Heinrich Ignaz Franz Biber

Music ◽  
2020 ◽  
Author(s):  
Charles E. Brewer
Keyword(s):  
Instrumental Music ◽  
Sacred Music ◽  
The Other ◽  
Visual Examination ◽  
Critical Studies ◽  
History Of ◽  
Historically Informed Performance ◽  
Solo Violin

During his lifetime, Heinrich Ignaz Franz Biber von Bibern (b. 1644–d. 1704) was widely recognized as one of the foremost performers on the violin, and his published instrumental music helped spread his reputation, though he was criticized by some of his contemporaries for his extravagant technique and use of scordatura. Charles Burney’s comment in his 1789 General History of Music that “of all the violin players of the last century, Biber seems to have been the best, and his solos are the most difficult and most fanciful of any Music I have seen of the same period” was most likely based only on a visual examination of the original print of Biber’s 1681 violin sonatas. Aside from a few specialized studies by Guido Adler, Paul Nettl, and others, and four acknowledged works published in the Denkmäler der Tonkunst in Österreich (two collections of music for solo violin, a mass, and a Requiem), Biber’s music was little known until the 1940s. Modern editions of the other instrumental and sacred music, both published and in manuscript, along with critical studies of both his sacred and secular compositions have significantly enhanced the appreciation of Biber’s compositional creativity. Performances of Biber’s music have also steadily increased along with the “Historically Informed Performance” movement. Since Susanne Lautenbacher’s recording of the “Mystery” Sonatas was released in 1962, there have been a further thirty-four recordings and many of Biber’s other instrumental collections now have multiple recordings available, and even the Missa Salisburgensis has been released on six recordings and two DVDs.

The Dissemination of Scottish Theology

2019 ◽  
pp. 175-189
Author(s):  
John Riches
Keyword(s):  
Biblical Studies ◽  
The Other ◽  
Critical Approach ◽  
Church Dogmatics ◽  
Critical Studies ◽  
The Bible ◽  
German Speaking ◽  
History Of ◽  
Theological Study ◽  
The One

This chapter outlines the history of the Scottish family firm of publishers T&T Clark, which for nearly 200 years made a significant contribution to the development of an historical and critical approach to theological study. This was chiefly effected through a series of publications of mostly German-speaking works of theology and biblical studies. It is suggested that these were principally of a mediating kind, seeking to achieve a complementarity between forms of confessional Protestant belief and theology on the one hand and historical and philosophical studies on the other. This reached a climax in the early twentieth century with the publication of major works by Ritschl and Schleiermacher. Thereafter the firm’s publishing programme became more influenced by confessional forms of theology, particularly through its translation of Karl Barth’s Church Dogmatics. Its legacy, however, remains not only in the form of Barth but of Schleiermacher and historical critical studies of the Bible.

ARCHAEOLOGY OF THE SELF: MICHAEL FINNISSY'S ‘FOLKLORE’

Tempo ◽  
2003 ◽  
Vol 57 (223) ◽  
pp. 46-56
Author(s):  
Maarten Beirens
Keyword(s):  
Instrumental Music ◽  
The Self ◽  
The Other ◽  
History Of Photography ◽  
Late 20Th Century ◽  
Solo Piano ◽  
Piano Solo ◽  
History Of ◽  
Extended Duration ◽  
The Subject

The compositional output of Michael Finnissy includes several major cycles for piano solo, which stand out by reason of their dimensions and their scope. English Country-Tunes (1977/1982–85), Verdi Transcriptions (1972–92/1988–95/2002-), Gershwin Arrangements (1975–88) and Folklore (1993–94) are all long, technically demanding and full of expressive potential. Yet they have been outdone by Finnissy's most recent piano cycle: The History of Photography in Sound (1995–2001), a phenomenal endeavour, lasting over five and a half hours and employing every conceivable means of articulating musical expression and intellectual significance. Speaking of the scope of these works, however, does not merely entail their unusual length – although the extended duration, in comparison to what is considered customary for a solo piano piece, is indeed one of their prominent features. What is more significant here is their scope in terms of the wide array of ideas, concepts and statements that make up the musical text. In that respect, Folklore (like the other pieces mentioned here) is an unrelenting statement, reflecting upon or formulating a critique of many issues that are crucial to late-20th-century human existence. This article tries to demonstrate how all these layers of significance can indeed form the subject of a piece that is supposed to be ‘abstract’ (because textless, instrumental) music.

