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social-profile-avatar-container"><a href="https://uni-hamburg.academia.edu/OliverHuck"><img class="profile-avatar u-positionAbsolute" alt="Oliver Huck" border="0" onerror="if (this.src != '//a.academia-assets.com/images/s200_no_pic.png') this.src = '//a.academia-assets.com/images/s200_no_pic.png';" width="200" height="200" src="https://0.academia-photos.com/44228491/46653848/35983213/s200_oliver.huck.jpg" /></a></div><div class="suggested-user-card__user-info"><a class="suggested-user-card__user-info__header ds2-5-body-sm-bold ds2-5-body-link" href="https://uni-hamburg.academia.edu/OliverHuck">Oliver Huck</a><p class="suggested-user-card__user-info__subheader ds2-5-body-xs">University of Hamburg</p></div></div><div class="suggested-user-card"><div class="suggested-user-card__avatar social-profile-avatar-container"><a href="https://uw.academia.edu/AgnieszkaLeszczy%C5%84ska"><img class="profile-avatar u-positionAbsolute" alt="Agnieszka Leszczyńska" border="0" onerror="if (this.src != 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Dall'Abaco" di Verona</p></div></div><div class="suggested-user-card"><div class="suggested-user-card__avatar social-profile-avatar-container"><a href="https://comeniusuniversity.academia.edu/MichalHottmar"><img class="profile-avatar u-positionAbsolute" alt="Michal Hottmar" border="0" onerror="if (this.src != '//a.academia-assets.com/images/s200_no_pic.png') this.src = '//a.academia-assets.com/images/s200_no_pic.png';" width="200" height="200" src="https://0.academia-photos.com/2351885/741874/920992/s200_michal.hottmar.jpg" /></a></div><div class="suggested-user-card__user-info"><a class="suggested-user-card__user-info__header ds2-5-body-sm-bold ds2-5-body-link" href="https://comeniusuniversity.academia.edu/MichalHottmar">Michal Hottmar</a><p class="suggested-user-card__user-info__subheader ds2-5-body-xs">Comenius University in Bratislava</p></div></div><div class="suggested-user-card"><div class="suggested-user-card__avatar social-profile-avatar-container"><a 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class="ds2-5-body-sm-bold">Books</span></a></li></ul></div><div class="divider ds-divider-16" style="margin: 0px;"></div><div class="documents-container backbone-social-profile-documents" style="width: 100%;"><div class="u-taCenter"></div><div class="profile--tab_content_container js-tab-pane tab-pane active" id="all"><div class="profile--tab_heading_container js-section-heading" data-section="Papers" id="Papers"><h3 class="profile--tab_heading_container">Papers by Yavor Genov</h3></div><div class="js-work-strip profile--work_container" data-work-id="126119386"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/126119386/AUTHORSHIP_AND_ATTRIBUTION_IN_THE_WURSTISEN_LUTE_BOOK"><img alt="Research paper thumbnail of AUTHORSHIP AND ATTRIBUTION IN THE WURSTISEN LUTE BOOK" class="work-thumbnail" src="https://attachments.academia-assets.com/120045708/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/126119386/AUTHORSHIP_AND_ATTRIBUTION_IN_THE_WURSTISEN_LUTE_BOOK">AUTHORSHIP AND ATTRIBUTION IN THE WURSTISEN LUTE BOOK</a></div><div class="wp-workCard_item"><span>De musica disserenda</span><span>, 2023</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">The so called Wurstisen Lute Book (CH-Bu, Ms. F.IX.70) is a remarkable anthology containing a hug...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">The so called Wurstisen Lute Book (CH-Bu, Ms. F.IX.70) is a remarkable anthology containing a huge repertory that was written down in German lute tablature at the end of the sixteenth century. Serving most likely as a private music collection, it relatively infrequently contains names or indications of authors. The present article deals with what the scribe has left in the way of indications, shedding more light on, and interpreting, some of them. Additionally, the research suggests some sources that may have been at the disposal of the compiler, Emanuel Wurstisen, or were possibly related to his book when they came to be printed years later.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="7b4aba53d89788607ce7c9f36eff68a1" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":120045708,"asset_id":126119386,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/120045708/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="126119386"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="126119386"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 126119386; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="113223693"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/113223693/Passamezzi_in_Wurstisen_lute_book_compositional_techniques_and_instrumental_approaches"><img alt="Research paper thumbnail of Passamezzi in Wurstisen lute book: compositional techniques and instrumental approaches" class="work-thumbnail" src="https://attachments.academia-assets.com/110240989/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/113223693/Passamezzi_in_Wurstisen_lute_book_compositional_techniques_and_instrumental_approaches">Passamezzi in Wurstisen lute book: compositional techniques and instrumental approaches</a></div><div class="wp-workCard_item"><span>Bulgarian Musicology</span><span>, 2022</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">The repertory of Wurstisen lute book (CH-BU MS. F.IХ.70) is distributed in eight parts (or books)...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">The repertory of Wurstisen lute book (CH-BU MS. F.IХ.70) is distributed in eight parts (or books) on the basis of genre. The fifth book is dedicated especially to passamezzi-an impressive part of the manuscript in term of size and contents (122 pages with 107 pieces). It is assumed that the passamezzo emerges as a double-meter dance at the first half of 16 th century and its music is composed upon a fixed chordal succession, like many of the popular ground forms at the time. During the second half of the century and especially toward its end, the passamezzo became a favorite ostinato frame for writing/improvising passages and variations, experimenting with compositional and instrumental techniques. For that reason it was a preferable pedagogical tool as well. On the other hand, it leads further to some remarkable and well-recognized sets of variations upon passacaglia, ciaccona and folia during the next century. The current paper concentrates on a selection of passamezzi from the Wurstisen lute book, representative of the varied approaches, applied to the ground form. Single pieces, sets of variations and untypical triple-meter passamezzi are discussed together with their afterdances. Focus of the discussion are compositional, instrumental and structural features, which aim to reveal a diversity of approaches to standard and fixed ground scheme.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="1009f75a8cfc503b6d51086db87d4631" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":110240989,"asset_id":113223693,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/110240989/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="113223693"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="113223693"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 113223693; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="44939985"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/44939985/One_Chanson_Three_Intabulations_The_Journey_of_Orlando_di_Lasso_s_Bon_jour_mon_coeur_to_the_Wurstisen_lute_book_in_Basel_2020_"><img alt="Research paper thumbnail of One Chanson – Three Intabulations. The Journey of Orlando di Lasso’s Bon jour mon coeur to the Wurstisen lute book in Basel [2020]" class="work-thumbnail" src="https://attachments.academia-assets.com/65467678/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/44939985/One_Chanson_Three_Intabulations_The_Journey_of_Orlando_di_Lasso_s_Bon_jour_mon_coeur_to_the_Wurstisen_lute_book_in_Basel_2020_">One Chanson – Three Intabulations. The Journey of Orlando di Lasso’s Bon jour mon coeur to the Wurstisen lute book in Basel [2020]</a></div><div class="wp-workCard_item"><span>Art Readings 2020_Journeys</span><span>, 2021</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Wurstisen lute book is remarkable lute manuscript, entirely compiled by the Basel’s student in me...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Wurstisen lute book is remarkable lute manuscript, entirely compiled by<br />the Basel’s student in medicine Emanuel Wurstisen between 1591–1594. Important part of it contains lute arrangements of vocal secular music – French Chansons, Italian Madrigals and German Lieder. Orlando di Lasso’s chanson Bon jour mon coeur is copied by Wurstisen three successive times in three different lute versions, which most likely speaks about special attitude of the scribe to it. The paper in<br />presence aims to trace out: where Wurstisen copied his versions from; how each version reflects the original texture; whether Wurstisen copied his arrangements literally or certain personal marks are recognizable.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="a135b4de80e2d1d06e005c2e63752a10" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":65467678,"asset_id":44939985,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/65467678/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="44939985"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="44939985"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 44939985; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=44939985]").text(description); $(".js-view-count[data-work-id=44939985]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 44939985; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='44939985']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "a135b4de80e2d1d06e005c2e63752a10" } } $('.js-work-strip[data-work-id=44939985]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":44939985,"title":"One Chanson – Three Intabulations. The Journey of Orlando di Lasso’s Bon jour mon coeur to the Wurstisen lute book in Basel [2020]","internal_url":"https://www.academia.edu/44939985/One_Chanson_Three_Intabulations_The_Journey_of_Orlando_di_Lasso_s_Bon_jour_mon_coeur_to_the_Wurstisen_lute_book_in_Basel_2020_","owner_id":6146503,"coauthors_can_edit":true,"owner":{"id":6146503,"first_name":"Yavor","middle_initials":null,"last_name":"Genov","page_name":"YavorGenov","domain_name":"bas","created_at":"2013-10-14T21:53:31.973-07:00","display_name":"Yavor Genov","url":"https://bas.academia.edu/YavorGenov"},"attachments":[{"id":65467678,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/65467678/thumbnails/1.jpg","file_name":"ИзкЧетения_2020_статия.pdf","download_url":"https://www.academia.edu/attachments/65467678/download_file","bulk_download_file_name":"One_Chanson_Three_Intabulations_The_Jour.