawianych źródłach nie ma przykładów muzyki liturgicznej. Większość tego repertuaru wykonywano na dworach królewskich niemalże całej ówczesnej Europy, ale są też przykłady utworów kompozytorów działających wyłącznie lokalnie, w tym również z grona cystersów. W książce znaleźć można informacje o muzyce lutniowej przedstawione w perspektywie humanistycznej, z uwzględnieniem metodyki gry, wybranego repertuaru i zagadnień źródłoznawczych. Jak zatem scharakteryzować określenie zjawiska „fenomenu lutni barokowej w klasztorze”? Odpowiedzi na te i inne pytania znajdują się w czterech rozdziałach niniejszej książki, wspartych rozbudowanym wstępem i trzema aneksami.","downloadable_attachments":[{"id":67615774,"asset_id":49231751,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":1214446,"first_name":"Grzegorz","last_name":"Joachimiak","domain_name":"wroc","page_name":"GrzegorzJoachimiak","display_name":"Grzegorz Joachimiak","profile_url":"https://wroc.academia.edu/GrzegorzJoachimiak?f_ri=681","photo":"https://0.academia-photos.com/1214446/438044/3140287/s65_grzegorz.joachimiak.jpg"}],"research_interests":[{"id":681,"name":"Early Music","url":"https://www.academia.edu/Documents/in/Early_Music?f_ri=681","nofollow":false},{"id":14954,"name":"Baroque Music","url":"https://www.academia.edu/Documents/in/Baroque_Music?f_ri=681","nofollow":false},{"id":16718,"name":"Cistercians","url":"https://www.academia.edu/Documents/in/Cistercians?f_ri=681","nofollow":false},{"id":20815,"name":"German Baroque Music","url":"https://www.academia.edu/Documents/in/German_Baroque_Music?f_ri=681","nofollow":false},{"id":22346,"name":"Instrumental Music","url":"https://www.academia.edu/Documents/in/Instrumental_Music?f_ri=681"},{"id":23503,"name":"17th- and 18th-century Philosophy","url":"https://www.academia.edu/Documents/in/17th-_and_18th-century_Philosophy?f_ri=681"},{"id":30375,"name":"History of Monasticism","url":"https://www.academia.edu/Documents/in/History_of_Monasticism?f_ri=681"},{"id":30530,"name":"History of music","url":"https://www.academia.edu/Documents/in/History_of_music?f_ri=681"},{"id":35137,"name":"Historically Informed Performance (HIP)","url":"https://www.academia.edu/Documents/in/Historically_Informed_Performance_HIP_?f_ri=681"},{"id":64536,"name":"Lute Music","url":"https://www.academia.edu/Documents/in/Lute_Music?f_ri=681"},{"id":72909,"name":"History of Silesia","url":"https://www.academia.edu/Documents/in/History_of_Silesia?f_ri=681"},{"id":90742,"name":"Musical Iconography","url":"https://www.academia.edu/Documents/in/Musical_Iconography?f_ri=681"},{"id":410624,"name":"Grussau","url":"https://www.academia.edu/Documents/in/Grussau?f_ri=681"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_608263" data-work_id="608263" 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/608263/Review_of_Performance_Revealing_the_Orpheus_within_by_Anthony_Rooley">Review of 'Performance: Revealing the Orpheus within' by Anthony Rooley</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/608263" 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="3ff4574b12c824341277f57f456cdbb6" rel="nofollow" data-download="{"attachment_id":66004374,"asset_id":608263,"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/66004374/download_file?st=MTczMjk3OTA3MSw4LjIyMi4yMDguMTQ2&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="177249" href="https://independent.academia.edu/AngelaVoss1">Dr Angela Voss</a><script data-card-contents-for-user="177249" type="text/json">{"id":177249,"first_name":"Dr Angela","last_name":"Voss","domain_name":"independent","page_name":"AngelaVoss1","display_name":"Dr Angela Voss","profile_url":"https://independent.academia.edu/AngelaVoss1?f_ri=681","photo":"https://0.academia-photos.com/177249/43989/35686076/s65_angela.voss.jpg"}</script></span></span></li><li class="js-paper-rank-work_608263 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="608263"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 608263, container: ".js-paper-rank-work_608263", }); 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$(".js-view-count[data-work-id=608263]").text(description); $(".js-view-count-work_608263").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_608263").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="608263"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i></div><span class="InlineList-item-text u-textTruncate u-pl6x"><a class="InlineList-item-text" data-has-card-for-ri="681" 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=681","nofollow":false}</script></span></li><script>(function(){ if (false) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=608263]'), work: {"id":608263,"title":"Review of 'Performance: Revealing the Orpheus within' by Anthony Rooley","created_at":"2011-05-23T03:54:45.364-07:00","url":"https://www.academia.edu/608263/Review_of_Performance_Revealing_the_Orpheus_within_by_Anthony_Rooley?f_ri=681","dom_id":"work_608263","summary":null,"downloadable_attachments":[{"id":66004374,"asset_id":608263,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":177249,"first_name":"Dr Angela","last_name":"Voss","domain_name":"independent","page_name":"AngelaVoss1","display_name":"Dr Angela Voss","profile_url":"https://independent.academia.edu/AngelaVoss1?f_ri=681","photo":"https://0.academia-photos.com/177249/43989/35686076/s65_angela.voss.jpg"}],"research_interests":[{"id":681,"name":"Early Music","url":"https://www.academia.edu/Documents/in/Early_Music?f_ri=681","nofollow":false}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_1299864" data-work_id="1299864" 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/1299864/_The_Six_Th%C3%A8mes_Favoris_op_71_and_Caprices_op_80_of_A_B_F%C3%BCrstenau_">“The Six Thèmes Favoris, op. 71, and Caprices, op. 80 of A.B. Fürstenau”</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/1299864" 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="6dac0424d5acef59f732943f1f48a5cc" rel="nofollow" data-download="{"attachment_id":35245142,"asset_id":1299864,"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/35245142/download_file?st=MTczMjk3OTA3MSw4LjIyMi4yMDguMTQ2&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="942353" href="https://fiu.academia.edu/TomMoore">Tom Moore</a><script data-card-contents-for-user="942353" type="text/json">{"id":942353,"first_name":"Tom","last_name":"Moore","domain_name":"fiu","page_name":"TomMoore","display_name":"Tom Moore","profile_url":"https://fiu.academia.edu/TomMoore?f_ri=681","photo":"https://0.academia-photos.com/942353/17269411/25182199/s65_tom.moore.jpg"}</script></span></span></li><li class="js-paper-rank-work_1299864 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="1299864"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 1299864, container: ".js-paper-rank-work_1299864", }); 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Il aborde la question de la lecture des techniques et des savoir-faire des temps archéologiques, puis propose quelques réflexions sur les connaissances et les démarches archéomusicales. Il finit par la question de l’apport mutuel entre artisanat et archéologie.</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/18973432" 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="cb6b93b5d8e4ad9850e0ce7268894ecf" rel="nofollow" data-download="{"attachment_id":40360186,"asset_id":18973432,"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/40360186/download_file?st=MTczMjk3OTA3MSw4LjIyMi4yMDguMTQ2&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="24176310" href="https://artehis-cnrs.academia.edu/EtienneSafa">Etienne Safa</a><script data-card-contents-for-user="24176310" type="text/json">{"id":24176310,"first_name":"Etienne","last_name":"Safa","domain_name":"artehis-cnrs","page_name":"EtienneSafa","display_name":"Etienne Safa","profile_url":"https://artehis-cnrs.academia.edu/EtienneSafa?f_ri=681","photo":"https://0.academia-photos.com/24176310/6527456/7380626/s65_etienne.safa.jpg"}</script></span></span></li><li class="js-paper-rank-work_18973432 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="18973432"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 18973432, container: ".js-paper-rank-work_18973432", }); 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Il aborde la question de la lecture des techniques et des savoir-faire des temps archéologiques, puis propose quelques réflexions sur les connaissances et les démarches archéomusicales. 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Universidad Javeriana de Bogotá, 2018.</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">Notas al programa para el proyecto «Ópera de San Ignacio». Universidad Javeriana de Bogotá, 2018.