Theodor W. Adorno

2018 ◽  
Author(s):  
Colby Dickinson
Keyword(s):  
The Other ◽  
History Of Thought ◽  
History Of ◽  
The One

In his somewhat controversial book Remnants of Auschwitz, Agamben makes brief reference to Theodor Adorno’s apparently contradictory remarks on perceptions of death post-Auschwitz, positions that Adorno had taken concerning Nazi genocidal actions that had seemed also to reflect something horribly errant in the history of thought itself. There was within such murderous acts, he had claimed, a particular degradation of death itself, a perpetration of our humanity bound in some way to affect our perception of reason itself. The contradictions regarding Auschwitz that Agamben senses to be latent within Adorno’s remarks involve the intuition ‘on the one hand, of having realized the unconditional triumph of death against life; on the other, of having degraded and debased death. Neither of these charges – perhaps like every charge, which is always a genuinely legal gesture – succeed in exhausting Auschwitz’s offense, in defining its case in point’ (RA 81). And this is the stance that Agamben wishes to hammer home quite emphatically vis-à-vis Adorno’s limitations, ones that, I would only add, seem to linger within Agamben’s own formulations in ways that he has still not come to reckon with entirely: ‘This oscillation’, he affirms, ‘betrays reason’s incapacity to identify the specific crime of Auschwitz with certainty’ (RA 81).

The World after the End of the World

2017 ◽  
Vol 39 (2) ◽  
pp. 265-276 ◽  
Author(s):  
Kas Saghafi
Keyword(s):  
The Other ◽  
The World ◽  
History Of ◽  
The Absolute ◽  
End Of The World

In several late texts, Derrida meditated on Paul Celan's poem ‘Grosse, Glühende Wölbung’, in which the departure of the world is announced. Delving into the ‘origin’ and ‘history’ of the ‘conception’ of the world, this paper suggests that, for Derrida, the end of the world is determined by and from death—the death of the other. The death of the other marks, each and every time, the absolute end of the world.

Queering Musical Biography in the Writings of Edward Prime-Stevenson and Rosa Newmarch

2020 ◽  
Vol 44 (2) ◽  
pp. 100-118
Author(s):  
Kristin M. Franseen
Keyword(s):  
Twentieth Century ◽  
Instrumental Music ◽  
Primary Source ◽  
Gender And Sexuality ◽  
Benjamin Britten ◽  
Twentieth Century Music ◽  
History Of ◽  
Music Research ◽  
Symphonic Music ◽  
Biographical Knowledge

Beginning with the “open secret” of Benjamin Britten and Peter Pears's relationship and continuing through debates over Handel's and Schubert's sexuality and analyses of Ethel Smyth's memoirs, biography has played a central role in the development of queer musicology. At the same time, life-writing's focus on extramusical details and engagement with difficult-to-substantiate anecdotes and rumors often seem suspect to scholars. In the case of early-twentieth-century music research, however, these very gaps and ambiguities paradoxically offered some authors and readers at the time rare spaces for approaching questions of sexuality in music. Issues of subjectivity in instrumental music aligned well with rumors about autobiographical confession within Tchaikovsky's Symphony No. 6 (Pathétique) for those who knew how to listen and read between the lines. This article considers the different ways in which the framing of biographical anecdotes and gossip in scholarship by music critic-turned-amateur sexologist Edward Prime-Stevenson and Tchaikovsky scholar Rosa Newmarch allowed for queer readings of symphonic music. It evaluates Prime-Stevenson's discussions of musical biography and interpretation in The Intersexes (1908/9) and Newmarch's Tchaikovsky: His Life and Works (1900), translation of Modest Tchaikovsky's biography, and article on the composer in Grove's Dictionary of Music and Musicians to explore how they addressed potentially taboo topics, engaged with formal and informal sources of biographical knowledge (including one another's work), and found their scholarly voices in the absence of academic frameworks for addressing gender and sexuality. While their overt goals were quite different—Newmarch sought to dismiss “sensationalist” rumors about Tchaikovsky's death for a broad readership, while Prime-Stevenson used queer musical gossip as a primary source in his self-published history of homosexuality—both grappled with questions of what can and cannot be read into a composer's life and works and how to relate to possible queer meanings in symphonic music. The very aspects of biography that place it in a precarious position as scholarship ultimately reveal a great deal about the history of musicology and those who write it.

Med. Dr. Adalbert Wraný (1836–1902) – doctor of medicine, mineral collector and donor to the National Museum in Prague

2019 ◽  
Vol 188 (1) ◽  
pp. 95-146
Author(s):  
Martin Bohatý ◽  
Dalibor Velebil
Keyword(s):  
Natural Science ◽  
Natural Sciences ◽  
The Other ◽  
National Museum ◽  
Industrial Chemistry ◽  
Pediatric Pathology ◽  
Geological Institute ◽  
History Of ◽  
Precious Stones

Adalbert Wraný (*1836, †1902) was a doctor of medicine, with his primary specialization in pediatric pathology, and was also one of the founders of microscopic and chemical diagnostics. He was interested in natural sciences, chemistry, botany, paleontology and above all mineralogy. He wrote two books, one on the development of mineralogical research in Bohemia (1896), and the other on the history of industrial chemistry in Bohemia (1902). Wraný also assembled several natural science collections. During his lifetime, he gave to the National Museum large collections of rocks, a collection of cut precious stones and his library. He donated a collection of fossils to the Geological Institute of the Czech University (now Charles University). He was an inspector of the mineralogical collection of the National Museum. After his death, he bequeathed to the National Museum his collection of minerals and the rest of the gemstone collection. He donated paintings to the Prague City Museum, and other property to the Klar Institute of the Blind in Prague. The National Museum’s collection currently contains 4 325 samples of minerals, as well as 21 meteorites and several hundred cut precious stones from Wraný’s collection.