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/65467678/%D0%98%D0%B7%D0%BA%D0%A7%D0%B5%D1%82%D0%B5%D0%BD%D0%B8%D1%8F_2020_%D1%81%D1%82%D0%B0%D1%82%D0%B8%D1%8F-libre.pdf?1611143148=\u0026response-content-disposition=attachment%3B+filename%3DOne_Chanson_Three_Intabulations_The_Jour.pdf\u0026Expires=1739921304\u0026Signature=OI5FzINByE0zSpFoR~upzVZbd~Tr3m-a5BwMEJ7tliV6CU-AMhZv17oNxKxo2qDmkX7PDXIjgQYLqxUOOem7ohmVuDj3sSvwZY16g6oj8vdycYcbDfSj-2NY73BqRA4l0er0wjgNkWEHHYlDZPExwHppBqVTXUVBZJrrXcqQvySI6cQMT2U1Yj7Q3m7o53r5vP2EnbylsLu3ksmVnT3ghto35Kd9XUAGm0ykGsHF8PGS1q5lcF8FKj3Vo-Gih-lajJQkGiwzJB~KIyU9mvjrTQIsH14pVbSliOzB6B7Z4cmJWMtYPQmJHVw2tbTqjmp6qiikquT~OCcJiEsTTB-62w__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="39727146"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/39727146/The_arrangements_of_motets_in_Wurstisen_lute_book_More_about_the_process_of_intabulation_2019_"><img alt="Research paper thumbnail of The arrangements of motets in Wurstisen lute book. More about the process of intabulation [2019]" class="work-thumbnail" src="https://attachments.academia-assets.com/59904954/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/39727146/The_arrangements_of_motets_in_Wurstisen_lute_book_More_about_the_process_of_intabulation_2019_">The arrangements of motets in Wurstisen lute book. More about the process of intabulation [2019]</a></div><div class="wp-workCard_item"><span>Bulgarian Musicology</span><span>, 2019</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Wurstisen Lute Book contains intabulations of four Latin motets among its enormous number of piec...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Wurstisen Lute Book contains intabulations of four Latin motets among its enormous number of pieces. The first three bear the authorship of Orlando di Lasso, while the last one is a barely known piece of music. Before focusing on the musical content and the process of arranging the vocal models to lute pieces, I find it necessary to focus my attention on the outstanding musical figure of Orlando di Lasso and the influence of his music on the lute repertory in the second half of the 16th century.<br />Another crucial topic that needs to be discussed is the problem of musica ficta, its guidelines and positions among some prominent modern musicologists. This preliminary data leads to the core part of the study – the motets of Lasso, intabulated for lute and written down by Wurstisen. It has become clear that these particular arrangements were first published by Melchior Neusidler in his Italian print of 1566, only four years after their original appearance, and were reprinted later in 1571 by Pierre Phalese. The analysis sheds light on the questions of how the intabulations were compiled, which rules were preferable, how the ornamentation and passages were used, and whether any word-painting was involved. The examination supports the notion of the special influence which the two Bavarian-based masters Lasso and Neusidler had on Wurstisen. A further examination of this manuscript has the potential of revealing more about it.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="6d726f04cb9623c0c26afc346c397ffd" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":59904954,"asset_id":39727146,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/59904954/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="39727146"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="39727146"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 39727146; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=39727146]").text(description); $(".js-view-count[data-work-id=39727146]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 39727146; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='39727146']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "6d726f04cb9623c0c26afc346c397ffd" } } $('.js-work-strip[data-work-id=39727146]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":39727146,"title":"The arrangements of motets in Wurstisen lute book. More about the process of intabulation [2019]","internal_url":"https://www.academia.edu/39727146/The_arrangements_of_motets_in_Wurstisen_lute_book_More_about_the_process_of_intabulation_2019_","owner_id":6146503,"coauthors_can_edit":true,"owner":{"id":6146503,"first_name":"Yavor","middle_initials":null,"last_name":"Genov","page_name":"YavorGenov","domain_name":"bas","created_at":"2013-10-14T21:53:31.973-07:00","display_name":"Yavor Genov","url":"https://bas.academia.edu/YavorGenov"},"attachments":[{"id":59904954,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/59904954/thumbnails/1.jpg","file_name":"Motets_Wurstisen.pdf","download_url":"https://www.academia.edu/attachments/59904954/download_file","bulk_download_file_name":"The_arrangements_of_motets_in_Wurstisen.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/59904954/Motets_Wurstisen-libre.pdf?1561978213=\u0026response-content-disposition=attachment%3B+filename%3DThe_arrangements_of_motets_in_Wurstisen.pdf\u0026Expires=1739921304\u0026Signature=WiHI4SQ9B2nkJDDAJBqCXcTB-71Ri67CwuHy5mGE3G97g7kfFgR4iwWA1MboDrvDqDkaZ7i-Gv4dypU9193rpBjVsTcfyTdAWFUAVz8Xic52R2X2e-cnvrYEWrmxbo4OO8EuwdPWwRUZ9Feb19CoFgb2YalpM2-i4CiCqApsmiN4OSw-siVSzHC3-N0iZql0jU8Rc61tnoQ8SKQd8oR79nbAsIO9qqoupleHOyXaoML-g04KnapMbF6TNp-M0fAtB4TJMMC9bdbChqDHMSOuV5PjzsLj8LOXuTIqoRDlee7l3aD8ci~y8dd2StA-Pz2992fgP~Umsn64F2UE4C0dpw__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="37947873"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/37947873/%D0%92%D0%B0%D1%80%D0%B8%D0%B0%D1%86%D0%B8%D0%B8_%D0%B2%D1%8A%D1%80%D1%85%D1%83_%D0%B4%D0%B0_%D0%BA%D0%B0%D0%B6%D0%B5%D1%88_%D0%BD%D0%B5%D1%89%D0%BE_%D1%80%D0%B0%D0%B7%D0%BB%D0%B8%D1%87%D0%BD%D0%BE_%D0%B5_%D0%B4%D0%B0_%D0%BA%D0%B0%D0%B6%D0%B5%D1%88_%D0%BD%D0%B5%D1%89%D0%BE_%D1%80%D0%B0%D0%B7%D0%BB%D0%B8%D1%87%D0%BD%D0%BE_Variations_upon_When_you_say_something_differently_you_say_something_different_2018_"><img alt="Research paper thumbnail of Вариации върху "да кажеш нещо различно, е да кажеш нещо различно" / Variations upon 'When you say something differently, you say something different' [2018]" class="work-thumbnail" src="https://attachments.academia-assets.com/57961882/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/37947873/%D0%92%D0%B0%D1%80%D0%B8%D0%B0%D1%86%D0%B8%D0%B8_%D0%B2%D1%8A%D1%80%D1%85%D1%83_%D0%B4%D0%B0_%D0%BA%D0%B0%D0%B6%D0%B5%D1%88_%D0%BD%D0%B5%D1%89%D0%BE_%D1%80%D0%B0%D0%B7%D0%BB%D0%B8%D1%87%D0%BD%D0%BE_%D0%B5_%D0%B4%D0%B0_%D0%BA%D0%B0%D0%B6%D0%B5%D1%88_%D0%BD%D0%B5%D1%89%D0%BE_%D1%80%D0%B0%D0%B7%D0%BB%D0%B8%D1%87%D0%BD%D0%BE_Variations_upon_When_you_say_something_differently_you_say_something_different_2018_">Вариации върху "да кажеш нещо различно, е да кажеш нещо различно" / Variations upon 'When you say something differently, you say something different' [2018]</a></div><div class="wp-workCard_item"><span>Bulgarian Musicology</span><span>, 2018</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Когато човекът на деветнадесетото столетие се обръща към изкуството на предхождащи го епохи, той ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Когато човекът на деветнадесетото столетие се обръща към изкуството на предхождащи го епохи, той се вглежда в една чужда нему материя, по-скоро за да я вплете в своите собствени творения. Музикалната история на ХХ век постепенно измества фокуса си, тър-сейки да осмисли своите обекти в тяхното автономно съществуване. Понятия като " обективност " и " автентичност " се превръщат в маркери на историцизма от модерната епоха, но техният патос също е преодолян. Успоредно на музикалната история като научна дисциплина или дори като нейно следствие, от 1960-те години от " еднородното " дотогава изпълнителство се отделя направление, повлияно и стремящо се да реализира в звук идеи, възприемани за исторически правдиви. По този начин музикалният историцизъм – на ниво теория и на ниво изпълнителство, изживява уникален сам по себе си разцвет през последния около половин век. През това време, ра-бира се, периодично се ревизират основанията на едно подобно музикално битие, и ако такива основания като " историческа правда " са подложени на съмнение, за човека от постмодерната епоха мотивите да се припознава с така отдалечена времево от него музикална материя остава отворен и сякаш персонален въпрос.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="b6b968ed9a6bb390a999315df399171b" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":57961882,"asset_id":37947873,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/57961882/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="37947873"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="37947873"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 37947873; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="36997549"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/36997549/Intabulations_of_Protestant_Sacred_Songs_and_Psalms_in_Wurstisen_lute_book_Adaptation_and_arrangement_of_the_chorale_models_2018_"><img alt="Research paper thumbnail of Intabulations of Protestant Sacred Songs and Psalms in Wurstisen lute book. Adaptation and arrangement of the chorale models [2018]" class="work-thumbnail" src="https://attachments.academia-assets.com/56946610/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/36997549/Intabulations_of_Protestant_Sacred_Songs_and_Psalms_in_Wurstisen_lute_book_Adaptation_and_arrangement_of_the_chorale_models_2018_">Intabulations of Protestant Sacred Songs and Psalms in Wurstisen lute book. Adaptation and arrangement of the chorale models [2018]</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Wurstisen's lute anthology contains arrangements of Sacred Songs and Psalms in its last part. Thi...