</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/44948569" 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="3d42b1fb28a3e7bba6868a2a6a030459" rel="nofollow" data-download="{"attachment_id":65478445,"asset_id":44948569,"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/65478445/download_file?st=MTczMjk3OTA3MSw4LjIyMi4yMDguMTQ2&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="121511383" href="https://unibas.academia.edu/SebastianLe%C3%B3n">Sebastian León</a><script data-card-contents-for-user="121511383" type="text/json">{"id":121511383,"first_name":"Sebastian","last_name":"León","domain_name":"unibas","page_name":"SebastianLeón","display_name":"Sebastian León","profile_url":"https://unibas.academia.edu/SebastianLe%C3%B3n?f_ri=681","photo":"https://0.academia-photos.com/121511383/31155085/36753210/s65_sebastian.le_n.jpg"}</script></span></span></li><li class="js-paper-rank-work_44948569 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="44948569"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 44948569, container: ".js-paper-rank-work_44948569", }); 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Universidad Javeriana de Bogotá, 2018.","downloadable_attachments":[{"id":65478445,"asset_id":44948569,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":121511383,"first_name":"Sebastian","last_name":"León","domain_name":"unibas","page_name":"SebastianLeón","display_name":"Sebastian León","profile_url":"https://unibas.academia.edu/SebastianLe%C3%B3n?f_ri=681","photo":"https://0.academia-photos.com/121511383/31155085/36753210/s65_sebastian.le_n.jpg"}],"research_interests":[{"id":681,"name":"Early Music","url":"https://www.academia.edu/Documents/in/Early_Music?f_ri=681","nofollow":false},{"id":1332,"name":"Theatre History","url":"https://www.academia.edu/Documents/in/Theatre_History?f_ri=681","nofollow":false},{"id":3581,"name":"Poetry","url":"https://www.academia.edu/Documents/in/Poetry?f_ri=681","nofollow":false},{"id":8121,"name":"Baroque Art and Literature","url":"https://www.academia.edu/Documents/in/Baroque_Art_and_Literature?f_ri=681","nofollow":false},{"id":60543,"name":"Jesuits","url":"https://www.academia.edu/Documents/in/Jesuits?f_ri=681"},{"id":101405,"name":"Missions","url":"https://www.academia.edu/Documents/in/Missions?f_ri=681"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_37195021" data-work_id="37195021" 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/37195021/ANNA_URSZULA_KUCHARSKA_ZAGADNIENIA_STYLISTYCZNE_I_WYKONAWCZE_MUZYKI_KLAWESYNOWEJ_ORAZ_PRAKTYKI_BASSO_CONTINUO_W_EPOCE_RESTAURACJI_STUART%C3%93W_PRACA_DOKTORSKA">ANNA URSZULA KUCHARSKA ZAGADNIENIA STYLISTYCZNE I WYKONAWCZE MUZYKI KLAWESYNOWEJ ORAZ PRAKTYKI BASSO CONTINUO W EPOCE RESTAURACJI STUARTÓW PRACA DOKTORSKA</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">ROZDZIAŁ 1 ZASTOSOWANIE KLAWESYNU W TWÓRCZOŚCI KOMPOZYTORÓW CZASU RESTAURACJI NA TLE WYDARZEŃ HISTORYCZNYCH KSZTAŁTUJĄCYCH ŻYCIE KULTURALNE I ESTETYKĘ MUZYCZNĄ EPOKI…………………………………………………………………….. 6 1.1. Zarys tła... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_37195021" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">ROZDZIAŁ 1 ZASTOSOWANIE KLAWESYNU W TWÓRCZOŚCI KOMPOZYTORÓW CZASU RESTAURACJI NA TLE WYDARZEŃ HISTORYCZNYCH KSZTAŁTUJĄCYCH ŻYCIE KULTURALNE I ESTETYKĘ MUZYCZNĄ EPOKI…………………………………………………………………….. 6<br />1.1. Zarys tła historycznego……………………………………………………………………………… 6<br />1.1.1. Granice czasowe omawianej epoki w oparciu o fakty historyczne i zarysowujące się tendencje estetyczne……………………………………………………………………………………….. 6<br />1.1.2. Burzliwy okres panowania Karola II……………………………………………………………. 7<br />1.1.3. Czas rządów Jakuba II, Chwalebna Rewolucja i przejęcie tronu przez Wilhelma Orańskiego… 9<br />1.2. Kierunki rozwoju kultury i praktyki muzycznej w latach 1660-1700………………………….. 11<br />1.2.1. Odrodzenie publicznej działalności muzycznej po stagnacji w okresie Interregnum…………... 11<br />1.2.2. Nowe tendencje w rozwoju sztuki scenicznej w teatrach odrodzonej monarchii……………... 12<br />1.2.3. Rodzaje aktywności muzycznych na dworze Karola II i Jakuba II…………………………… 14<br />1.2.4. Preferencje estetyczne Karola II jako czynnik narzucający zmiany stylistyczne……………... 16<br />1.2.5. Osłabienie roli i jakości mecenatu królewskiego nad muzyką………………………………… 17<br />1.2.6. Patronat artystyczny arystokracji i domowe muzykowanie rozwijającej się klasy średniej…... 18<br />1.2.7. Popularyzacja edukacji muzycznej w szerszych kręgach społecznych………………………... 20<br />1.2.8. Początki publicznych koncertów muzycznych………………………………………………… 22<br />1.3. Miejsce klawesynu i innych instrumentów klawiaturowych szarpanych w angielskiej praktyce muzycznej 1660-1700……………………………………………………………............................. 24<br />1.3.1. Rodzaje użytkowanych instrumentów klawiszowych szarpanych w kontekście zachowanych instrumentów historycznych i tytułów antologii klawesynowych…………………………….. 25<br />1.3.2. Obecność instrumentu klawiszowego jako podstawa domowego muzykowania w szerszych kręgach społecznych…………………………………………………………………………… 28<br />1.3.3. Klawesyn jako preferowany instrument w grze zespołowej………………………………… 30<br />1.4. Czołowi przedstawiciele solowej muzyki klawesynowej w latach 1660-1702 i zarys rzeczowy pozostawionej przez nich literatury klawesynowej………………………………………………. 32<br />1.4.1. Najważniejsze zbiory muzyki klawesynowej z lat 1560-1630………………………………... 33<br />1.4.2. Manuskrypty klawesynowe z epoki poprzedzającej Restaurację……………………………… 33<br />1.4.3. Publikowane zbiory i istotne manuskrypty z lat 1660-1706…………………………………... 35<br />1.4.4. Autorskie edycje muzyki klawesynowej………………………………………………………. 36<br />1.4.5. Twórczość klawesynowa Locke`a, Blowa i Purcella………………………………………….. 37<br />ROZDZIAŁ 2 STYLISTYKA I PROBLEMATYKA WYKONAWCZA MUZYKI KLAWESYNOWEJ LAT 1660-1700 NA PRZYKŁADZIE UTWORÓW LOCKE’A, PURCELLA I BLOWA………………………………………………………………… 43<br />2.1. Cechy stylistyczne i formalne muzyki klawesynowej czasu Restauracji Stuartów………………… 43<br />2.1.1.        Zmiany stylistyczne w muzyce klawesynowej w latach 1620 – 1660………………………… 43<br />2.1.2. Estetyki wpływające na muzykę klawesynową czasu Restauracji…………………………….. 45<br />2.1.3. Faktura, melodyka, rytmika, harmonia i tonalność utworów klawesynowych na przykładzie twórczości Locke`a, Purcella i Blowa…………………………………………………………. 46<br />2.1.4. Dominujące formy w muzyce klawesynowej…………………………………………………. 49<br />2.1.5. Cechy poszczególnych tańców lub części suity……………………………………………….. 52<br /><br />2.2. Zagadnienia wykonawcze dotyczące odczytania i interpretacji zapisu rysunku melodyczno - rytmicznego, tempa, ornamentacji, artykulacji, aplikatury oraz agogiki……………………… 55<br />2.2.1. Notacja wysokości dźwięku w utworach czasu Restauracji…………………………………... 56<br />2.2.2. Interpretacja zapisu rytmicznego………………………………………………………………. 57<br />2.2.3. Wybór tempa w kontekście dostępnych oznaczeń i wiedzy o estetyce poszczególnych form... 65<br />2.2.4. Ornamentacja…………………………………………………………………………………... 69<br />2.2.5. Artykulacja i aplikatura………………………………………………………………………... 79<br />2.2.6. Agogika………………………………………………………………………………………... 83<br />2.3.152 Problematyka wyboru instrumentu, wysokości stroju i temperacji we współczesnym wykonawstwie………………………………………………………………………………………. 85<br />2.3.1. Instrument jako źródło potencjalnego materiału brzmieniowego……………………………... 85<br />2.3.2. Wysokość stroju i wybór temperacji…………………………………………………………... 88<br />ROZDZIAŁ 3 PRAKTYKA BASSO CONTINUO CZASU RESTAURACJI W PIŚMIENNICTWIE I REALIZACJI MUZYCZNEJ………………………………... 92<br />3.1. Przyczyny upowszechnienia praktyki basso continuo w muzyce angielskiej czasu Restauracji w kontekście czynników inicjujących basso continuo na kontynencie…………………………….. 92<br />3.1.1. Adaptacja basso continuo w muzyce kontynentalnej…………………………………………. 92<br />3.1.2. Analogie między czynnikami inicjującymi praktykę basso continuo w muzyce włoskiej przełomu XVI - XVII wieku i muzyce angielskiej czasu Resaturacji………………………… 95<br />3.2. Melothesia Matthew Locke‘a jako pierwszy angielski traktat na temat realizacji basu figurowanego……………………………………………………………………………………….. 97<br />3.3. Rules  for playing of a Through Bass upon Organ & Harpsicon Johna Blowa jako najobszerniejszy pod względem treściowym zbiór informacji o basso continuo w muzyce angielskiej 1660-1700……………………………………………………………………………. 106<br />3.4.      Zagadnienia dotyczące klawesynowej realizacji basso continuo w muzyce epoki Restauracji      Stuartów: interpretacja cyfrowania, układ głosów, improwizacja melodyczna i arpeggio…………… 123<br />3.4.1. Dodatkowe źródła wskazówek dla realizacji thorough-bass……………………………………… 123<br />3.4.2. Interpretacja cyfrowania…………………………………………………………………………... 125<br />3.4.3. Stosowność użycia klawesynu do realizacji basso continuo…………………………………………... 129<br />3.4.4. Układ głosów i kontrowersyjne zagadnienie dublowania jako zależne od gatunku muzycznego.... 131<br />3.4.5. Improwizacja melodyczna i arpeggio w realizacji bc…………………………………………………... 137<br />ZAKOŃCZENIE………………………………………………………………………………………………. 140<br />SPIS PRZYKŁADÓW………………………………………………………………………………………. 143<br />SPIS SKRÓTÓW…………………………………………………………………………………………….. 147<br />INDEKS...................................................................................................................................... 148<br />BIBLIOGRAFIA……………………………………………………………………………………………… 151<br />ANEKS…………………………………………………………………………………………………………… 153</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/37195021" 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="6507de344e6eec83112e6c40282ff2d3" rel="nofollow" data-download="{"attachment_id":57146044,"asset_id":37195021,"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/57146044/download_file?st=MTczMjk3OTA3MSw4LjIyMi4yMDguMTQ2&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="88269752" href="https://independent.academia.edu/AnnaKucharska7">Anna Kucharska</a><script data-card-contents-for-user="88269752" type="text/json">{"id":88269752,"first_name":"Anna","last_name":"Kucharska","domain_name":"independent","page_name":"AnnaKucharska7","display_name":"Anna Kucharska","profile_url":"https://independent.academia.edu/AnnaKucharska7?f_ri=681","photo":"https://0.academia-photos.com/88269752/20206279/19934366/s65_anna.kucharska.jpg"}</script></span></span></li><li class="js-paper-rank-work_37195021 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="37195021"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 37195021, container: ".js-paper-rank-work_37195021", }); 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Cechy stylistyczne i formalne muzyki klawesynowej czasu Restauracji Stuartów…………………\t43\n2.1.1. Zmiany stylistyczne w muzyce klawesynowej w latach 1620 – 1660…………………………\t43\n2.1.2.\tEstetyki wpływające na muzykę klawesynową czasu Restauracji……………………………..\t45\n2.1.3. \tFaktura, melodyka, rytmika, harmonia i tonalność utworów klawesynowych na przykładzie \ttwórczości Locke`a, Purcella i Blowa………………………………………………………….\t46\n2.1.4.\tDominujące formy w muzyce klawesynowej………………………………………………….\t49\n2.1.5.\tCechy poszczególnych tańców lub części suity………………………………………………..\t52\n\n2.2.\tZagadnienia wykonawcze dotyczące odczytania i interpretacji zapisu rysunku melodyczno - \trytmicznego, tempa, ornamentacji, artykulacji, aplikatury oraz agogiki………………………\t55\n2.2.1.