La ética del Otro: una introducción al pensamiento de Emmanuel Lévinas

2019 ◽  
Vol 1 (1) ◽  
pp. 5-14
Author(s):  
Carlos Alvaréz Teijeiro
Keyword(s):  
Interpersonal Relationships ◽  
Emmanuel Levinas ◽  
Radical Change ◽  
The Other ◽  
Western Philosophy ◽  
Ethical Implications ◽  
Essential Question ◽  
History Of ◽  
The Relationship ◽  
First Philosophy

Emmanuel Lévinas, the philosopher of ethics par excellence in the twentieth century, and by own merit one of the most important ethical philosophers in the history of western philosophy, is also the philosopher of the Other. Thereby, it can be said that no thought has deepened like his in the ups and downs of the ethical relationship between subject and otherness. The general objective of this work is to expose in a simple and understandable way some ideas that tend to be quite dark in the philosophical work of the author, since his profuse religious production will not be analyzed here. It is expected to show that his ideas about the being and the Other are relevant to better understand interpersonal relationships in times of 4.0 (re)evolution. As specific objectives, this work aims to expose in chronological order the main works of the thinker, with special emphasis on his ethical implications: Of the evasion (1935), The time and the Other (1947), From the existence to the existent (1947), Totality and infinity: An essay on exteriority (1961) and, last, Otherwise than being, or beyond essence (1974). In the judgment of Lévinas, history of western philosophy starting with Greece, has shown an unusual concern for the Being, this is, it has basically been an ontology and, accordingly, it has relegated ethics to a second or third plane. On the other hand and in a clear going against the tide movement, our author supports that ethics should be considered the first philosophy and more, even previous to the proper philosophize. This novel approach implies, as it is supposed, that the essential question of the philosophy slows down its origin around the Being in order to inquire about the Other: it is a philosophy in first person. Such a radical change of perspective generates an underlying change in how we conceive interpersonal relationships, the complex framework of meanings around the relationship Me and You, which also philosopher Martin Buber had already spoken of. As Lévinas postulates that ethics is the first philosophy, this involves that the Other claims all our attention, intellectual and emotional, to the point of considering that the relationship with the Other is one of the measures of our identity. Thus, “natural” attitude –husserlian word not used by Lévinas- would be to be in permanent disposition regarding to the meeting with the Other, to be in permanent opening state to let ourselves be questioned by him. Ontology, as the author says, being worried about the Being, has been likewise concerned about the Existence, when the matter is to concern about the particular Existent that every otherness supposes for us. In conclusion it can be affirmed that levinasian ethics of the meeting with the Other, particular Face, irreducible to the assumption, can contribute with an innovative looking to (re)evolving the interpersonal relationships in a 4.0 context.

Policy analysis and complexity – a non-equilibrium approach for integrated water management

1995 ◽  
Vol 31 (8) ◽  
pp. 301-309 ◽  
Author(s):  
Govert D. Geldof
Keyword(s):  
Water Management ◽  
Control System ◽  
Planning Process ◽  
The Other ◽  
Integrated Water Management ◽  
Equilibrium Approach ◽  
History Of ◽  
The One ◽  
Groundwater Policy ◽  
Non Equilibrium

In integrated water management, the issues are often complex by nature, they are capable of subjective interpretation, are difficult to express in standards and exhibit many uncertainties. For such issues, an equilibrium approach is not appropriate. A non-equilibrium approach has to be applied. This implies that the processes to which the integrated issue pertains, are regarded as “alive”’. Instead of applying a control system as the model for tackling the issue, a network is used as the model. In this network, several “agents”’ are involved in the modification, revision and rearrangement of structures. It is therefore an on-going renewal process (perpetual novelty). In the planning process for the development of a groundwater policy for the municipality of Amsterdam, a non-equilibrium approach was adopted. In order to do justice to the integrated character of groundwater management, an approach was taken, containing the following features: (1) working from global to detailed, (2) taking account of the history of the system, (3) giving attention to communication, (4) building flexibility into the establishing of standards, and (5) combining reason and emotions. A middle course was sought, between static, rigid but reliable on the one hand; dynamic, flexible but vague on the other hand.

On the nature of chemistry

2018 ◽  
Vol 10 (2) ◽  
pp. 74 ◽  
Author(s):  
Eric R. Scerri
Keyword(s):  
19Th Century ◽  
The Other ◽  
Recent History ◽  
History Of Chemistry ◽  
History Of ◽  
The One ◽  
Fundamental Unity ◽  
The 19Th Century

<span>The very nature of chemistry presents us with a tension. A tension between the exhilaration of diversity of substances and forms on the one hand and the safety of fundamental unity on the other. Even just the recent history of chemistry has been al1 about this tension, from the debates about Prout's hypothesis as to whether there is a primary matter in the 19th century to the more recent speculations as to whether computers will enable us to virtually dispense with experimental chemistry.</span>

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