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Wurstisen's lute anthology contains arrangements of Sacred Songs and Psalms in its last part. This is a repertory of fifteen German Protestant chorales and two psalms after the Genevan Psalter. Тhe research on Wurstisen's arrangement are preceded by a brief introduction of Luther's and Calvin's branches of Protestantism and their thoughts on the role of music for the new forms of worship. Historiographical data is involved in order to clarify the origin of Wurstisen's chorales. The greatest amount of them belongs to Luther's own liturgical legacy or to theologians and hymn-writers of his close circle. The idea was expressed that Wurstisen collected his chorales from the most preferable and popular titles among the lutenists of the time. The second part of the article is a study on the process of intabulation. It is focused on melody treatment, harmonization of the chorale tunes and embellishments. Several approaches to the musical texture are determined. In addition, certain comparison between Wurstisen's intabulations and those in the rest of Basel's lute mansucripts and Hainhoffer lute book managed. As a result, it can now be summarized that most of Wurstisen's chorale versions don't correspond to other arrangements. There is only one known exception, which leads to the idea that some of his intabulations might have been copied from another source, while others are possibly his own arrangements.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="ecc020579e1648ce9fd4ca47158710b9" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":56946610,"asset_id":36997549,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/56946610/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="36997549"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="36997549"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 36997549; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=36997549]").text(description); $(".js-view-count[data-work-id=36997549]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 36997549; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='36997549']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "ecc020579e1648ce9fd4ca47158710b9" } } $('.js-work-strip[data-work-id=36997549]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":36997549,"title":"Intabulations of Protestant Sacred Songs and Psalms in Wurstisen lute book. Adaptation and arrangement of the chorale models [2018]","internal_url":"https://www.academia.edu/36997549/Intabulations_of_Protestant_Sacred_Songs_and_Psalms_in_Wurstisen_lute_book_Adaptation_and_arrangement_of_the_chorale_models_2018_","owner_id":6146503,"coauthors_can_edit":true,"owner":{"id":6146503,"first_name":"Yavor","middle_initials":null,"last_name":"Genov","page_name":"YavorGenov","domain_name":"bas","created_at":"2013-10-14T21:53:31.973-07:00","display_name":"Yavor Genov","url":"https://bas.academia.edu/YavorGenov"},"attachments":[{"id":56946610,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/56946610/thumbnails/1.jpg","file_name":"Yavor-Genov-2018-1.pdf","download_url":"https://www.academia.edu/attachments/56946610/download_file","bulk_download_file_name":"Intabulations_of_Protestant_Sacred_Songs.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/56946610/Yavor-Genov-2018-1-libre.pdf?1530950840=\u0026response-content-disposition=attachment%3B+filename%3DIntabulations_of_Protestant_Sacred_Songs.pdf\u0026Expires=1739921304\u0026Signature=a6n8urbRQPN1ZVeV9qy4l1sGZ6MjHsMV~ydRXMSC9BEJ4OPN-5VkxOCYwrj5alskuS1Mik3MPFrorRPkNhzXv1EgQRX-yu6MvVHuUcL-W2dplVdrDoEIj-JrPy3XwDLe8bXkHf2zkABQSzx95jbuyS512YENkFmpMMghqcBilABMD-mob5nFYNsMjrWLdKgy-wJZaU319ixg0UJ8a5aDWHXMtHtn11~YE37ozjnEKLk4Mb~BGd6H9DCVEsZeHPIh-~dMSnueDuKbyQkfiQ7GVg~zNPymLeO8T71KNKSZ2jrcEJz19Bqcz1o6b3hCbM5gcSZ22trq0I2sC1Fpgx85Uw__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="36747163"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/36747163/Imitative_Fantasias_in_Wurstisen_Lute_Book_CH_BU_MS_F_IX_70_2018_"><img alt="Research paper thumbnail of Imitative Fantasias in Wurstisen Lute Book (CH-BU MS. F.IX.70) [2018]" class="work-thumbnail" src="https://attachments.academia-assets.com/56692147/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/36747163/Imitative_Fantasias_in_Wurstisen_Lute_Book_CH_BU_MS_F_IX_70_2018_">Imitative Fantasias in Wurstisen Lute Book (CH-BU MS. F.IX.70) [2018]</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Wurstisen lute book emerges as a very late source of German lute tablature. Written down n the la...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Wurstisen lute book emerges as a very late source of German lute tablature. Written down n the last decade of the 16 th century, it stands out for its remarkable size and repertory. The latter is organized in eight books. Fantasias are placed in the third book. Their variety is in respect of chronology, origin, technique, required instruments. The paper in presence is concentrated on the imitative fantasias. Observation leads to the notion that monothematic ones are generally a later part of the repertory, while on the contrary, the polythematic ones refer to a layer preceding with decades the time of copying the manuscript.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="1ece70254c389ea495f7046f25e6729d" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":56692147,"asset_id":36747163,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/56692147/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="36747163"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="36747163"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 36747163; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=36747163]").text(description); $(".js-view-count[data-work-id=36747163]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 36747163; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='36747163']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "1ece70254c389ea495f7046f25e6729d" } } $('.js-work-strip[data-work-id=36747163]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":36747163,"title":"Imitative Fantasias in Wurstisen Lute Book (CH-BU MS. 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Main part of them are imitative piece...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Wurstisen lute book contains twenty two fantasias in total. Main part of them are imitative pieces based on one or more thematic motives. The article in presence is focused on those part of them which can be assumed as polythmatic pieces. Investigation of the fantasias leads to idea of origin around the mid of 16th century. Statement that polythematic pieces generally belong to earlier stage of development of the repertory is confirmed by individual analyses of each pieces and it is also supported by some scholars. Part of the pieces bear certain authorship and are widespread in number of sources. Some of the attributions are studied in details by some musicologists. Their observations are involved at the present discussion. The article shows that some of the earlier polythematic pieces had a " classical' status and they were copied not only by Wurstisen but also by other compilers and lutenists of its generation. They were copied, colored, imitated and widespread as such during the late 16th century. The text in presence sheds light to the structural processes behind certain examples and simultaneously gives additional details about the formal and stylistic tendencies of the lute music in late 16th century. It is a part of bigger study dedicated to the Wurstisen lute book.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="734e9cac724aadaf7a967a93fe691e1b" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":55295535,"asset_id":35434276,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/55295535/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="35434276"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="35434276"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 35434276; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="20271025"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/20271025/Emanuel_Wurstisen_s_manuscript_CH_Bu_Ms_F_IX_70_as_a_source_of_German_lute_tablature_2015_"><img alt="Research paper thumbnail of Emanuel Wurstisen’s manuscript (CH-Bu Ms. F.IX.70) as a source of German lute tablature (2015)" class="work-thumbnail" src="https://attachments.academia-assets.com/41139790/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/20271025/Emanuel_Wurstisen_s_manuscript_CH_Bu_Ms_F_IX_70_as_a_source_of_German_lute_tablature_2015_">Emanuel Wurstisen’s manuscript (CH-Bu Ms. F.IX.70) as a source of German lute tablature (2015)</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">The art of playing the lute has its “Golden age” during the 16th century. In that time lute becam...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">The art of playing the lute has its “Golden age” during the 16th<br />century. In that time lute became a symbol of the European culture in general. Development of lute music during the 16th century is widespread throughout whole Western part of the continent; contains a huge number of repertories, rich on varieties in form and style; is embodied by skillful virtuoso players and composers; continuously experiments and changes the instruments themselves. In that period lute music is notated on three main tablature systems, recently known as Italian, French and German tablatures. While the former two systems are “optical” and present pictorial vision of the lute fingerboard, the German tablature follows different mental path.<br />The article in presence comments one of the distinguished lute<br />manuscripts, created and preserved in Basel, Switzerland. The anthology by Emanuel Wurstisen is discussed as a source of late stage of German lute tablature. Discussion itself is preceded by information about the nature and peculiarities of German tablature in general. Based on that<br />are the following observations on the problem of reading and using the manuscript, changes of the tablature, coming from changing the instruments around the time of Wurstisen. At the same time the article comments the manner of notating the book which is probably related to the origin of pieces themselves. Certain paleographical problems are put on discussion, supplied by comparative table of the character in usage. The latter has a certain practical purpose to supply the reader with a tool for easier working with the manuscript itself.