Fragment of a Byzantine Musical Handbook in the Monastery of Laura on Mt. Athos

1913 ◽  
Vol 19 ◽  
pp. 95-117
Author(s):  
H. J. W. Tillyard
Keyword(s):  
Linear System ◽  
Thirteenth Century ◽  
Musical Notation ◽  
Single Leaf ◽  
First Time

The musical Notation of the Greek Church is decipherable as far back as the beginning of the Round System in the thirteenth century. Some examples of this were given in my article in last year's Annual. But before the invention of the Round System another kind of notation was in use, called for convenience the Linear System, the rules of which are very obscure. The reading of the Round System was made easy by the familiar little treatise called the Papadike, which occurs in many MSS., and explains the main principles of the notation. Nothing of the kind seems to have been known dealing with the Linear System. But the fragment which I am now to place before the reader may be expected to throw some light upon it. I photographed this fragment on my visit to the Monastery of Laura in 1912: and so far as I know, this is the first time that anything has been written about it.The fragment is a single leaf of parchment bound up with the MS. Laura Γ 67, a small quarto codex containing some of the Stichera of the Triodium and Pentescostarium, i.e. the original hymns (excluding Canons and words set to tunes not specially composed for them) sung at the movable days in Lent, Holy Week and Eastertide. The manuscript is written in a bold well-formed hand, the text in black, the notes in red.

scholarly journals Śaivism after the Śaiva Age: Continuities in the Scriptural Corpus of the Vīramāheśvaras

Religions ◽  
2021 ◽  
Vol 12 (3) ◽  
pp. 222
Author(s):  
Elaine M. Fisher
Keyword(s):  
Thirteenth Century ◽  
Common Assumption ◽  
Academic Practice ◽  
The Common ◽  
Popular Work ◽  
First Time

This article makes the case that Vīraśaivism emerged in direct textual continuity with the tantric traditions of the Śaiva Age. In academic practice up through the present day, the study of Śaivism, through Sanskrit sources, and bhakti Hinduism, through the vernacular, are generally treated as distinct disciplines and objects of study. As a result, Vīraśaivism has yet to be systematically approached through a philological analysis of its precursors from earlier Śaiva traditions. With this aim in mind, I begin by documenting for the first time that a thirteenth-century Sanskrit work of what I have called the Vīramāheśvara textual corpus, the Somanāthabhāṣya or Vīramāheśvarācārasāroddhārabhāṣya, was most likely authored by Pālkurikĕ Somanātha, best known for his vernacular Telugu Vīraśaiva literature. Second, I outline the indebtedness of the early Sanskrit and Telugu Vīramāheśvara corpus to a popular work of early lay Śaivism, the Śivadharmaśāstra, with particular attention to the concepts of the jaṅgama and the iṣṭaliṅga. That the Vīramāheśvaras borrowed many of their formative concepts and practices directly from the Śivadharmaśāstra and other works of the Śaiva Age, I argue, belies the common assumption that Vīraśaivism originated as a social and religious revolution.

A Thirteenth-Century Ismā ‘īlī Ḥammām at Qal‘at al-Kahf

1983 ◽  
Vol 63 (1) ◽  
pp. 64-78 ◽  
Author(s):  
John Phillips
Keyword(s):  
Water Supply ◽  
Thirteenth Century ◽  
Building Materials ◽  
Planning And Design ◽  
Public Baths ◽  
Two Phases ◽  
Public Bath ◽  
First Time

SummaryThe aim of this paper is to record for the first time the architectural remains of a thirteenth-century public bath (ḥammām) located at the Assassin castle of al-Kahf in the Syrian Jabal Anṣariya. After describing the site, the paper examines the design and layout of the ḥammām and attempts to reconstruct those parts of it which have disappeared either because of structural decay or because of subsequent modifications to the plan. Building materials and decorative techniques are among the topics discussed, and there is an account of the ḥammām's heating apparatus and of the arrangements made to store and articulate its water supply. Two phases of construction are identified in the ḥammām, the second being necessitated, apparently, by a need to restore the building after it had fallen into disrepair at some later stage in its history. Finally, the ḥammām is compared and contrasted with a number of other Islamic public baths in order to establish the extent to which it followed earlier traditions of planning and design.

