17 Jewish Art Music in Late Sixteenth- and Early Seventeenth-Century Italy

2018 ◽  
pp. 469-492
Keyword(s):  
Seventeenth Century ◽  
Art Music ◽  
Jewish Art

Distributed Cognition in Medieval and Renaissance Studies

2019 ◽  
pp. 18-43
Author(s):  
Miranda Anderson
Keyword(s):  
Seventeenth Century ◽  
Cognitive Science ◽  
Philosophy Of Mind ◽  
Distributed Cognition ◽  
Art Music ◽  
The Body ◽  
Cognitive Sciences ◽  
Research Context ◽  
Renaissance Studies

The purpose of this chapter is to provide a background to current research in medieval and Renaissance studies on topics related to distributed cognition and to consider how the various chapters in this volume represent, reflect and advance work in this area. The volume brings together 14 chapters by international specialists working in the period between the ninth and the seventeenth century in the fields of law, history, drama, literature, art, music, philosophy, science and medicine. The chapters revitalise our reading of medieval and Renaissance works by bringing to bear recent insights in cognitive science and philosophy of mind on the distributed nature of cognition. Together the chapters make evident the ways in which particular notions and practices of distributed cognition emerged from the particular range of sociocultural and technological contexts that existed during this period. This chapter attempts to put these contributions in their wider research context by examining how such topics have been approached by mainstream scholarship, earlier work in the cognitive sciences and by existing applications of distributed cognition theory. It draws out both more general features of distributed cognition and what was distinctive about medieval and Renaissance insights into (and superstitions about) the cognitive roles of the body and environment. Throughout this chapter, I reference the chapters in this volume that provide further information on topics covered or take forward the issues in question. In the concluding section, I turn to a fuller overview of the chapters themselves

Russian aesthetics

2018 ◽  
Author(s):  
Victor Terras
Keyword(s):  
Seventeenth Century ◽  
Social Background ◽  
Roman Catholic ◽  
Art Music ◽  
Music And Literature ◽  
Religious Texts ◽  
Russian Art ◽  
Nineteenth And Twentieth Centuries ◽  
The Aesthetic ◽  
Architecture And Music

Aesthetics as a branch of philosophy, or in the sense of an explicitly stated theory of art, appeared in Russia no earlier than the seventeenth century, under the direct influence of Western thought. It developed in connection with the adoption of European art forms. Russian contributions in terms of original styles in all forms of art, as well as of certain aesthetic notions which may be credited to Russia, came in the nineteenth and twentieth centuries and must be understood in context with European art and aesthetic thought. Russian art, music and literature, as well as the aesthetic notions guiding them, get their Russianness from the political and social background, a major factor in literature, and from a carrying over of traits found in Russian folk art, folk music and folklore, as well as in religious texts, iconography, architecture and music, whose Orthodox version is sharply distinct from their equivalents in the Roman Catholic West.

scholarly journals Performance Practice of Early American Hymnody: Tempo and the “Moods of Time”

2013 ◽  
Vol 6 (1) ◽  
Author(s):  
Erin Fulton
Keyword(s):  
Seventeenth Century ◽  
Performance Practice ◽  
Art Music ◽  
Pedagogical Practices ◽  
Modern Time ◽  
Early Nineteenth Century ◽  
Early American ◽  
Modern Notation ◽  
Time Signature ◽  
Notational Practice

Modern time signatures indicate metrical organization in notated music. However, in most American hymnals and psalters published between 1721 and 1809, time signatures also signify very specific tempi. This notational practice, further removed from modern usage than any other element of this music, derives from proportional notations abandoned in art music in the seventeenth century. As technically complex music was published using this notation in the 1760s, these time signatures began to be used more subtly. In combination, they provide metrical effects unlike those possible with modern time signatures: doubling or halving tempo, or maintaining the pulse while altering its division or larger metric organization. Viewed from the perspective of modern notation, these functions diverge from their appearance. This article clarifies the correlation between time signature and tempo indicated in eighteenth- and early nineteenth-century American tunebooks (hymnals), arguing for its inclusion in modern performances of this repertoire. Internal evidence and related pedagogical practices suggest these tempi were intended to be observed; most early American theorists, composers, and compilers advocated adherence. Any revival of repertoire first published in this notation, including the works of such composers as William Billings, Daniel Read, and Supply Belcher, would profit by observing these tempi. In a repertoire frequently devoid of interpretive markings, time signatures provide invaluable clues to performers.

scholarly journals The Inaudible Music of the Renaissance: From Marsilio Ficino to Robert Fludd