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="d3c8450dc888525efda06ccf5f2f3aa7" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":41139790,"asset_id":20271025,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/41139790/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="20271025"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="20271025"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 20271025; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="19027116"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/19027116/To_the_terminology_of_the_repertoire_for_Divine_Office_in_the_Gregorian_Antiphoner_2013_"><img alt="Research paper thumbnail of To the terminology of the repertoire for Divine Office in the Gregorian Antiphoner (2013)" class="work-thumbnail" src="https://attachments.academia-assets.com/40389560/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/19027116/To_the_terminology_of_the_repertoire_for_Divine_Office_in_the_Gregorian_Antiphoner_2013_">To the terminology of the repertoire for Divine Office in the Gregorian Antiphoner (2013)</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">The fundamental vision of music as a manifestation of Divine creation is grounded in the core of ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">The fundamental vision of music as a manifestation of Divine creation is grounded in the core of European cosmology. This vision draws “the red line” of European understanding for the sounds and their harmony – since Greek-Roman Antiquity and Old-Testament Judaea through the Medieval liturgical monody and increasing contrapuntal practice.  <br /><br />The ontological meaning of music requires to concentrate on the micro level of certain musical aspects, but also to put these details in the full picture of musical existence.  That is why the knowledge of music needs also to be focused on over-national and over-cultural inheritance level.  <br /><br />The present article aims to shed light on the terminology of the Gregorian chant and more specifically that part of it, represented in the Antiphoner. The function of the paper is rather informative than investigative. The purpose is to offer a basis of terms, able to depict Gregorian melodies, which could be assumed without exaggeration as a vocabulary of European musical language in general.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="90e966a7ffe26af3f47ca91711b9c836" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":40389560,"asset_id":19027116,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/40389560/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="19027116"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="19027116"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 19027116; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="19026833"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/19026833/Free_instrumental_forms_in_the_16th_century_lute_repertory_2015_"><img alt="Research paper thumbnail of Free instrumental forms in the 16th century lute repertory (2015)" class="work-thumbnail" src="https://attachments.academia-assets.com/40389302/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/19026833/Free_instrumental_forms_in_the_16th_century_lute_repertory_2015_">Free instrumental forms in the 16th century lute repertory (2015)</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">During the 15th century musical mentality in Europe has prepared for important and decisive chang...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">During the 15th century musical mentality in Europe has prepared for important and decisive changes. Frequently mentioned instrumental music in sources and documents in that time, and its explicit appearance is an important part of those changes. Another crucial moment of those changes is the lute, which gradually move from  monodic to polyphonic practice. Therefore, lute not only gain an important role in every aspect of the musical life in Europe, but became its symbol.  <br /><br />In the end of 15th and beginning of 16th century the earliest lute sources recently known has appeared. They present the new, polyphonic function of the instrument and include compositions with new denotations, which not descend directly from the polyphonic choral tradition: prelude (praeambulum), recercar, fantasia. Those terms has appeared in different times and different instrumental sources during the period between the mid of 15th and beginning of 16th century.  Their common connotation, generally speaking, is directed to the free, improvisational playing the music. <br /><br />The article in presence observes the appearance and spreading of the free forms in the lute music during 16th century. Some important changes in the content of those terms as early as first decades of the century are stressed. While the prints of 1507 - 1508, published by the venetian editor Petrucci contain idiomatic instrumental forms, related to the spontaneous improvising style, the next generations demonstrate a reinforced interest in adaptation of the contrapuntal techniques in their compositions. Thus the free forms became a place for development of compositional approaches and technical possibilities of the lute as well. The main purpose of this article is not to present a new discoveries rather to introduce to the chosen topic.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="97cea4d811a32b51f74bb01dd713e975" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":40389302,"asset_id":19026833,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/40389302/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="19026833"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="19026833"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 19026833; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=19026833]").text(description); $(".js-view-count[data-work-id=19026833]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 19026833; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='19026833']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "97cea4d811a32b51f74bb01dd713e975" } } $('.js-work-strip[data-work-id=19026833]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":19026833,"title":"Free instrumental forms in the 16th century lute repertory (2015)","internal_url":"https://www.academia.edu/19026833/Free_instrumental_forms_in_the_16th_century_lute_repertory_2015_","owner_id":6146503,"coauthors_can_edit":true,"owner":{"id":6146503,"first_name":"Yavor","middle_initials":null,"last_name":"Genov","page_name":"YavorGenov","domain_name":"bas","created_at":"2013-10-14T21:53:31.973-07:00","display_name":"Yavor Genov","url":"https://bas.academia.edu/YavorGenov"},"attachments":[{"id":40389302,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/40389302/thumbnails/1.jpg","file_name":"2_Yavor_Genov_br_2.pdf","download_url":"https://www.academia.edu/attachments/40389302/download_file","bulk_download_file_name":"Free_instrumental_forms_in_the_16th_cent.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/40389302/2_Yavor_Genov_br_2-libre.pdf?1448521663=\u0026response-content-disposition=attachment%3B+filename%3DFree_instrumental_forms_in_the_16th_cent.pdf\u0026Expires=1739921304\u0026Signature=N4I3kUH-0xqtrRAH9UHqkK1e2tvKsTLTfaLE3wANQwWR3rQ1w-zhuZzJ-Aj4h~WpcjmmsdA7CDXhGwY3hkSeGXrcSIK3yryhp3u0rxHUjxyoAtbYmeoIfIp5I0ee~QgB4JU1a9jNIT1qJSnh9XEHS36CHA0QtIwajrjCazW~Vr4-ZTI-4gT91QRBxbRmcjzZmqNpImlluhp03-ONXFAGNt2ueAkplBh3QRKA8K-4WOISm~49De~Gu5Dy1KsBm7WeVNNQHt9dNP1F76DdogJOvitxqQmNRwzCuLTCoN~NBeXjO4ybdBYVCy1t7iH1HBnlsETtAq4b98OV4tOsMgAwpA__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="17777777"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/17777777/Chant_repertory_for_SS_Cosma_and_Damianis_in_Antiphoner_GB_WO_F_160_2014_"><img alt="Research paper thumbnail of Chant repertory for SS. Cosma and Damianis in Antiphoner GB-WO F.160 (2014)" class="work-thumbnail" src="https://attachments.academia-assets.com/39705421/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/17777777/Chant_repertory_for_SS_Cosma_and_Damianis_in_Antiphoner_GB_WO_F_160_2014_">Chant repertory for SS. Cosma and Damianis in Antiphoner GB-WO F.160 (2014)</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">According to number of investigations, the liturgy for SS. Cosmas and Damian was established in W...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">According to number of investigations, the liturgy for SS. Cosmas and Damian was established in Western Europe around 5th or 6th century, probably in Rome. Approximately five centuries latter, in 10th century single chants exist for commemoration of the saints. Antiphon Cosmas et Damianus Leontius, 001938 emerges among the known repertory. It was written out in approximately 30 different manuscripts and it did not appear before compiling of Antiphoner CH-SGs 391, dated from late 10th or 11th century. The presented study reveals that this antiphon probably belongs to early corpus of melodies for the saint’s office. Credibly a full developed musical repertory for all or most of the liturgical hours was not provided in that time. In certain manuscripts from modern Italy, from the period 11th – 12th century complete set of Laud’s melodies for SS. Cosmas and Damian were written out. Identical repertory, at least concerning the text incipits, was found in the Antiphoner of Worcester  GB-WO F.160, about 150 year latter.    <br />The article in presence embraces the repertory of antiphons in Antiphoner of Worcester. According to the investigated chants it could be assumed about two different periods of compiling the melodies for SS. Cosmas and Damian. Those in GB-WO F.160 are probably latter established than the antiphon Cosmas et Damianus Leontius. It could speak about more special attitude to the commemoration of the saints in certain regions of Italy and/or Rome in 11th – 12th century, than the one we know about the earlier time. In case the assumption for identity of repertory for the saints between some Italian sources and the Worcester Antiphoner is relevant, it brings the question of liturgical or other interrelationships between both the cities. Answers of this question should be searched in next investigation.