\tNotacja wysokości dźwięku w utworach czasu Restauracji…………………………………...\t56\n2.2.2.\tInterpretacja zapisu rytmicznego……………………………………………………………….\t57\n2.2.3.\tWybór tempa w kontekście dostępnych oznaczeń i wiedzy o estetyce poszczególnych form...\t65\n2.2.4. \tOrnamentacja…………………………………………………………………………………...\t69\n2.2.5.\tArtykulacja i aplikatura………………………………………………………………………...\t79\n2.2.6.\tAgogika………………………………………………………………………………………...\t83\n2.3.152\tProblematyka wyboru instrumentu, wysokości stroju i temperacji we współczesnym \twykonawstwie……………………………………………………………………………………….\t85\n2.3.1.\tInstrument jako źródło potencjalnego materiału brzmieniowego……………………………...\t85\n2.3.2.\tWysokość stroju i wybór temperacji…………………………………………………………...\t88\nROZDZIAŁ 3 PRAKTYKA BASSO CONTINUO CZASU RESTAURACJI W PIŚMIENNICTWIE I REALIZACJI MUZYCZNEJ………………………………...\t92\n3.1.\tPrzyczyny upowszechnienia praktyki basso continuo w muzyce angielskiej czasu Restauracji w \tkontekście czynników inicjujących basso continuo na kontynencie……………………………..\t92\n3.1.1.\tAdaptacja basso continuo w muzyce kontynentalnej………………………………………….\t92\n3.1.2.\tAnalogie między czynnikami inicjującymi praktykę basso continuo w muzyce włoskiej \tprzełomu XVI - XVII wieku i muzyce angielskiej czasu Resaturacji…………………………\t95\n3.2.\tMelothesia Matthew Locke‘a jako pierwszy angielski traktat na temat realizacji basu \tfigurowanego………………………………………………………………………………………..\t97\n3.3.\tRules for playing of a Through Bass upon Organ \u0026 Harpsicon Johna Blowa jako \tnajobszerniejszy pod względem treściowym zbiór informacji o basso continuo w muzyce \tangielskiej 1660-1700…………………………………………………………………………….\t106\n3.4. Zagadnienia dotyczące klawesynowej realizacji basso continuo w muzyce epoki Restauracji Stuartów: interpretacja cyfrowania, układ głosów, improwizacja melodyczna i arpeggio……………\t123\n3.4.1. Dodatkowe źródła wskazówek dla realizacji thorough-bass………………………………………\t123\n3.4.2. Interpretacja cyfrowania…………………………………………………………………………...\t125\n3.4.3. Stosowność użycia klawesynu do realizacji basso continuo…………………………………………...\t129\n3.4.4. Układ głosów i kontrowersyjne zagadnienie dublowania jako zależne od gatunku muzycznego....\t131\n3.4.5. Improwizacja melodyczna i arpeggio w realizacji bc…………………………………………………...\t137\nZAKOŃCZENIE……………………………………………………………………………………………….\t140\nSPIS PRZYKŁADÓW……………………………………………………………………………………….\t143\nSPIS SKRÓTÓW……………………………………………………………………………………………..\t147\nINDEKS......................................................................................................................................\t148\nBIBLIOGRAFIA………………………………………………………………………………………………\t151\nANEKS……………………………………………………………………………………………………………\t153\n","downloadable_attachments":[{"id":57146044,"asset_id":37195021,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":88269752,"first_name":"Anna","last_name":"Kucharska","domain_name":"independent","page_name":"AnnaKucharska7","display_name":"Anna Kucharska","profile_url":"https://independent.academia.edu/AnnaKucharska7?f_ri=681","photo":"https://0.academia-photos.com/88269752/20206279/19934366/s65_anna.kucharska.jpg"}],"research_interests":[{"id":681,"name":"Early Music","url":"https://www.academia.edu/Documents/in/Early_Music?f_ri=681","nofollow":false},{"id":455647,"name":"Early music and historically informed performance practice","url":"https://www.academia.edu/Documents/in/Early_music_and_historically_informed_performance_practice?f_ri=681","nofollow":false}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_1117356" data-work_id="1117356" 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/1117356/The_Fifty_Grand_Studies_op_126_by_Peter_Joseph_von_Lindpaintner">The Fifty Grand Studies, op. 126, by Peter Joseph von Lindpaintner</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 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href="https://www.academia.edu/Documents/in/Lute">Lute</a>, <script data-card-contents-for-ri="17550" type="text/json">{"id":17550,"name":"Lute","url":"https://www.academia.edu/Documents/in/Lute?f_ri=681","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="20864" href="https://www.academia.edu/Documents/in/Social_History_of_Art">Social History of Art</a><script data-card-contents-for-ri="20864" type="text/json">{"id":20864,"name":"Social History of Art","url":"https://www.academia.edu/Documents/in/Social_History_of_Art?f_ri=681","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=9452573]'), work: {"id":9452573,"title":"Lo Studio di Rubens di Cornelis de 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js-work-link" href="https://www.academia.edu/38592449/Paralele_i_paradoksy_odrodzenia_muzyki_dawnej">Paralele i paradoksy odrodzenia muzyki dawnej</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">Rzut oka na historię odrodzenia muzyki dawnej i jej wewnętrzne kontrasty</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/38592449" 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="d12179b0c6e2570379f783a320bf62b7" rel="nofollow" data-download="{"attachment_id":58666827,"asset_id":38592449,"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/58666827/download_file?st=MTczMjk3OTA3MSw4LjIyMi4yMDguMTQ2&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="8045846" href="https://uw.academia.edu/KarolinaKolinekSiechowicz">Karolina Kolinek-Siechowicz</a><script data-card-contents-for-user="8045846" type="text/json">{"id":8045846,"first_name":"Karolina","last_name":"Kolinek-Siechowicz","domain_name":"uw","page_name":"KarolinaKolinekSiechowicz","display_name":"Karolina Kolinek-Siechowicz","profile_url":"https://uw.academia.edu/KarolinaKolinekSiechowicz?f_ri=681","photo":"https://0.academia-photos.com/8045846/2802201/21518704/s65_karolina.kolinek-siechowicz.jpg"}</script></span></span></li><li class="js-paper-rank-work_38592449 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="38592449"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 38592449, container: ".js-paper-rank-work_38592449", }); });</script></li><li class="js-percentile-work_38592449 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: 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$(".js-view-count-work_38592449").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_38592449").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="38592449"><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="681" 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=681","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1184374" href="https://www.academia.edu/Documents/in/Early_Music_Revivals">Early Music Revivals</a>, <script data-card-contents-for-ri="1184374" type="text/json">{"id":1184374,"name":"Early Music Revivals","url":"https://www.academia.edu/Documents/in/Early_Music_Revivals?f_ri=681","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1272452" href="https://www.academia.edu/Documents/in/Early_Music_Revival">Early Music Revival</a><script data-card-contents-for-ri="1272452" type="text/json">{"id":1272452,"name":"Early Music Revival","url":"https://www.academia.edu/Documents/in/Early_Music_Revival?f_ri=681","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=38592449]'), work: {"id":38592449,"title":"Paralele i paradoksy odrodzenia muzyki dawnej","created_at":"2019-03-20T13:38:20.095-07:00","url":"https://www.academia.edu/38592449/Paralele_i_paradoksy_odrodzenia_muzyki_dawnej?f_ri=681","dom_id":"work_38592449","summary":"Rzut oka na historię odrodzenia muzyki 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class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_22667455" data-work_id="22667455" 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/22667455/Something_New_for_Early_Music">Something New for Early Music</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">An overview of the history of contemporary composition for European early music instruments.</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/22667455" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span 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class="u-tcGrayDark u-fw700" data-has-card-for-user="29430448" href="https://independent.academia.edu/DavidBadagnani">David Badagnani</a><script data-card-contents-for-user="29430448" type="text/json">{"id":29430448,"first_name":"David","last_name":"Badagnani","domain_name":"independent","page_name":"DavidBadagnani","display_name":"David Badagnani","profile_url":"https://independent.academia.edu/DavidBadagnani?f_ri=681","photo":"/images/s65_no_pic.png"}</script></span></span></li><li class="js-paper-rank-work_22667455 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="22667455"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 22667455, container: ".js-paper-rank-work_22667455", }); });</script></li><li class="js-percentile-work_22667455 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 = 22667455; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_22667455"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_22667455 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="22667455"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 22667455; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=22667455]").text(description); $(".js-view-count-work_22667455").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_22667455").