Modeling and Exact Reliability for a Consecutive Linear (k1,k2,…,kn−r+1)-Out-of-r-from-n: F System and Consecutive Circular (k1,k2,…,kn)-Out-of-r-from-n: F System

2021 ◽  
pp. 2150029
Author(s):  
Y. Amirian ◽  
A. Khodadadi
Keyword(s):  
Linear System ◽  
Order Statistic ◽  
Failed State ◽  
Time Modeling ◽  
Linear Formula ◽  
State Formula ◽  
Extensive Class ◽  
Circular System ◽  
First Time ◽  
F System

The consecutive linear [Formula: see text]-out-of-[Formula: see text]-from-[Formula: see text]:F system consists of [Formula: see text] linear ordered components and the consecutive circular [Formula: see text]-out-of-[Formula: see text]-from-[Formula: see text]:F system consists of [Formula: see text] circular ordered components. In this paper, we suggest, for the first time, modeling and exact reliability for these models. The linear system fails if and only if there exists a [Formula: see text]-order statistic of [Formula: see text]-consecutive [Formula: see text] [Formula: see text] of components in the failed state, [Formula: see text], [Formula: see text]; and the circular system fails if and only if there exists a [Formula: see text]-order statistic of [Formula: see text]-consecutive [Formula: see text] [Formula: see text] of components in the failed state, [Formula: see text], [Formula: see text]. In this paper, we designed an innovative algorithm to obtain the exact reliability for an extensive class of consecutive linear and circular systems. In continuation, there are the MATLAB Programs of exact reliability for consecutive linear and circular systems. In the following, we applied comparative and numerical results and calculated the exact reliability of this strategic systems. Finally, we calculated the exact reliability for two real-world practical examples.

St. Cyprian and Moissac: A Thirteenth-Century Sequence

Traditio ◽  
1963 ◽  
Vol 19 ◽  
pp. 147-166
Author(s):  
Maurice Bévenot
Keyword(s):  
Thirteenth Century ◽  
Poor Quality ◽  
Full Length ◽  
The Poor ◽  
First Time ◽  
Special Notice ◽  
The Way

The discovery of an ancient sequence might not at first sight seem to deserve any special notice. No doubt its absence in the monumental collections of A. M. Dreves and C. Blume, and in U. J. Chevalier's Repertorium hymnologicum, may surprise us, but the poor quality of so many of the sequences there collected may justify an initial indifference to the unearthing of yet another. How was it missed by those indefatigable collectors? Perhaps the reason is that they confined themselves mainly to liturgical books whereas the sequence here presented for the first time is found in one single manuscript which is not a liturgical book but a collection of works by St. Cyprian. These had been transcribed round about the year 1100, and the sequence, words and music, was added to the beginning of the codex in the first part of the thirteenth century. That it was missed is, then, no surprise, but a full-length treatment seems to be called for, because of the light it throws on the history, both factual and literary, behind it, as also possibly on the music of the time and the way that a sequence was then constructed. At least some of its more interesting features can here be gathered together.

The Last of The Shireburnes: The Art of Death and Life in Recusant Lancashire, 1660–1754

2003 ◽  
Vol 26 (4) ◽  
pp. 589-615 ◽  
Author(s):  
John Callow
Keyword(s):  
Thirteenth Century ◽  
Market Town ◽  
Distant Market ◽  
Secular Age ◽  
First Time ◽  
The Mansion

When J. M. Turner came to make his sketches of Stonyhurst Hall and the neighbouring church at Great Mitton, for the first time in 1799, he was immediately struck by the melancholia and faded splendour of that part of ‘darkest’ rural Lancashire. Perched high upon the brow of Longridge, the mansion commanded sweeping views of the valley beneath, of Pendle Hill and of the distant market town of Clitheroe; while the thirteenth century church of All Hallows—almost lost in the folds of the countryside—sat squatly on the borders of Lancashire and Yorkshire, at the confluence of the Rivers Calder, Ribble and Hodder, and served as a stubborn reminder of an earlier and less secular age. Relatively untouched by the forces of industrialisation, these buildings proved a delight to the Gothic imagination of the young artist.

The Earliest Example of Christian Hymnody

1945 ◽  
Vol 39 (1-2) ◽  
pp. 34-45 ◽  
Author(s):  
E. J. Wellesz
Keyword(s):  
Early Christianity ◽  
Third Century ◽  
Christian Music ◽  
Ample Evidence ◽  
Musical Notation ◽  
Early Christian ◽  
History Of ◽  
First Time ◽  
Hymn Singing

From Patristic writings ample evidence can be gathered about the important part which hymn-singing held in Early Christianity. Until recently, however, Early Christian hymnography was known only from documents transmitting the text but not the music. The discovery and publication of a Christian hymn in Greek with musical notation was, therefore, bound to change the whole aspect of studies concerned with the history of Early Christian music. This happened, as is well known, in 1922 when, under No. 1786 of the fifteenth volume of the Oxyrhynchus Papyri A. S. Hunt edited a fragment of a hymn, dating from the late third century, together with a transcript of the music by H. Stuart Jones. For the first time it became possible to realize what kind of music Greek-speaking Christians in Egypt sang in praise of the Lord.