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="3e97c99b1f939a666aa05e6da0498655" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":39705421,"asset_id":17777777,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/39705421/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="17777777"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="17777777"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 17777777; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=17777777]").text(description); $(".js-view-count[data-work-id=17777777]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 17777777; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='17777777']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "3e97c99b1f939a666aa05e6da0498655" } } $('.js-work-strip[data-work-id=17777777]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":17777777,"title":"Chant repertory for SS. 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Това са най-почитаните имена, свързани с дълбоко упование и вяра – св. св. Кирил и Методий, св. Николай Чудотворец, св. Георги, символизи-ращ не само мъжеството и храбростта, но и победата над " вътрешния враг " – пороците и слабостите на човека, " безсребърниците " Козма и Дамян. Този избор на обект на изследването през апарата на теоре-тичното музикознание е не просто интригуващ, но и предизвикващ общокултурен интерес. Явор Генов прилага интегрален подход към напевите – истори-ческото, догматическото и музикалното знание взаимно се обуславят и допълват, като се изваждат от забвение истории, написани с жи-вия език на съответната епоха, които интересуват съвременника и му показват защо с такава интензивност усещаме духовната си връзка както със Запада, така и с Изтока. Това става през призмата на кон-кретните музикални факти и доказателства. Приносите на тази книга съществуват не само затова, защото " малцина са избрани " да работят с нейната вдъхновяваща проблема-тика, която се докосва до най-въздействащата страна на християнския култ – музиката, но и защото обогатява езика, словесен и музикален, от който се поражда, тъй като е вид екзегеза на вековните образци. Тази дейност изисква много от своя изследовател и го поставя в една историческа перспектива. Явор Генов е успял във всичко това. <br />Проф. д-р Нева Кръстева</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="38716c8ffb299499a21dd0e769d9c08e" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":46570571,"asset_id":26255568,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/46570571/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="26255568"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="26255568"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 26255568; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> </div><div class="profile--tab_content_container js-tab-pane tab-pane" data-section-id="3932226" id="papers"><div class="js-work-strip profile--work_container" data-work-id="126119386"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/126119386/AUTHORSHIP_AND_ATTRIBUTION_IN_THE_WURSTISEN_LUTE_BOOK"><img alt="Research paper thumbnail of AUTHORSHIP AND ATTRIBUTION IN THE WURSTISEN LUTE BOOK" class="work-thumbnail" src="https://attachments.academia-assets.com/120045708/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/126119386/AUTHORSHIP_AND_ATTRIBUTION_IN_THE_WURSTISEN_LUTE_BOOK">AUTHORSHIP AND ATTRIBUTION IN THE WURSTISEN LUTE BOOK</a></div><div class="wp-workCard_item"><span>De musica disserenda</span><span>, 2023</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">The so called Wurstisen Lute Book (CH-Bu, Ms. F.IX.70) is a remarkable anthology containing a hug...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">The so called Wurstisen Lute Book (CH-Bu, Ms. F.IX.70) is a remarkable anthology containing a huge repertory that was written down in German lute tablature at the end of the sixteenth century. Serving most likely as a private music collection, it relatively infrequently contains names or indications of authors. The present article deals with what the scribe has left in the way of indications, shedding more light on, and interpreting, some of them. Additionally, the research suggests some sources that may have been at the disposal of the compiler, Emanuel Wurstisen, or were possibly related to his book when they came to be printed years later.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="7b4aba53d89788607ce7c9f36eff68a1" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":120045708,"asset_id":126119386,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/120045708/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="126119386"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="126119386"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 126119386; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="113223693"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/113223693/Passamezzi_in_Wurstisen_lute_book_compositional_techniques_and_instrumental_approaches"><img alt="Research paper thumbnail of Passamezzi in Wurstisen lute book: compositional techniques and instrumental approaches" class="work-thumbnail" src="https://attachments.academia-assets.com/110240989/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/113223693/Passamezzi_in_Wurstisen_lute_book_compositional_techniques_and_instrumental_approaches">Passamezzi in Wurstisen lute book: compositional techniques and instrumental approaches</a></div><div class="wp-workCard_item"><span>Bulgarian Musicology</span><span>, 2022</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">The repertory of Wurstisen lute book (CH-BU MS. F.IХ.70) is distributed in eight parts (or books)...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">The repertory of Wurstisen lute book (CH-BU MS. F.IХ.70) is distributed in eight parts (or books) on the basis of genre. The fifth book is dedicated especially to passamezzi-an impressive part of the manuscript in term of size and contents (122 pages with 107 pieces). It is assumed that the passamezzo emerges as a double-meter dance at the first half of 16 th century and its music is composed upon a fixed chordal succession, like many of the popular ground forms at the time. During the second half of the century and especially toward its end, the passamezzo became a favorite ostinato frame for writing/improvising passages and variations, experimenting with compositional and instrumental techniques. For that reason it was a preferable pedagogical tool as well. On the other hand, it leads further to some remarkable and well-recognized sets of variations upon passacaglia, ciaccona and folia during the next century. The current paper concentrates on a selection of passamezzi from the Wurstisen lute book, representative of the varied approaches, applied to the ground form. Single pieces, sets of variations and untypical triple-meter passamezzi are discussed together with their afterdances. Focus of the discussion are compositional, instrumental and structural features, which aim to reveal a diversity of approaches to standard and fixed ground scheme.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="1009f75a8cfc503b6d51086db87d4631" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":110240989,"asset_id":113223693,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/110240989/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="113223693"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="113223693"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 113223693; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="44939985"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/44939985/One_Chanson_Three_Intabulations_The_Journey_of_Orlando_di_Lasso_s_Bon_jour_mon_coeur_to_the_Wurstisen_lute_book_in_Basel_2020_"><img alt="Research paper thumbnail of One Chanson – Three Intabulations. The Journey of Orlando di Lasso’s Bon jour mon coeur to the Wurstisen lute book in Basel [2020]" class="work-thumbnail" src="https://attachments.academia-assets.com/65467678/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/44939985/One_Chanson_Three_Intabulations_The_Journey_of_Orlando_di_Lasso_s_Bon_jour_mon_coeur_to_the_Wurstisen_lute_book_in_Basel_2020_">One Chanson – Three Intabulations. The Journey of Orlando di Lasso’s Bon jour mon coeur to the Wurstisen lute book in Basel [2020]</a></div><div class="wp-workCard_item"><span>Art Readings 2020_Journeys</span><span>, 2021</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Wurstisen lute book is remarkable lute manuscript, entirely compiled by the Basel’s student in me...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Wurstisen lute book is remarkable lute manuscript, entirely compiled by<br />the Basel’s student in medicine Emanuel Wurstisen between 1591–1594. Important part of it contains lute arrangements of vocal secular music – French Chansons, Italian Madrigals and German Lieder. Orlando di Lasso’s chanson Bon jour mon coeur is copied by Wurstisen three successive times in three different lute versions, which most likely speaks about special attitude of the scribe to it. The paper in<br />presence aims to trace out: where Wurstisen copied his versions from; how each version reflects the original texture; whether Wurstisen copied his arrangements literally or certain personal marks are recognizable.