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="22667455"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">2</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="681" 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=681","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="120991" href="https://www.academia.edu/Documents/in/New_Music">New Music</a><script data-card-contents-for-ri="120991" type="text/json">{"id":120991,"name":"New Music","url":"https://www.academia.edu/Documents/in/New_Music?f_ri=681","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=22667455]'), work: {"id":22667455,"title":"Something New for Early Music","created_at":"2016-03-01T17:27:48.195-08:00","url":"https://www.academia.edu/22667455/Something_New_for_Early_Music?f_ri=681","dom_id":"work_22667455","summary":"An overview of the history of contemporary composition for European early music instruments.","downloadable_attachments":[{"id":58143538,"asset_id":22667455,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":29430448,"first_name":"David","last_name":"Badagnani","domain_name":"independent","page_name":"DavidBadagnani","display_name":"David Badagnani","profile_url":"https://independent.academia.edu/DavidBadagnani?f_ri=681","photo":"/images/s65_no_pic.png"}],"research_interests":[{"id":681,"name":"Early Music","url":"https://www.academia.edu/Documents/in/Early_Music?f_ri=681","nofollow":false},{"id":120991,"name":"New Music","url":"https://www.academia.edu/Documents/in/New_Music?f_ri=681","nofollow":false}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_12363208" data-work_id="12363208" 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/12363208/The_York_Masses_A_Performing_Edition">The York Masses: A Performing Edition</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">An edition of the complete movement and fullest fragments of the York Masses, a collection of vocal polyphony probably copied for an institution in the city of York c.1500.</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/12363208" 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="0f62f20050ffc6d919325b9e4fdd13cd" rel="nofollow" data-download="{"attachment_id":37620265,"asset_id":12363208,"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/37620265/download_file?st=MTczMjk3OTA3MSw4LjIyMi4yMDguMTQ2&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="845" href="https://liverpool.academia.edu/LisaColton">Lisa Colton</a><script data-card-contents-for-user="845" type="text/json">{"id":845,"first_name":"Lisa","last_name":"Colton","domain_name":"liverpool","page_name":"LisaColton","display_name":"Lisa 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$(".js-percentile-work_12363208"); 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_12363208 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="12363208"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 12363208; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=12363208]").text(description); $(".js-view-count-work_12363208").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_12363208").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="12363208"><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="671" 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=681","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="675" href="https://www.academia.edu/Documents/in/Church_Music">Church Music</a>, <script data-card-contents-for-ri="675" type="text/json">{"id":675,"name":"Church Music","url":"https://www.academia.edu/Documents/in/Church_Music?f_ri=681","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="681" 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=681","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="687" 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=681","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=12363208]'), work: {"id":12363208,"title":"The York Masses: A Performing Edition","created_at":"2015-05-13T02:11:05.912-07:00","url":"https://www.academia.edu/12363208/The_York_Masses_A_Performing_Edition?f_ri=681","dom_id":"work_12363208","summary":"An edition of the complete movement and fullest fragments of the York Masses, a collection of vocal polyphony probably copied for an institution in the city of York c.1500.","downloadable_attachments":[{"id":37620265,"asset_id":12363208,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":845,"first_name":"Lisa","last_name":"Colton","domain_name":"liverpool","page_name":"LisaColton","display_name":"Lisa Colton","profile_url":"https://liverpool.academia.edu/LisaColton?f_ri=681","photo":"https://0.academia-photos.com/845/438/83456635/s65_lisa.colton.jpg"}],"research_interests":[{"id":671,"name":"Music","url":"https://www.academia.edu/Documents/in/Music?f_ri=681","nofollow":false},{"id":675,"name":"Church Music","url":"https://www.academia.edu/Documents/in/Church_Music?f_ri=681","nofollow":false},{"id":681,"name":"Early 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u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/48824245/The_early_history_of_the_clarinet_and_chalumeau">The early history of the clarinet and chalumeau</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/48824245" 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="5e1faea79747e0f27b825d2e92fea92e" rel="nofollow" data-download="{"attachment_id":67247621,"asset_id":48824245,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm 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Karp","profile_url":"https://uppsala.academia.edu/CaryKarp?f_ri=681","photo":"/images/s65_no_pic.png"}</script></span></span></li><li class="js-paper-rank-work_48824245 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="48824245"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 48824245, container: ".js-paper-rank-work_48824245", }); });</script></li><li class="js-percentile-work_48824245 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 = 48824245; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_48824245"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_48824245 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="48824245"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 48824245; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=48824245]").text(description); $(".js-view-count-work_48824245").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_48824245").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="48824245"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i></div><span class="InlineList-item-text u-textTruncate u-pl6x"><a class="InlineList-item-text" data-has-card-for-ri="681" 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=681","nofollow":false}</script></span></li><script>(function(){ if (false) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=48824245]'), work: {"id":48824245,"title":"The early history of the clarinet and chalumeau","created_at":"2021-05-07T04:33:50.000-07:00","url":"https://www.academia.edu/48824245/The_early_history_of_the_clarinet_and_chalumeau?f_ri=681","dom_id":"work_48824245","summary":null,"downloadable_attachments":[{"id":67247621,"asset_id":48824245,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":100286945,"first_name":"Cary","last_name":"Karp","domain_name":"uppsala","page_name":"CaryKarp","display_name":"Cary Karp","profile_url":"https://uppsala.academia.edu/CaryKarp?f_ri=681","photo":"/images/s65_no_pic.png"}],"research_interests":[{"id":681,"name":"Early Music","url":"https://www.academia.edu/Documents/in/Early_Music?f_ri=681","nofollow":false}]}, }) } })();</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="30d2b515ebc0dbda3af6cca555465a36" 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=MTczMjk3OTA3MSw4LjIyMi4yMDguMTQ2&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=681","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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$(".js-view-count[data-work-id=42001543]").text(description); $(".js-view-count-work_42001543").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_42001543").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="42001543"><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="681" 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=681","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="17547" 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=681","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="19425" 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=681","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=42001543]'), work: {"id":42001543,"title":"Missa miserere michi Domine. 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=681","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=681","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=681","nofollow":false},{"id":17547,"name":"Renaissance music","url":"https://www.academia.edu/Documents/in/Renaissance_music?f_ri=681","nofollow":false},{"id":19425,"name":"Polyphony","url":"https://www.academia.edu/Documents/in/Polyphony?f_ri=681","nofollow":false}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_33364754" data-work_id="33364754" 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/33364754/A_Cluster_Analysis_for_Mode_Identification_in_Early_Music_Genres">A Cluster Analysis for Mode Identification in Early Music Genres</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 paper presents a corpus study that identifies the number of statistically distinct modes used in sacred and secular genres from 1400–1750. Corpora used for the study include Masses, motets, and secular songs from the Franco-Flemish... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_33364754" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">This paper presents a corpus study that identifies the number of statistically distinct modes used in sacred and secular genres from 1400–1750. Corpora used for the study include Masses, motets, and secular songs from the Franco-Flemish School, works by Palestrina, secular Italian songs with alfabeto guitar tablature from the early seventeenth century, and works by J.S. Bach. A k-means cluster analyses of key profiles determine the number of distinguishable modes in each corpus. The results of this study show that the number of modes present in a corpus depend not only on date of publication but also on the genre of a composition.. . .