2016 ◽  
Vol 39 (2) ◽  
pp. 129-166
Author(s):  
Roseen H. Giles
Keyword(s):  
Seventeenth Century ◽  
Art Music ◽  
Johannes Kepler ◽  
Marsilio Ficino ◽  
Musical Philosophy ◽  
History Of ◽  
Xviie Siecle ◽  
Robert Fludd ◽  
Musical Understanding ◽  
The Universe

This article revaluates the significance of musical treatises written by the Ficinian physician Robert Fludd (1574–1637). By reconsidering the implications of Fludd’s interpretation of Marsilio Ficino’s musical philosophy, I propose that his “reconstruction” of the Renaissance outlook in the seventeenth century is not merely a backward-looking oddity, but is rather indicative of a long-standing and pervasive history of inaudible music (i.e., the “silent” harmony of the universe and of the human body). Music played a central role in Fludd’s polemics with the scientists Johannes Kepler (1571–1630) and Marin Mersenne (1588–1648), regarding not the composition of art music but rather the understanding of the composition of the universe itself. The societal tensions evident in Fludd’s musical books reveal that it is not only musical practice but also broad scientific, medical, and philosophical conceptions of sound that comprise musical understanding in the early seventeenth century. Cet article propose de réévaluer la signification des traités de musique du médecin ficinien Robert Fludd (1574–1637). En reconsidérant ce qu’implique l’interprétation par Fludd de la philosophie musicale de Marsile Ficin, il avance que cette « reconstruction » d’une perspective issue de la Renaissance au XVIIe siècle ne correspond pas seulement à un excentrique retour en arrière; elle réfère plutôt à la longue et omniprésente histoire de cette musique inaudible qu’est l’harmonie des sphères (comprise comme harmonie silencieuse de l’univers et du corps humain). La musique a en effet joué un rôle important dans les échanges polémiques entre Fludd, Johannes Kepler (1571–1630) et Marin Mersenne (1588–1648), qui ne portent pas tant sur la composition musicale que sur la compréhension de la composition de l’univers lui-même. Les tensions sociétales, bien perceptibles dans les traités de musique de Fludd, montrent qu’au delà de la pratique musicale, c’est une conception scientifique générale, médicale et philosophique qu’engage la pensée musicale du début du XVIIe siècle.

Leo Zeitlin and the Flourishing of Jewish Art Music in Early 1920s Vilna

2020 ◽  
pp. 279-308
Author(s):  
Paula Eisenstein-Baker
Keyword(s):  
New York ◽  
Art Music ◽  
Musical Life ◽  
Mezzo Soprano ◽  
Jewish Art ◽  
Eugene Onegin

This chapter looks into the activity of the composer Leo Zeitlin in Vilna in the 1920s. It explores Zeitlin's musical life and whirlwind of activity in Vilna between his arrival in January 1922 and his departure for New York in May 1923. It also details how Zeitlin hired musicians and organized, rehearsed, and conducted at least ten symphony concerts in Vilna, Warsaw, and łódz. The chapter mentions bass baritone Moshe Rudinow and his wife, mezzo soprano Ruth Leviash and violinist and concertmaster of the Warsaw Philharmonic Mischa Fiber, who were often featured in Zeitlin's concerts. It highlights Zeitlin's involvement in the performances of Tchaikovsky's “Eugene Onegin” in Yiddish, which was produced in Vilna by Aron Yitzchak Grodzenski in December 1922.

In Search of the ‘Song Of Zion’: Abraham Portaleone on Music in the Ancient Temple

2010 ◽  
Vol 4 (2) ◽  
pp. 215-239 ◽  
Author(s):  
Don Harrán
Keyword(s):  
Seventeenth Century ◽  
Sixteenth Century ◽  
Art Music ◽  
The Temple

AbstractAbraham Portaleone’s massive disquisition on the Ancient Temple (Sefer shiltei ha-gibborim, 1612) stands alone among Hebrew writings of the early seventeenth century. Of its ninety chapters, ten along with comments in various appendices present his views on the so-called ‘Song of Zion’ (Psalms 137:3), or music sung and played by the Levites for worship in the Temple. Portaleone takes off from the premise that its components, thought to have gradually been forgotten by the Hebrews in their wanderings after 70 CE, were, from earliest times, imitated and preserved by Christians in their art music. He thus described it after the example, however historically incongruous, of late sixteenth-century Italian polyphony (music for two or more voices). But he also spoke of the cantillation of Scriptures in connection with Temple services, even though cantillation—as we know it—evolved mainly in the medieval synagogue. Realizing the contingency of his remarks, he predicted that both polyphony and cantillation will be eclipsed in future times by a return to the original ‘Song’ in its “intrinsic perfection.” By examining Portaleone’s treatise along with writings of his contemporaries, it is possible to unravel some of the difficulties in defining music as practiced or thought to have been practiced in the First and Second Temples.

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