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="a135b4de80e2d1d06e005c2e63752a10" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":65467678,"asset_id":44939985,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/65467678/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="44939985"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="44939985"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 44939985; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=44939985]").text(description); $(".js-view-count[data-work-id=44939985]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 44939985; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='44939985']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "a135b4de80e2d1d06e005c2e63752a10" } } $('.js-work-strip[data-work-id=44939985]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":44939985,"title":"One Chanson – Three Intabulations. The Journey of Orlando di Lasso’s Bon jour mon coeur to the Wurstisen lute book in Basel [2020]","internal_url":"https://www.academia.edu/44939985/One_Chanson_Three_Intabulations_The_Journey_of_Orlando_di_Lasso_s_Bon_jour_mon_coeur_to_the_Wurstisen_lute_book_in_Basel_2020_","owner_id":6146503,"coauthors_can_edit":true,"owner":{"id":6146503,"first_name":"Yavor","middle_initials":null,"last_name":"Genov","page_name":"YavorGenov","domain_name":"bas","created_at":"2013-10-14T21:53:31.973-07:00","display_name":"Yavor Genov","url":"https://bas.academia.edu/YavorGenov"},"attachments":[{"id":65467678,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/65467678/thumbnails/1.jpg","file_name":"ИзкЧетения_2020_статия.pdf","download_url":"https://www.academia.edu/attachments/65467678/download_file","bulk_download_file_name":"One_Chanson_Three_Intabulations_The_Jour.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/65467678/%D0%98%D0%B7%D0%BA%D0%A7%D0%B5%D1%82%D0%B5%D0%BD%D0%B8%D1%8F_2020_%D1%81%D1%82%D0%B0%D1%82%D0%B8%D1%8F-libre.pdf?1611143148=\u0026response-content-disposition=attachment%3B+filename%3DOne_Chanson_Three_Intabulations_The_Jour.pdf\u0026Expires=1739921304\u0026Signature=OI5FzINByE0zSpFoR~upzVZbd~Tr3m-a5BwMEJ7tliV6CU-AMhZv17oNxKxo2qDmkX7PDXIjgQYLqxUOOem7ohmVuDj3sSvwZY16g6oj8vdycYcbDfSj-2NY73BqRA4l0er0wjgNkWEHHYlDZPExwHppBqVTXUVBZJrrXcqQvySI6cQMT2U1Yj7Q3m7o53r5vP2EnbylsLu3ksmVnT3ghto35Kd9XUAGm0ykGsHF8PGS1q5lcF8FKj3Vo-Gih-lajJQkGiwzJB~KIyU9mvjrTQIsH14pVbSliOzB6B7Z4cmJWMtYPQmJHVw2tbTqjmp6qiikquT~OCcJiEsTTB-62w__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="39727146"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/39727146/The_arrangements_of_motets_in_Wurstisen_lute_book_More_about_the_process_of_intabulation_2019_"><img alt="Research paper thumbnail of The arrangements of motets in Wurstisen lute book. More about the process of intabulation [2019]" class="work-thumbnail" src="https://attachments.academia-assets.com/59904954/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/39727146/The_arrangements_of_motets_in_Wurstisen_lute_book_More_about_the_process_of_intabulation_2019_">The arrangements of motets in Wurstisen lute book. More about the process of intabulation [2019]</a></div><div class="wp-workCard_item"><span>Bulgarian Musicology</span><span>, 2019</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Wurstisen Lute Book contains intabulations of four Latin motets among its enormous number of piec...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Wurstisen Lute Book contains intabulations of four Latin motets among its enormous number of pieces. The first three bear the authorship of Orlando di Lasso, while the last one is a barely known piece of music. Before focusing on the musical content and the process of arranging the vocal models to lute pieces, I find it necessary to focus my attention on the outstanding musical figure of Orlando di Lasso and the influence of his music on the lute repertory in the second half of the 16th century.<br />Another crucial topic that needs to be discussed is the problem of musica ficta, its guidelines and positions among some prominent modern musicologists. This preliminary data leads to the core part of the study – the motets of Lasso, intabulated for lute and written down by Wurstisen. It has become clear that these particular arrangements were first published by Melchior Neusidler in his Italian print of 1566, only four years after their original appearance, and were reprinted later in 1571 by Pierre Phalese. The analysis sheds light on the questions of how the intabulations were compiled, which rules were preferable, how the ornamentation and passages were used, and whether any word-painting was involved. The examination supports the notion of the special influence which the two Bavarian-based masters Lasso and Neusidler had on Wurstisen. A further examination of this manuscript has the potential of revealing more about it.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="6d726f04cb9623c0c26afc346c397ffd" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":59904954,"asset_id":39727146,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/59904954/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="39727146"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="39727146"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 39727146; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=39727146]").text(description); $(".js-view-count[data-work-id=39727146]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 39727146; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='39727146']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "6d726f04cb9623c0c26afc346c397ffd" } } $('.js-work-strip[data-work-id=39727146]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":39727146,"title":"The arrangements of motets in Wurstisen lute book. More about the process of intabulation [2019]","internal_url":"https://www.academia.edu/39727146/The_arrangements_of_motets_in_Wurstisen_lute_book_More_about_the_process_of_intabulation_2019_","owner_id":6146503,"coauthors_can_edit":true,"owner":{"id":6146503,"first_name":"Yavor","middle_initials":null,"last_name":"Genov","page_name":"YavorGenov","domain_name":"bas","created_at":"2013-10-14T21:53:31.973-07:00","display_name":"Yavor Genov","url":"https://bas.academia.edu/YavorGenov"},"attachments":[{"id":59904954,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/59904954/thumbnails/1.jpg","file_name":"Motets_Wurstisen.pdf","download_url":"https://www.academia.edu/attachments/59904954/download_file","bulk_download_file_name":"The_arrangements_of_motets_in_Wurstisen.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/59904954/Motets_Wurstisen-libre.pdf?1561978213=\u0026response-content-disposition=attachment%3B+filename%3DThe_arrangements_of_motets_in_Wurstisen.pdf\u0026Expires=1739921304\u0026Signature=WiHI4SQ9B2nkJDDAJBqCXcTB-71Ri67CwuHy5mGE3G97g7kfFgR4iwWA1MboDrvDqDkaZ7i-Gv4dypU9193rpBjVsTcfyTdAWFUAVz8Xic52R2X2e-cnvrYEWrmxbo4OO8EuwdPWwRUZ9Feb19CoFgb2YalpM2-i4CiCqApsmiN4OSw-siVSzHC3-N0iZql0jU8Rc61tnoQ8SKQd8oR79nbAsIO9qqoupleHOyXaoML-g04KnapMbF6TNp-M0fAtB4TJMMC9bdbChqDHMSOuV5PjzsLj8LOXuTIqoRDlee7l3aD8ci~y8dd2StA-Pz2992fgP~Umsn64F2UE4C0dpw__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="37947873"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/37947873/%D0%92%D0%B0%D1%80%D0%B8%D0%B0%D1%86%D0%B8%D0%B8_%D0%B2%D1%8A%D1%80%D1%85%D1%83_%D0%B4%D0%B0_%D0%BA%D0%B0%D0%B6%D0%B5%D1%88_%D0%BD%D0%B5%D1%89%D0%BE_%D1%80%D0%B0%D0%B7%D0%BB%D0%B8%D1%87%D0%BD%D0%BE_%D0%B5_%D0%B4%D0%B0_%D0%BA%D0%B0%D0%B6%D0%B5%D1%88_%D0%BD%D0%B5%D1%89%D0%BE_%D1%80%D0%B0%D0%B7%D0%BB%D0%B8%D1%87%D0%BD%D0%BE_Variations_upon_When_you_say_something_differently_you_say_something_different_2018_"><img alt="Research paper thumbnail of Вариации върху "да кажеш нещо различно, е да кажеш нещо различно" / Variations upon 'When you say something differently, you say something different' [2018]" class="work-thumbnail" src="https://attachments.academia-assets.com/57961882/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/37947873/%D0%92%D0%B0%D1%80%D0%B8%D0%B0%D1%86%D0%B8%D0%B8_%D0%B2%D1%8A%D1%80%D1%85%D1%83_%D0%B4%D0%B0_%D0%BA%D0%B0%D0%B6%D0%B5%D1%88_%D0%BD%D0%B5%D1%89%D0%BE_%D1%80%D0%B0%D0%B7%D0%BB%D0%B8%D1%87%D0%BD%D0%BE_%D0%B5_%D0%B4%D0%B0_%D0%BA%D0%B0%D0%B6%D0%B5%D1%88_%D0%BD%D0%B5%D1%89%D0%BE_%D1%80%D0%B0%D0%B7%D0%BB%D0%B8%D1%87%D0%BD%D0%BE_Variations_upon_When_you_say_something_differently_you_say_something_different_2018_">Вариации върху "да кажеш нещо различно, е да кажеш нещо различно" / Variations upon 'When you say something differently, you say something different' [2018]</a></div><div class="wp-workCard_item"><span>Bulgarian Musicology</span><span>, 2018</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Когато човекът на деветнадесетото столетие се обръща към изкуството на предхождащи го епохи, той ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Когато човекът на деветнадесетото столетие се обръща към изкуството на предхождащи го епохи, той се вглежда в една чужда нему материя, по-скоро за да я вплете в своите собствени творения. Музикалната история на ХХ век постепенно измества фокуса си, тър-сейки да осмисли своите обекти в тяхното автономно съществуване. Понятия като " обективност " и " автентичност " се превръщат в маркери на историцизма от модерната епоха, но техният патос също е преодолян. Успоредно на музикалната история като научна дисциплина или дори като нейно следствие, от 1960-те години от " еднородното " дотогава изпълнителство се отделя направление, повлияно и стремящо се да реализира в звук идеи, възприемани за исторически правдиви. По този начин музикалният историцизъм – на ниво теория и на ниво изпълнителство, изживява уникален сам по себе си разцвет през последния около половин век. През това време, ра-бира се, периодично се ревизират основанията на едно подобно музикално битие, и ако такива основания като " историческа правда " са подложени на съмнение, за човека от постмодерната епоха мотивите да се припознава с така отдалечена времево от него музикална материя остава отворен и сякаш персонален въпрос.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="b6b968ed9a6bb390a999315df399171b" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":57961882,"asset_id":37947873,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/57961882/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="37947873"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="37947873"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 37947873; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="36997549"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/36997549/Intabulations_of_Protestant_Sacred_Songs_and_Psalms_in_Wurstisen_lute_book_Adaptation_and_arrangement_of_the_chorale_models_2018_"><img alt="Research paper thumbnail of Intabulations of Protestant Sacred Songs and Psalms in Wurstisen lute book. Adaptation and arrangement of the chorale models [2018]" class="work-thumbnail" src="https://attachments.academia-assets.com/56946610/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/36997549/Intabulations_of_Protestant_Sacred_Songs_and_Psalms_in_Wurstisen_lute_book_Adaptation_and_arrangement_of_the_chorale_models_2018_">Intabulations of Protestant Sacred Songs and Psalms in Wurstisen lute book. Adaptation and arrangement of the chorale models [2018]</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Wurstisen's lute anthology contains arrangements of Sacred Songs and Psalms in its last part. Thi...