Tibetan, Burmese and Chinese Inscriptions from Bodhgayā in the British Museum

2013 ◽  
Vol 23 (3) ◽  
pp. 429-439
Author(s):  
TSERING GONGKATSANG ◽  
MICHAEL WILLIS
Keyword(s):  
Nineteenth Century ◽  
Thirteenth Century ◽  
British Museum ◽  
Archaeological Evidence ◽  
First Time

AbstractThis article is concerned with four inscriptions found at Bodhgayā in the nineteenth century that are documented by records kept in the Department of Asia at the British Museum. Two Tibetan inscriptions, probably dating between the ninth and fourteenth centuries, are of special note because they provide the first archaeological evidence for Tibetans at the site. Chinese and Burmese records of the eleventh, twelfth and thirteenth century are also noted, that of the Song emperor Renzong (1022–63) being illustrated for the first time.

scholarly journals Creation of musical pieces At GUITAR PRO 6 (Part 2)

2021 ◽  
pp. 88-96
Author(s):  
Valery Kozlin ◽  
Valentina Grishenko
Keyword(s):  
Computer Program ◽  
Systematic Approach ◽  
Musical Notation ◽  
Modern Computer ◽  
Innovative Methods ◽  
Wide Range ◽  
Musical Scores ◽  
Software Product ◽  
Sound Engineer ◽  
First Time

The purpose of the article is to find out the specifics and methods of creating music in the sequencer GUITAR PRO 6. Methodology. The article uses a systematic approach, and also applies methods of comparison and generalization. Scientific novelty. For the first time in domestic musicology, innovative methods of working in the modern computer program sequencer GUITAR PRO 6 were discovered and proposed. The application of the methods and rules presented in the study provides the opportunity to transfer the work of a composer, arranger, sound engineer, musician, with a computer to a completely new stage in the development of musical creativity, which significantly improves the result of the study of musical texture, expanding the ways of existence of the work and the like. Conclusions. This software product is a powerful editor that allows you to create original scores at a professional level for subsequent editing. The program presents many useful tools with which the user can work with a different set of symbols of musical notation, as well as with a wide range of regulation of sound dynamics and tempo, which allows you to create samples of musical scores that sound and their phonograms. It has a powerful built-in MIDI editor, chord builder, player, metronome, and many other useful instruments for musicians. Ability to run Guitar Pro 6 on Windows, Linux, Mac OS platforms. Widely used by composers, arrangers, and sound engineers. Also, the methods of work in Guitar Pro 6 can be used for study by students who master the relevant specialties.

William of Auvergne on Time and Eternity

Traditio ◽  
2000 ◽  
Vol 55 ◽  
pp. 125-141
Author(s):  
Roland J. Teske
Keyword(s):  
Thirteenth Century ◽  
The West ◽  
Correct Position ◽  
Latin West ◽  
First Time

In the early thirteenth century Christian thinkers in the Latin West encountered for the first time the Aristotelian philosophy that was pouring into Europe through translations from Arabic into Latin. William of Auvergne, bishop of Paris from 1228 until his death in 1249, was one of the principal figures in the first reception of the Aristotelian writings in the West. William, in fact, displayed a remarkable openness to Aristotelian thought, embracing much of it as his own, while firmly rejecting other teachings as opposed to the faith. Despite the various ecclesiastical prohibitions against the teaching of Aristotelian philosophy during the first half of the century, William said, “Although in many matters we have to speak against Aristotle, as is truly right and proper — and this holds for all the statements by which he contradicts the truth — he should still be accepted, that is, upheld, in all those statements in which he is found to have held the correct position.”

A medieval patchwork song: poetry, prayer and music in a thirteenth-century conductus

2016 ◽  
Vol 25 (2) ◽  
pp. 139-165 ◽  
Author(s):  
MARY CHANNEN CALDWELL
Keyword(s):  
Thirteenth Century ◽  
Daily Life ◽  
Creative Processes ◽  
Textual Construction ◽  
First Time

ABSTRACTEight times a day, the prayerDeus in adiutorium meum intendesounded from the lips of the faithful as the standard introduction to the Office Hours. Infiltrating daily life through the liturgy and popular interjections, the psalm verseDeus in adiutoriumserved a devotional function marked by versatility and popularity. Yet, despite its omnipresence, as well as its inherently vocalic identity, the verse was only rarely troped musically or poetically. A collection of thirteenth-century monophonic and polyphonic tropes of the verse circulating in France in motet collections and festive offices represents one of the few moments of heightened musical interest in the prayer. This article draws attention, for the first time, to the musical and textual connection between these tropes andPater creator omnium, a thirteenth-century refrain song. This monophonic song from France also belongs firmly to the medieval cento genre, with both its musical and textual construction based on the piecing together of borrowed text and music – includingDeus in adiutorium. This article argues thatPater creator omniumstands at the intersection of two important yet understudied histories: the musical and textual troping ofDeus in adiutoriumand the medieval cento. Analysis of this song ultimately illustrates the creative processes behind the making of a pre-modern song.

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