</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/33364754" 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="82c25cf95ce5db4f3f1a29105eb2cbda" rel="nofollow" data-download="{"attachment_id":53421726,"asset_id":33364754,"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/53421726/download_file?st=MTczMjk3OTA3MSw4LjIyMi4yMDguMTQ2&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="40290612" href="https://fsu.academia.edu/DanielTompkins">Daniel C Tompkins</a><script data-card-contents-for-user="40290612" type="text/json">{"id":40290612,"first_name":"Daniel","last_name":"Tompkins","domain_name":"fsu","page_name":"DanielTompkins","display_name":"Daniel C Tompkins","profile_url":"https://fsu.academia.edu/DanielTompkins?f_ri=681","photo":"https://0.academia-photos.com/40290612/11011630/16700277/s65_daniel.tompkins.jpg"}</script></span></span></li><li class="js-paper-rank-work_33364754 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="33364754"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 33364754, container: ".js-paper-rank-work_33364754", }); 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$(".js-view-count[data-work-id=33364754]").text(description); $(".js-view-count-work_33364754").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_33364754").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="33364754"><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="681" 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=681","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="2008" href="https://www.academia.edu/Documents/in/Machine_Learning">Machine Learning</a>, <script data-card-contents-for-ri="2008" type="text/json">{"id":2008,"name":"Machine Learning","url":"https://www.academia.edu/Documents/in/Machine_Learning?f_ri=681","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="5486" href="https://www.academia.edu/Documents/in/Clustering_and_Classification_Methods">Clustering and Classification Methods</a>, <script data-card-contents-for-ri="5486" type="text/json">{"id":5486,"name":"Clustering and Classification Methods","url":"https://www.academia.edu/Documents/in/Clustering_and_Classification_Methods?f_ri=681","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="9637" href="https://www.academia.edu/Documents/in/Classical_Guitar">Classical Guitar</a><script data-card-contents-for-ri="9637" type="text/json">{"id":9637,"name":"Classical Guitar","url":"https://www.academia.edu/Documents/in/Classical_Guitar?f_ri=681","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=33364754]'), work: {"id":33364754,"title":"A Cluster Analysis for Mode Identification in Early Music Genres","created_at":"2017-06-07T07:17:14.743-07:00","url":"https://www.academia.edu/33364754/A_Cluster_Analysis_for_Mode_Identification_in_Early_Music_Genres?f_ri=681","dom_id":"work_33364754","summary":"This paper presents a corpus study that identifies the number of statistically distinct modes used in sacred and secular genres from 1400–1750. Corpora used for the study include Masses, motets, and secular songs from the Franco-Flemish School, works by Palestrina, secular Italian songs with alfabeto guitar tablature from the early seventeenth century, and works by J.S. Bach. A k-means cluster analyses of key profiles determine the number of distinguishable modes in each corpus. The results of this study show that the number of modes present in a corpus depend not only on date of publication but also on the genre of a composition.. . .","downloadable_attachments":[{"id":53421726,"asset_id":33364754,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":40290612,"first_name":"Daniel","last_name":"Tompkins","domain_name":"fsu","page_name":"DanielTompkins","display_name":"Daniel C Tompkins","profile_url":"https://fsu.academia.edu/DanielTompkins?f_ri=681","photo":"https://0.academia-photos.com/40290612/11011630/16700277/s65_daniel.tompkins.jpg"}],"research_interests":[{"id":681,"name":"Early Music","url":"https://www.academia.edu/Documents/in/Early_Music?f_ri=681","nofollow":false},{"id":2008,"name":"Machine Learning","url":"https://www.academia.edu/Documents/in/Machine_Learning?f_ri=681","nofollow":false},{"id":5486,"name":"Clustering and Classification Methods","url":"https://www.academia.edu/Documents/in/Clustering_and_Classification_Methods?f_ri=681","nofollow":false},{"id":9637,"name":"Classical Guitar","url":"https://www.academia.edu/Documents/in/Classical_Guitar?f_ri=681","nofollow":false},{"id":14447,"name":"Guitar","url":"https://www.academia.edu/Documents/in/Guitar?f_ri=681"},{"id":14869,"name":"Josquin des Prez","url":"https://www.academia.edu/Documents/in/Josquin_des_Prez?f_ri=681"},{"id":14954,"name":"Baroque Music","url":"https://www.academia.edu/Documents/in/Baroque_Music?f_ri=681"},{"id":17547,"name":"Renaissance music","url":"https://www.academia.edu/Documents/in/Renaissance_music?f_ri=681"},{"id":18798,"name":"J S Bach","url":"https://www.academia.edu/Documents/in/J_S_Bach?f_ri=681"},{"id":131237,"name":"Cluster Analysis","url":"https://www.academia.edu/Documents/in/Cluster_Analysis?f_ri=681"},{"id":313181,"name":"Palestrina","url":"https://www.academia.edu/Documents/in/Palestrina?f_ri=681"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_45621250" data-work_id="45621250" 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/45621250/Bach_s_Tempered_Meantone">Bach s Tempered Meantone</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Fifths and major thirds beat rate characteristics of famous historical temperaments are analysed. It appears that beat rate characteristics might be the actual determining factors for Baroque temperaments, mainly because beat rates are of... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_45621250" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Fifths and major thirds beat rate characteristics of famous historical temperaments are analysed. It appears that beat rate characteristics might be the actual determining factors for Baroque temperaments, mainly because beat rates are of main importance to interpreting musicians regarding harmony and possible musical affects, and to auditory tuners because of quality and ease of tuning. It is, on the other hand, not always clear whether published ratios, cents or comma's are deduced from theoretic calculations or from concrete results on monochord measurements or settings. The revealed reality and importance of beat rate characteristics of temperaments raises additional arguments for acceptability of the Jobin proposal concerning a probable Bach temperament, or for almost identical beat rate alternatives. A novel hypothesis is proposed concerning the spirals drawn on top of the title page of "Das wohltemperirte Clavier" of Johan Sebastian Bach. 1 Preamble The commonly published and dominating factors with discussions on musical temperaments are probably the investigations on purity deviations of musical intervals, measured in ratios, cents or commas. And still, musical interval beats and their beating rates are probably more affecting musical factors to interpreting musicians and auditory tuners of keyboard musical instruments. More attention might therefore have to be paid to those characteristics : beats are undesired and directly observable. Approximate auditory beat rate evaluations do not require any tool nor calculation. Impurity measurements in ratios, cents or commas on the other hand, are often nothing more but rather abstract concepts to many musicians, not of direct use or interest when playing music and also not for auditory tuning. This paper is an attempt to confirm and elucidate the importance and practical applicability of beat rate evaluations in the determination of musical temperaments, especially some Baroque ones. 2 The auditory music keyboard tuning The elementary basic concepts of musical temperaments, seen from the point of view of the interpreting musician and the auditory music keyboard tuner are discussed in this paragraph. There is of course much more that can be written on this subject, see for example : "Le Clavier Bien Obtempéré", A. Calvet, 2020.</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/45621250" 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="29eaf948c29b958c1bda75833bb013e2" rel="nofollow" data-download="{"attachment_id":66110817,"asset_id":45621250,"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/66110817/download_file?st=MTczMjk3OTA3MSw4LjIyMi4yMDguMTQ2&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="5369287" href="https://expernova.academia.edu/JohanBroekaert">Johan Broekaert</a><script data-card-contents-for-user="5369287" type="text/json">{"id":5369287,"first_name":"Johan","last_name":"Broekaert","domain_name":"expernova","page_name":"JohanBroekaert","display_name":"Johan Broekaert","profile_url":"https://expernova.academia.edu/JohanBroekaert?f_ri=681","photo":"https://0.academia-photos.com/5369287/3274876/3853680/s65_johan.broekaert.jpg"}</script></span></span></li><li class="js-paper-rank-work_45621250 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="45621250"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 45621250, container: ".js-paper-rank-work_45621250", }); 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$(".js-view-count[data-work-id=45621250]").text(description); $(".js-view-count-work_45621250").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_45621250").