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Wurstisen's lute anthology contains arrangements of Sacred Songs and Psalms in its last part. This is a repertory of fifteen German Protestant chorales and two psalms after the Genevan Psalter. Тhe research on Wurstisen's arrangement are preceded by a brief introduction of Luther's and Calvin's branches of Protestantism and their thoughts on the role of music for the new forms of worship. Historiographical data is involved in order to clarify the origin of Wurstisen's chorales. The greatest amount of them belongs to Luther's own liturgical legacy or to theologians and hymn-writers of his close circle. The idea was expressed that Wurstisen collected his chorales from the most preferable and popular titles among the lutenists of the time. The second part of the article is a study on the process of intabulation. It is focused on melody treatment, harmonization of the chorale tunes and embellishments. Several approaches to the musical texture are determined. In addition, certain comparison between Wurstisen's intabulations and those in the rest of Basel's lute mansucripts and Hainhoffer lute book managed. As a result, it can now be summarized that most of Wurstisen's chorale versions don't correspond to other arrangements. There is only one known exception, which leads to the idea that some of his intabulations might have been copied from another source, while others are possibly his own arrangements.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="ecc020579e1648ce9fd4ca47158710b9" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":56946610,"asset_id":36997549,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/56946610/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="36997549"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="36997549"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 36997549; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=36997549]").text(description); $(".js-view-count[data-work-id=36997549]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 36997549; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='36997549']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "ecc020579e1648ce9fd4ca47158710b9" } } $('.js-work-strip[data-work-id=36997549]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":36997549,"title":"Intabulations of Protestant Sacred Songs and Psalms in Wurstisen lute book. 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F.IX.70) [2018]" class="work-thumbnail" src="https://attachments.academia-assets.com/56692147/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/36747163/Imitative_Fantasias_in_Wurstisen_Lute_Book_CH_BU_MS_F_IX_70_2018_">Imitative Fantasias in Wurstisen Lute Book (CH-BU MS. F.IX.70) [2018]</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Wurstisen lute book emerges as a very late source of German lute tablature. Written down n the la...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Wurstisen lute book emerges as a very late source of German lute tablature. Written down n the last decade of the 16 th century, it stands out for its remarkable size and repertory. The latter is organized in eight books. Fantasias are placed in the third book. Their variety is in respect of chronology, origin, technique, required instruments. The paper in presence is concentrated on the imitative fantasias. Observation leads to the notion that monothematic ones are generally a later part of the repertory, while on the contrary, the polythematic ones refer to a layer preceding with decades the time of copying the manuscript.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="1ece70254c389ea495f7046f25e6729d" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":56692147,"asset_id":36747163,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/56692147/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="36747163"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="36747163"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 36747163; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=36747163]").text(description); $(".js-view-count[data-work-id=36747163]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 36747163; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='36747163']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "1ece70254c389ea495f7046f25e6729d" } } $('.js-work-strip[data-work-id=36747163]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":36747163,"title":"Imitative Fantasias in Wurstisen Lute Book (CH-BU MS. 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Main part of them are imitative piece...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Wurstisen lute book contains twenty two fantasias in total. Main part of them are imitative pieces based on one or more thematic motives. The article in presence is focused on those part of them which can be assumed as polythmatic pieces. Investigation of the fantasias leads to idea of origin around the mid of 16th century. Statement that polythematic pieces generally belong to earlier stage of development of the repertory is confirmed by individual analyses of each pieces and it is also supported by some scholars. Part of the pieces bear certain authorship and are widespread in number of sources. Some of the attributions are studied in details by some musicologists. Their observations are involved at the present discussion. The article shows that some of the earlier polythematic pieces had a " classical' status and they were copied not only by Wurstisen but also by other compilers and lutenists of its generation. They were copied, colored, imitated and widespread as such during the late 16th century. The text in presence sheds light to the structural processes behind certain examples and simultaneously gives additional details about the formal and stylistic tendencies of the lute music in late 16th century. It is a part of bigger study dedicated to the Wurstisen lute book.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="734e9cac724aadaf7a967a93fe691e1b" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":55295535,"asset_id":35434276,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/55295535/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="35434276"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="35434276"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 35434276; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="20271025"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/20271025/Emanuel_Wurstisen_s_manuscript_CH_Bu_Ms_F_IX_70_as_a_source_of_German_lute_tablature_2015_"><img alt="Research paper thumbnail of Emanuel Wurstisen’s manuscript (CH-Bu Ms. F.IX.70) as a source of German lute tablature (2015)" class="work-thumbnail" src="https://attachments.academia-assets.com/41139790/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/20271025/Emanuel_Wurstisen_s_manuscript_CH_Bu_Ms_F_IX_70_as_a_source_of_German_lute_tablature_2015_">Emanuel Wurstisen’s manuscript (CH-Bu Ms. F.IX.70) as a source of German lute tablature (2015)</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">The art of playing the lute has its “Golden age” during the 16th century. In that time lute becam...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">The art of playing the lute has its “Golden age” during the 16th<br />century. In that time lute became a symbol of the European culture in general. Development of lute music during the 16th century is widespread throughout whole Western part of the continent; contains a huge number of repertories, rich on varieties in form and style; is embodied by skillful virtuoso players and composers; continuously experiments and changes the instruments themselves. In that period lute music is notated on three main tablature systems, recently known as Italian, French and German tablatures. While the former two systems are “optical” and present pictorial vision of the lute fingerboard, the German tablature follows different mental path.<br />The article in presence comments one of the distinguished lute<br />manuscripts, created and preserved in Basel, Switzerland. The anthology by Emanuel Wurstisen is discussed as a source of late stage of German lute tablature. Discussion itself is preceded by information about the nature and peculiarities of German tablature in general. Based on that<br />are the following observations on the problem of reading and using the manuscript, changes of the tablature, coming from changing the instruments around the time of Wurstisen. At the same time the article comments the manner of notating the book which is probably related to the origin of pieces themselves. Certain paleographical problems are put on discussion, supplied by comparative table of the character in usage. The latter has a certain practical purpose to supply the reader with a tool for easier working with the manuscript itself.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="d3c8450dc888525efda06ccf5f2f3aa7" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":41139790,"asset_id":20271025,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/41139790/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="20271025"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="20271025"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 20271025; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="19027116"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/19027116/To_the_terminology_of_the_repertoire_for_Divine_Office_in_the_Gregorian_Antiphoner_2013_"><img alt="Research paper thumbnail of To the terminology of the repertoire for Divine Office in the Gregorian Antiphoner (2013)" class="work-thumbnail" src="https://attachments.academia-assets.com/40389560/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/19027116/To_the_terminology_of_the_repertoire_for_Divine_Office_in_the_Gregorian_Antiphoner_2013_">To the terminology of the repertoire for Divine Office in the Gregorian Antiphoner (2013)</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">The fundamental vision of music as a manifestation of Divine creation is grounded in the core of ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">The fundamental vision of music as a manifestation of Divine creation is grounded in the core of European cosmology. This vision draws “the red line” of European understanding for the sounds and their harmony – since Greek-Roman Antiquity and Old-Testament Judaea through the Medieval liturgical monody and increasing contrapuntal practice.  <br /><br />The ontological meaning of music requires to concentrate on the micro level of certain musical aspects, but also to put these details in the full picture of musical existence.  That is why the knowledge of music needs also to be focused on over-national and over-cultural inheritance level.  <br /><br />The present article aims to shed light on the terminology of the Gregorian chant and more specifically that part of it, represented in the Antiphoner. The function of the paper is rather informative than investigative. The purpose is to offer a basis of terms, able to depict Gregorian melodies, which could be assumed without exaggeration as a vocabulary of European musical language in general.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="90e966a7ffe26af3f47ca91711b9c836" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":40389560,"asset_id":19027116,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/40389560/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="19027116"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="19027116"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 19027116; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="19026833"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/19026833/Free_instrumental_forms_in_the_16th_century_lute_repertory_2015_"><img alt="Research paper thumbnail of Free instrumental forms in the 16th century lute repertory (2015)" class="work-thumbnail" src="https://attachments.academia-assets.com/40389302/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/19026833/Free_instrumental_forms_in_the_16th_century_lute_repertory_2015_">Free instrumental forms in the 16th century lute repertory (2015)</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">During the 15th century musical mentality in Europe has prepared for important and decisive chang...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">During the 15th century musical mentality in Europe has prepared for important and decisive changes. Frequently mentioned instrumental music in sources and documents in that time, and its explicit appearance is an important part of those changes. Another crucial moment of those changes is the lute, which gradually move from  monodic to polyphonic practice. Therefore, lute not only gain an important role in every aspect of the musical life in Europe, but became its symbol.  <br /><br />In the end of 15th and beginning of 16th century the earliest lute sources recently known has appeared. They present the new, polyphonic function of the instrument and include compositions with new denotations, which not descend directly from the polyphonic choral tradition: prelude (praeambulum), recercar, fantasia. Those terms has appeared in different times and different instrumental sources during the period between the mid of 15th and beginning of 16th century.  Their common connotation, generally speaking, is directed to the free, improvisational playing the music. <br /><br />The article in presence observes the appearance and spreading of the free forms in the lute music during 16th century. Some important changes in the content of those terms as early as first decades of the century are stressed. While the prints of 1507 - 1508, published by the venetian editor Petrucci contain idiomatic instrumental forms, related to the spontaneous improvising style, the next generations demonstrate a reinforced interest in adaptation of the contrapuntal techniques in their compositions. Thus the free forms became a place for development of compositional approaches and technical possibilities of the lute as well. The main purpose of this article is not to present a new discoveries rather to introduce to the chosen topic.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="97cea4d811a32b51f74bb01dd713e975" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":40389302,"asset_id":19026833,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/40389302/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="19026833"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="19026833"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 19026833; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=19026833]").text(description); $(".js-view-count[data-work-id=19026833]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 19026833; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='19026833']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "97cea4d811a32b51f74bb01dd713e975" } } $('.js-work-strip[data-work-id=19026833]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":19026833,"title":"Free instrumental forms in the 16th century lute repertory (2015)","internal_url":"https://www.academia.edu/19026833/Free_instrumental_forms_in_the_16th_century_lute_repertory_2015_","owner_id":6146503,"coauthors_can_edit":true,"owner":{"id":6146503,"first_name":"Yavor","middle_initials":null,"last_name":"Genov","page_name":"YavorGenov","domain_name":"bas","created_at":"2013-10-14T21:53:31.973-07:00","display_name":"Yavor Genov","url":"https://bas.academia.edu/YavorGenov"},"attachments":[{"id":40389302,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/40389302/thumbnails/1.jpg","file_name":"2_Yavor_Genov_br_2.pdf","download_url":"https://www.academia.edu/attachments/40389302/download_file","bulk_download_file_name":"Free_instrumental_forms_in_the_16th_cent.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/40389302/2_Yavor_Genov_br_2-libre.pdf?1448521663=\u0026response-content-disposition=attachment%3B+filename%3DFree_instrumental_forms_in_the_16th_cent.pdf\u0026Expires=1739921304\u0026Signature=N4I3kUH-0xqtrRAH9UHqkK1e2tvKsTLTfaLE3wANQwWR3rQ1w-zhuZzJ-Aj4h~WpcjmmsdA7CDXhGwY3hkSeGXrcSIK3yryhp3u0rxHUjxyoAtbYmeoIfIp5I0ee~QgB4JU1a9jNIT1qJSnh9XEHS36CHA0QtIwajrjCazW~Vr4-ZTI-4gT91QRBxbRmcjzZmqNpImlluhp03-ONXFAGNt2ueAkplBh3QRKA8K-4WOISm~49De~Gu5Dy1KsBm7WeVNNQHt9dNP1F76DdogJOvitxqQmNRwzCuLTCoN~NBeXjO4ybdBYVCy1t7iH1HBnlsETtAq4b98OV4tOsMgAwpA__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="17777777"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/17777777/Chant_repertory_for_SS_Cosma_and_Damianis_in_Antiphoner_GB_WO_F_160_2014_"><img alt="Research paper thumbnail of Chant repertory for SS. Cosma and Damianis in Antiphoner GB-WO F.160 (2014)" class="work-thumbnail" src="https://attachments.academia-assets.com/39705421/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/17777777/Chant_repertory_for_SS_Cosma_and_Damianis_in_Antiphoner_GB_WO_F_160_2014_">Chant repertory for SS. Cosma and Damianis in Antiphoner GB-WO F.160 (2014)</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">According to number of investigations, the liturgy for SS. Cosmas and Damian was established in W...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">According to number of investigations, the liturgy for SS. Cosmas and Damian was established in Western Europe around 5th or 6th century, probably in Rome. Approximately five centuries latter, in 10th century single chants exist for commemoration of the saints. Antiphon Cosmas et Damianus Leontius, 001938 emerges among the known repertory. It was written out in approximately 30 different manuscripts and it did not appear before compiling of Antiphoner CH-SGs 391, dated from late 10th or 11th century. The presented study reveals that this antiphon probably belongs to early corpus of melodies for the saint’s office. Credibly a full developed musical repertory for all or most of the liturgical hours was not provided in that time. In certain manuscripts from modern Italy, from the period 11th – 12th century complete set of Laud’s melodies for SS. Cosmas and Damian were written out. Identical repertory, at least concerning the text incipits, was found in the Antiphoner of Worcester  GB-WO F.160, about 150 year latter.    <br />The article in presence embraces the repertory of antiphons in Antiphoner of Worcester. According to the investigated chants it could be assumed about two different periods of compiling the melodies for SS. Cosmas and Damian. Those in GB-WO F.160 are probably latter established than the antiphon Cosmas et Damianus Leontius. It could speak about more special attitude to the commemoration of the saints in certain regions of Italy and/or Rome in 11th – 12th century, than the one we know about the earlier time. In case the assumption for identity of repertory for the saints between some Italian sources and the Worcester Antiphoner is relevant, it brings the question of liturgical or other interrelationships between both the cities. 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Това са най-почитаните имена, свързани с дълбоко упование и вяра – св. св. Кирил и Методий, св. Николай Чудотворец, св. Георги, символизи-ращ не само мъжеството и храбростта, но и победата над " вътрешния враг " – пороците и слабостите на човека, " безсребърниците " Козма и Дамян. Този избор на обект на изследването през апарата на теоре-тичното музикознание е не просто интригуващ, но и предизвикващ общокултурен интерес. Явор Генов прилага интегрален подход към напевите – истори-ческото, догматическото и музикалното знание взаимно се обуславят и допълват, като се изваждат от забвение истории, написани с жи-вия език на съответната епоха, които интересуват съвременника и му показват защо с такава интензивност усещаме духовната си връзка както със Запада, така и с Изтока. Това става през призмата на кон-кретните музикални факти и доказателства. 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