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="45621250"><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="681" 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=681","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="691" href="https://www.academia.edu/Documents/in/Organ_And_Historical_Keyboards_E.G._Harpsichord_">Organ And Historical Keyboards (E.G., Harpsichord)</a>, <script data-card-contents-for-ri="691" type="text/json">{"id":691,"name":"Organ And Historical Keyboards (E.G., Harpsichord)","url":"https://www.academia.edu/Documents/in/Organ_And_Historical_Keyboards_E.G._Harpsichord_?f_ri=681","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="18798" href="https://www.academia.edu/Documents/in/J_S_Bach">J S Bach</a>, <script data-card-contents-for-ri="18798" type="text/json">{"id":18798,"name":"J S Bach","url":"https://www.academia.edu/Documents/in/J_S_Bach?f_ri=681","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="106249" href="https://www.academia.edu/Documents/in/Tuning_and_Temperament">Tuning and Temperament</a><script data-card-contents-for-ri="106249" type="text/json">{"id":106249,"name":"Tuning and Temperament","url":"https://www.academia.edu/Documents/in/Tuning_and_Temperament?f_ri=681","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=45621250]'), work: {"id":45621250,"title":"Bach s Tempered Meantone","created_at":"2021-03-26T14:00:24.861-07:00","url":"https://www.academia.edu/45621250/Bach_s_Tempered_Meantone?f_ri=681","dom_id":"work_45621250","summary":"Fifths and major thirds beat rate characteristics of famous historical temperaments are analysed. It appears that beat rate characteristics might be the actual determining factors for Baroque temperaments, mainly because beat rates are of main importance to interpreting musicians regarding harmony and possible musical affects, and to auditory tuners because of quality and ease of tuning. It is, on the other hand, not always clear whether published ratios, cents or comma's are deduced from theoretic calculations or from concrete results on monochord measurements or settings. The revealed reality and importance of beat rate characteristics of temperaments raises additional arguments for acceptability of the Jobin proposal concerning a probable Bach temperament, or for almost identical beat rate alternatives. A novel hypothesis is proposed concerning the spirals drawn on top of the title page of \"Das wohltemperirte Clavier\" of Johan Sebastian Bach. 1 Preamble The commonly published and dominating factors with discussions on musical temperaments are probably the investigations on purity deviations of musical intervals, measured in ratios, cents or commas. And still, musical interval beats and their beating rates are probably more affecting musical factors to interpreting musicians and auditory tuners of keyboard musical instruments. More attention might therefore have to be paid to those characteristics : beats are undesired and directly observable. Approximate auditory beat rate evaluations do not require any tool nor calculation. Impurity measurements in ratios, cents or commas on the other hand, are often nothing more but rather abstract concepts to many musicians, not of direct use or interest when playing music and also not for auditory tuning. This paper is an attempt to confirm and elucidate the importance and practical applicability of beat rate evaluations in the determination of musical temperaments, especially some Baroque ones. 2 The auditory music keyboard tuning The elementary basic concepts of musical temperaments, seen from the point of view of the interpreting musician and the auditory music keyboard tuner are discussed in this paragraph. There is of course much more that can be written on this subject, see for example : \"Le Clavier Bien Obtempéré\", A. Calvet, 2020.","downloadable_attachments":[{"id":66110817,"asset_id":45621250,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":5369287,"first_name":"Johan","last_name":"Broekaert","domain_name":"expernova","page_name":"JohanBroekaert","display_name":"Johan Broekaert","profile_url":"https://expernova.academia.edu/JohanBroekaert?f_ri=681","photo":"https://0.academia-photos.com/5369287/3274876/3853680/s65_johan.broekaert.jpg"}],"research_interests":[{"id":681,"name":"Early Music","url":"https://www.academia.edu/Documents/in/Early_Music?f_ri=681","nofollow":false},{"id":691,"name":"Organ And Historical Keyboards (E.G., Harpsichord)","url":"https://www.academia.edu/Documents/in/Organ_And_Historical_Keyboards_E.G._Harpsichord_?f_ri=681","nofollow":false},{"id":18798,"name":"J S Bach","url":"https://www.academia.edu/Documents/in/J_S_Bach?f_ri=681","nofollow":false},{"id":106249,"name":"Tuning and Temperament","url":"https://www.academia.edu/Documents/in/Tuning_and_Temperament?f_ri=681","nofollow":false},{"id":794538,"name":"Well-Temperament","url":"https://www.academia.edu/Documents/in/Well-Temperament?f_ri=681"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_3365116" data-work_id="3365116" 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/3365116/Ars_Subtilior_repertory_as_performance_palimpsest">Ars Subtilior repertory as performance palimpsest</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/3365116" 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="b4440f07a5c4e19ef1597cc063e2ed5d" rel="nofollow" data-download="{"attachment_id":31170751,"asset_id":3365116,"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/31170751/download_file?st=MTczMjk3OTA3MSw4LjIyMi4yMDguMTQ2&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="2837607" href="https://nottingham.academia.edu/DrDonaldGreig">Donald Greig</a><script data-card-contents-for-user="2837607" type="text/json">{"id":2837607,"first_name":"Donald","last_name":"Greig","domain_name":"nottingham","page_name":"DrDonaldGreig","display_name":"Donald Greig","profile_url":"https://nottingham.academia.edu/DrDonaldGreig?f_ri=681","photo":"https://0.academia-photos.com/2837607/930342/1164959/s65_donald.greig.jpg"}</script></span></span></li><li class="js-paper-rank-work_3365116 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="3365116"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 3365116, container: ".js-paper-rank-work_3365116", }); 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$(".js-view-count[data-work-id=68469351]").text(description); $(".js-view-count-work_68469351").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_68469351").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="68469351"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i></div><span class="InlineList-item-text u-textTruncate u-pl6x"><a class="InlineList-item-text" data-has-card-for-ri="681" 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=681","nofollow":false}</script></span></li><script>(function(){ if (false) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=68469351]'), work: {"id":68469351,"title":"A Performer's Guide to Medieval Music Musicology Australia","created_at":"2022-01-16T21:19:19.873-08:00","url":"https://www.academia.edu/68469351/A_Performers_Guide_to_Medieval_Music_Musicology_Australia?f_ri=681","dom_id":"work_68469351","summary":"review","downloadable_attachments":[{"id":78933259,"asset_id":68469351,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":5391189,"first_name":"Carol","last_name":"Williams","domain_name":"monash","page_name":"CWilliams","display_name":"Carol J Williams","profile_url":"https://monash.academia.edu/CWilliams?f_ri=681","photo":"https://0.academia-photos.com/5391189/2820930/3292199/s65_carol.williams.jpg"}],"research_interests":[{"id":681,"name":"Early Music","url":"https://www.academia.edu/Documents/in/Early_Music?f_ri=681","nofollow":false}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_4366631" data-work_id="4366631" 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/4366631/Church_and_chamber_the_influence_of_acoustics_on_musical_composition_and_performance">Church and chamber: the influence of acoustics on musical composition and performance</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/4366631" 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="1bc44049720eae3f580a0d9320510966" rel="nofollow" data-download="{"attachment_id":34403938,"asset_id":4366631,"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/34403938/download_file?st=MTczMjk3OTA3MSw4LjIyMi4yMDguMTQ2&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="140282" href="https://uni-regensburg.academia.edu/KatelijneSchiltz">Katelijne Schiltz</a><script data-card-contents-for-user="140282" type="text/json">{"id":140282,"first_name":"Katelijne","last_name":"Schiltz","domain_name":"uni-regensburg","page_name":"KatelijneSchiltz","display_name":"Katelijne Schiltz","profile_url":"https://uni-regensburg.academia.edu/KatelijneSchiltz?f_ri=681","photo":"https://0.academia-photos.com/140282/37207/141868145/s65_katelijne.schiltz.jpg"}</script></span></span></li><li class="js-paper-rank-work_4366631 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="4366631"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 4366631, container: ".js-paper-rank-work_4366631", }); 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B. Le Picard Organ (1750-1752) in the Basilica in Tongeren, reconstructed/restored by the Manufacture d'orgues Thomas (1997-2002) is without any doubt one of the most interesting historical organs in the region.... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_22045819" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">The famous J. B. Le Picard Organ (1750-1752) in the Basilica in Tongeren, reconstructed/restored by the Manufacture d'orgues Thomas (1997-2002) is without any doubt one of the most interesting historical organs in the region. Visitors/organists from all over the world, listening and playing this magnificent instrument, will agree with this statement. This organ is not only an example, an equivalent, but also a symbol of the rich culture during the time of the Prince Bishopric of Liège. It's located in the centre of the Euregion, there where the roots of Europe, and the European identity can be found.</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/22045819" 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="5ec0ebc5c04bb475ee7fd74b9234c6e6" rel="nofollow" data-download="{"attachment_id":42728299,"asset_id":22045819,"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/42728299/download_file?st=MTczMjk3OTA3MSw4LjIyMi4yMDguMTQ2&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="55444" href="https://kuleuven.academia.edu/LucPONET">Luc PONET</a><script data-card-contents-for-user="55444" type="text/json">{"id":55444,"first_name":"Luc","last_name":"PONET","domain_name":"kuleuven","page_name":"LucPONET","display_name":"Luc PONET","profile_url":"https://kuleuven.academia.edu/LucPONET?f_ri=681","photo":"https://0.academia-photos.com/55444/16466/18478210/s65_luc.ponet.jpeg"}</script></span></span></li><li class="js-paper-rank-work_22045819 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="22045819"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 22045819, container: ".js-paper-rank-work_22045819", }); 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$(".js-view-count[data-work-id=22045819]").text(description); $(".js-view-count-work_22045819").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_22045819").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="22045819"><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="681" 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=681","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="691" href="https://www.academia.edu/Documents/in/Organ_And_Historical_Keyboards_E.G._Harpsichord_">Organ And Historical Keyboards (E.G., Harpsichord)</a>, <script data-card-contents-for-ri="691" type="text/json">{"id":691,"name":"Organ And Historical Keyboards (E.G., Harpsichord)","url":"https://www.academia.edu/Documents/in/Organ_And_Historical_Keyboards_E.G._Harpsichord_?f_ri=681","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="198846" href="https://www.academia.edu/Documents/in/Early_Keyboard_Instruments">Early Keyboard Instruments</a>, <script data-card-contents-for-ri="198846" type="text/json">{"id":198846,"name":"Early Keyboard Instruments","url":"https://www.academia.edu/Documents/in/Early_Keyboard_Instruments?f_ri=681","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="309338" href="https://www.academia.edu/Documents/in/Keyboard_Fingerings">Keyboard Fingerings</a><script data-card-contents-for-ri="309338" type="text/json">{"id":309338,"name":"Keyboard Fingerings","url":"https://www.academia.edu/Documents/in/Keyboard_Fingerings?f_ri=681","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=22045819]'), work: {"id":22045819,"title":"Historical Organs in Tongeren, Alden Biesen and Sint-Truiden (B)","created_at":"2016-02-16T05:44:02.662-08:00","url":"https://www.academia.edu/22045819/Historical_Organs_in_Tongeren_Alden_Biesen_and_Sint_Truiden_B_?f_ri=681","dom_id":"work_22045819","summary":"The famous J. B. Le Picard Organ (1750-1752) in the Basilica in Tongeren, reconstructed/restored by the Manufacture d'orgues Thomas (1997-2002) is without any doubt one of the most interesting historical organs in the region. Visitors/organists from all over the world, listening and playing this magnificent instrument, will agree with this statement. This organ is not only an example, an equivalent, but also a symbol of the rich culture during the time of the Prince Bishopric of Liège. It's located in the centre of the Euregion, there where the roots of Europe, and the European identity can be found.","downloadable_attachments":[{"id":42728299,"asset_id":22045819,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":55444,"first_name":"Luc","last_name":"PONET","domain_name":"kuleuven","page_name":"LucPONET","display_name":"Luc PONET","profile_url":"https://kuleuven.academia.edu/LucPONET?f_ri=681","photo":"https://0.academia-photos.com/55444/16466/18478210/s65_luc.ponet.jpeg"}],"research_interests":[{"id":681,"name":"Early Music","url":"https://www.academia.edu/Documents/in/Early_Music?f_ri=681","nofollow":false},{"id":691,"name":"Organ And Historical Keyboards (E.G., Harpsichord)","url":"https://www.academia.edu/Documents/in/Organ_And_Historical_Keyboards_E.G._Harpsichord_?f_ri=681","nofollow":false},{"id":198846,"name":"Early Keyboard 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href="https://www.academia.edu/12363062/Review_Pyramus_and_Thisbe_York_International_Shakespeare_Festival_">Review: Pyramus & Thisbe (York International Shakespeare Festival)</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/12363062" 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="40c25690befe94909cdf8a8a4c2d785e" rel="nofollow" data-download="{"attachment_id":37620024,"asset_id":12363062,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm 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data-has-card-for-ri="4039" href="https://www.academia.edu/Documents/in/Opera">Opera</a>, <script data-card-contents-for-ri="4039" type="text/json">{"id":4039,"name":"Opera","url":"https://www.academia.edu/Documents/in/Opera?f_ri=681","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="10286" href="https://www.academia.edu/Documents/in/Henry_Purcell">Henry Purcell</a><script data-card-contents-for-ri="10286" type="text/json">{"id":10286,"name":"Henry Purcell","url":"https://www.academia.edu/Documents/in/Henry_Purcell?f_ri=681","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=12363062]'), work: {"id":12363062,"title":"Review: Pyramus \u0026 Thisbe (York International Shakespeare 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Music","url":"https://www.academia.edu/Documents/in/Early_Music?f_ri=681","nofollow":false},{"id":3146,"name":"Shakespeare","url":"https://www.academia.edu/Documents/in/Shakespeare?f_ri=681","nofollow":false},{"id":4039,"name":"Opera","url":"https://www.academia.edu/Documents/in/Opera?f_ri=681","nofollow":false},{"id":10286,"name":"Henry Purcell","url":"https://www.academia.edu/Documents/in/Henry_Purcell?f_ri=681","nofollow":false},{"id":17547,"name":"Renaissance music","url":"https://www.academia.edu/Documents/in/Renaissance_music?f_ri=681"},{"id":20577,"name":"Restoration theatre","url":"https://www.academia.edu/Documents/in/Restoration_theatre?f_ri=681"},{"id":96983,"name":"Theatre Criticism","url":"https://www.academia.edu/Documents/in/Theatre_Criticism?f_ri=681"},{"id":110414,"name":"A Midsummer Night's Dream","url":"https://www.academia.edu/Documents/in/A_Midsummer_Nights_Dream?f_ri=681"},{"id":161041,"name":"The Tempest","url":"https://www.academia.edu/Documents/in/The_Tempest?f_ri=681"},{"id":1931904,"name":"York International Shakespeare Festival","url":"https://www.academia.edu/Documents/in/York_International_Shakespeare_Festival?f_ri=681"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_29741124" data-work_id="29741124" 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/29741124/Ornamentaci%C3%B3n_e_improvisaci%C3%B3n_en_la_m%C3%BAsica_del_Renacimiento_y_del_Barroco_Universidad_Internacional_de_Andaluc%C3%ADa_campus_Antonio_Mahado_de_Baeza_del_2_al_4_de_diciembre_de_2015_">Ornamentación e improvisación en la música del Renacimiento y del Barroco (Universidad Internacional de Andalucía, campus “Antonio Mahado” de Baeza, del 2 al 4 de diciembre de 2015)</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Director del taller “Ornamentación e improvisación en la música del Renacimiento y del Barroco”, (Universidad Internacional de Andalucía, campus “Antonio Mahado” de Baeza, del 2 al 4 de diciembre de 2015), junto con Fernando Pérez Valera... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_29741124" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Director del taller “Ornamentación e improvisación en la música del Renacimiento y del Barroco”, (Universidad Internacional de Andalucía, campus “Antonio Mahado” de Baeza, del 2 al 4 de diciembre de 2015), junto con Fernando Pérez Valera (Universidad de Alicante).</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/29741124" 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="5c580822c5c18962656e628c68c59377" rel="nofollow" data-download="{"attachment_id":50197626,"asset_id":29741124,"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/50197626/download_file?st=MTczMjk3OTA3MSw4LjIyMi4yMDguMTQ2&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=681","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_29741124 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" 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data-has-card-for-ri="681" 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=681","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="687" 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=681","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="14954" href="https://www.academia.edu/Documents/in/Baroque_Music">Baroque Music</a>, <script data-card-contents-for-ri="14954" type="text/json">{"id":14954,"name":"Baroque Music","url":"https://www.academia.edu/Documents/in/Baroque_Music?f_ri=681","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="17547" 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=681","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=29741124]'), work: {"id":29741124,"title":"Ornamentación e improvisación en la música del Renacimiento y del Barroco (Universidad Internacional de Andalucía, campus “Antonio Mahado” de Baeza, del 2 al 4 de diciembre de 2015)","created_at":"2016-11-08T16:51:47.051-08:00","url":"https://www.academia.edu/29741124/Ornamentaci%C3%B3n_e_improvisaci%C3%B3n_en_la_m%C3%BAsica_del_Renacimiento_y_del_Barroco_Universidad_Internacional_de_Andaluc%C3%ADa_campus_Antonio_Mahado_de_Baeza_del_2_al_4_de_diciembre_de_2015_?f_ri=681","dom_id":"work_29741124","summary":"Director del taller “Ornamentación e improvisación en la música del Renacimiento y del Barroco”, (Universidad Internacional de Andalucía, campus “Antonio Mahado” de Baeza, del 2 al 4 de diciembre de 2015), junto con Fernando Pérez Valera (Universidad de Alicante).","downloadable_attachments":[{"id":50197626,"asset_id":29741124,"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=681","photo":"https://0.academia-photos.com/541245/2929659/21124521/s65_javier.mar_n-l_pez.jpg"}],"research_interests":[{"id":681,"name":"Early Music","url":"https://www.academia.edu/Documents/in/Early_Music?f_ri=681","nofollow":false},{"id":687,"name":"Musicology","url":"https://www.academia.edu/Documents/in/Musicology?f_ri=681","nofollow":false},{"id":14954,"name":"Baroque Music","url":"https://www.academia.edu/Documents/in/Baroque_Music?f_ri=681","nofollow":false},{"id":17547,"name":"Renaissance music","url":"https://www.academia.edu/Documents/in/Renaissance_music?f_ri=681","nofollow":false},{"id":30530,"name":"History of music","url":"https://www.academia.edu/Documents/in/History_of_music?f_ri=681"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_41041104" data-work_id="41041104" 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/41041104/History_of_Western_Notation">History of Western Notation</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 substantial but concise history (twenty pages) of the systems of Western musical notation, c.900-c.1980, presented in chronological order with many music examples and a short bibliography. It originally appeared as an article in the... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_41041104" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">A substantial but concise history (twenty pages) of the systems of Western musical notation, c.900-c.1980, presented in chronological order with many music examples and a short bibliography. It originally appeared as an article in the 2-volume, New Oxford Companion to Music, edited by Denis Arnold, published in 1983.</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/41041104" 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="cfc5401b0eec38107113b489fc2b8b44" rel="nofollow" data-download="{"attachment_id":61316195,"asset_id":41041104,"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/61316195/download_file?st=MTczMjk3OTA3MSw4LjIyMi4yMDguMTQ2&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="61339953" href="https://goldsmiths.academia.edu/AnthonyPryer">Anthony Pryer</a><script data-card-contents-for-user="61339953" type="text/json">{"id":61339953,"first_name":"Anthony","last_name":"Pryer","domain_name":"goldsmiths","page_name":"AnthonyPryer","display_name":"Anthony Pryer","profile_url":"https://goldsmiths.academia.edu/AnthonyPryer?f_ri=681","photo":"https://0.academia-photos.com/61339953/17205615/71115575/s65_anthony.pryer.jpg"}</script></span></span></li><li class="js-paper-rank-work_41041104 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="41041104"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 41041104, container: ".js-paper-rank-work_41041104", }); 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$(".js-view-count[data-work-id=41041104]").text(description); $(".js-view-count-work_41041104").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_41041104").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="41041104"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">2</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="681" 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=681","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="16387" href="https://www.academia.edu/Documents/in/Notation_Music_">Notation (Music)</a><script data-card-contents-for-ri="16387" type="text/json">{"id":16387,"name":"Notation (Music)","url":"https://www.academia.edu/Documents/in/Notation_Music_?f_ri=681","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=41041104]'), work: {"id":41041104,"title":"History of Western Notation","created_at":"2019-11-24T03:58:18.707-08:00","url":"https://www.academia.edu/41041104/History_of_Western_Notation?f_ri=681","dom_id":"work_41041104","summary":"A substantial but concise history (twenty pages) of the systems of Western musical notation, c.900-c.1980, presented in chronological order with many music examples and a short bibliography. It originally appeared as an article in the 2-volume, New Oxford Companion to Music, edited by Denis Arnold, published in 1983. ","downloadable_attachments":[{"id":61316195,"asset_id":41041104,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":61339953,"first_name":"Anthony","last_name":"Pryer","domain_name":"goldsmiths","page_name":"AnthonyPryer","display_name":"Anthony Pryer","profile_url":"https://goldsmiths.academia.edu/AnthonyPryer?f_ri=681","photo":"https://0.academia-photos.com/61339953/17205615/71115575/s65_anthony.pryer.jpg"}],"research_interests":[{"id":681,"name":"Early Music","url":"https://www.academia.edu/Documents/in/Early_Music?f_ri=681","nofollow":false},{"id":16387,"name":"Notation (Music)","url":"https://www.academia.edu/Documents/in/Notation_Music_?f_ri=681","nofollow":false}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_38444317" data-work_id="38444317" 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/38444317/Le_B_A_C_H_occupait_le_centre_m%C3%AAme_des_claviers_de_clavecin_de_Bach">Le B-A-C-H occupait le centre même des claviers de clavecin de Bach</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 four notes forming the name 'Bach' occupies the exact center of the 56 notes harpsichord keyboards that Bach knew and used. This extraordinary fact seems to have escaped so far, but Bach himself can hardly fail to notice. If, as is... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_38444317" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">The four notes forming the name 'Bach' occupies the exact center of the 56 notes harpsichord keyboards that Bach knew and used. This extraordinary fact seems to have escaped so far, but Bach himself can hardly fail to notice. If, as is generally thought, Bach's unfinished fugue (whether or not it is part of The Art of Fugue) was indeed intended for the harpsichord, this observation gives an extra scope to the last notes drawn by the Master.</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/38444317" 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="526288b8f17af62b72ab767846ec402d" rel="nofollow" data-download="{"attachment_id":58506214,"asset_id":38444317,"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/58506214/download_file?st=MTczMjk3OTA3MSw4LjIyMi4yMDguMTQ2&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="15897953" href="https://independent.academia.edu/PascalTuffery">Pascal Tuffery</a><script data-card-contents-for-user="15897953" type="text/json">{"id":15897953,"first_name":"Pascal","last_name":"Tuffery","domain_name":"independent","page_name":"PascalTuffery","display_name":"Pascal Tuffery","profile_url":"https://independent.academia.edu/PascalTuffery?f_ri=681","photo":"https://0.academia-photos.com/15897953/4299426/22133053/s65_pascal.tuffery.jpg"}</script></span></span></li><li class="js-paper-rank-work_38444317 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="38444317"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 38444317, container: ".js-paper-rank-work_38444317", }); 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$(".js-view-count[data-work-id=38444317]").text(description); $(".js-view-count-work_38444317").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_38444317").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="38444317"><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="681" 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=681","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="691" href="https://www.academia.edu/Documents/in/Organ_And_Historical_Keyboards_E.G._Harpsichord_">Organ And Historical Keyboards (E.G., Harpsichord)</a>, <script data-card-contents-for-ri="691" type="text/json">{"id":691,"name":"Organ And Historical Keyboards (E.G., Harpsichord)","url":"https://www.academia.edu/Documents/in/Organ_And_Historical_Keyboards_E.G._Harpsichord_?f_ri=681","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="18798" href="https://www.academia.edu/Documents/in/J_S_Bach">J S Bach</a>, <script data-card-contents-for-ri="18798" type="text/json">{"id":18798,"name":"J S Bach","url":"https://www.academia.edu/Documents/in/J_S_Bach?f_ri=681","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="24668" href="https://www.academia.edu/Documents/in/Harpsichord">Harpsichord</a><script data-card-contents-for-ri="24668" type="text/json">{"id":24668,"name":"Harpsichord","url":"https://www.academia.edu/Documents/in/Harpsichord?f_ri=681","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=38444317]'), work: {"id":38444317,"title":"Le B-A-C-H occupait le centre même des claviers de clavecin de Bach","created_at":"2019-02-26T12:58:00.494-08:00","url":"https://www.academia.edu/38444317/Le_B_A_C_H_occupait_le_centre_m%C3%AAme_des_claviers_de_clavecin_de_Bach?f_ri=681","dom_id":"work_38444317","summary":"The four notes forming the name 'Bach' occupies the exact center of the 56 notes harpsichord keyboards that Bach knew and used. This extraordinary fact seems to have escaped so far, but Bach himself can hardly fail to notice. If, as is generally thought, Bach's unfinished fugue (whether or not it is part of The Art of Fugue) was indeed intended for the harpsichord, this observation gives an extra scope to the last notes drawn by the Master.","downloadable_attachments":[{"id":58506214,"asset_id":38444317,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":15897953,"first_name":"Pascal","last_name":"Tuffery","domain_name":"independent","page_name":"PascalTuffery","display_name":"Pascal Tuffery","profile_url":"https://independent.academia.edu/PascalTuffery?f_ri=681","photo":"https://0.academia-photos.com/15897953/4299426/22133053/s65_pascal.tuffery.jpg"}],"research_interests":[{"id":681,"name":"Early Music","url":"https://www.academia.edu/Documents/in/Early_Music?f_ri=681","nofollow":false},{"id":691,"name":"Organ And Historical Keyboards (E.G., 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practice","url":"https://www.academia.edu/Documents/in/Early_music_and_historically_informed_performance_practice?f_ri=681"},{"id":586498,"name":"Harpsichord Music","url":"https://www.academia.edu/Documents/in/Harpsichord_Music?f_ri=681"},{"id":596183,"name":"Early Organ Music","url":"https://www.academia.edu/Documents/in/Early_Organ_Music?f_ri=681"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_2551591" data-work_id="2551591" 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/2551591/Consideraciones_sobre_la_autenticidad_de_la_obra_de_Pitagor%C3%A1s">Consideraciones sobre la autenticidad de la obra de Pitagorás</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li 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