What Do Signatures Signify?

2020 ◽  
Vol 64 (2) ◽  
pp. 147-201
Author(s):  
Megan Kaes Long
Keyword(s):  
Seventeenth Century ◽  
Ad Hoc ◽  
Musical Practice ◽  
Pitch Structure ◽  
Modern System ◽  
Conceptual Foundations ◽  
English Composers

At the beginning of the seventeenth century English composers used only a handful of keys: they combined five keynotes (G, A, C, D, and F) with the three signatures documented in English solmization theory (♮,♭, and♭♭). By the end of the century English theorists described eighteen keys—all of the modern major and minor keys with up to four signature accidentals. But the route from eight to eighteen keys was not straightforward. This article traces this route by examining how the function of signature flats and sharps changed in seventeenth-century England. At the beginning of the century signature flats and sharps were clefs, mere notational symbols that provided a shorthand for the probable pitches in a composition. As a result, English musicians used adjacent keys (i.e., ♮-D and -D), which were distinct, well-formed versions of a broader category of D minor. In the middle of the century, composers and theorists used ad hoc and asymmetrical strategies ♭ to create new keys. Composers explored new flat keys through the process of signature creep, while theorists devised new sharp keys when they identified the parallel key relationship. Finally, theoretical interventions at the end of the century “fixed” keys into our modern system but obscured the varied pitch structure that still animated musical practice. The messy, flexible circumstances in which keys arose complicate several assumptions about modern key; this evidence challenges notions of transpositional equivalence and reveals that different kinds of keys may be built on different conceptual foundations.

SOCIAL RESPONSIBILITY OF THE COURT AS A PREREQUISITE FOR THE LEGAL RESPONSIBILITY OF A JUDGE

2017 ◽  
Author(s):  
Yaroslav Skoromnyy ◽  
Keyword(s):  
Social Responsibility ◽  
Legal Responsibility ◽  
Court Cases ◽  
Council Of Europe ◽  
The Public ◽  
The Social ◽  
Modern System ◽  
The Status ◽  
The Law ◽  
Conceptual Foundations

The article reveals the conceptual foundations of the social responsibility of the court as an important prerequisite for the legal responsibility of a judge. It has been established that the problem of court and judge liability is regulated by the following international and Ukrainian documents, such as: 1) European Charter on the Law «On the Status of Judges» adopted by the Council of Europe; 2) The Law of Ukraine «On the Judicial System and the Status of Judges»; 3) the Constitution of Ukraine; 4) The Code of Judicial Ethics, approved by the Decision of the XI (regular) Congress of Judges of Ukraine; 5) Recommendation CM/Rec (2010) 12 of the Cabinet of Ministers of the Council of Europe to member states regarding judges: independence, efficiency and responsibilities; 6) Bangalore Principles of Judicial Conduct. The results of a survey conducted by the Democratic Initiatives Foundation and the Razumkov Center, the Council of Judges of Ukraine and the Center for Judicial Studios with the support of the Swiss Agency for Development and Cooperation based on the «Monitoring of the State of Independence of Judges in Ukraine – 2012» as part of the study of the level of trust in the modern system were considered and analyzed, justice, judges and courts. It is determined that a judge has both a legal and a moral duty to impartially, independently, in a timely manner and comprehensively consider court cases and make fair judicial decisions, administering justice on the basis of legislative norms. Based on the study of the practice of litigation, it has been proven that judges must skillfully operate with various instruments of protection from public influence. It has been established that in order to ensure the protection of judges from the public, it is necessary to create special units that will function as part of judicial self-government bodies. It was proposed that the Council of Judges of Ukraine, which acts as the highest body of judicial self- government in our state (in Ukraine), legislate the provision on ensuring the protection of the procedural independence of judges.

Occasionalism

2018 ◽  
Author(s):  
Tad Schmaltz
Keyword(s):  
Seventeenth Century ◽  
Early Modern ◽  
Ad Hoc ◽  
Body Interaction ◽  
Divine Activity ◽  
Mind And Body ◽  
Early Modern Metaphysics ◽  
Radical Form

Occasionalism was a theory of causation that played an important role in early modern metaphysics. In its most radical form, this theory holds that God is the only genuine cause, with natural events serving merely as ‘occasions’ for divine activity. According to an old textbook view, which has its source in the seventeenth century, occasionalism was introduced as an ad hoc solution to the problem, deriving from Descartes’s dualism, of how mind and body can causally interact. In fact, however, occasionalism has a history that dates from long before Descartes, and it was initially offered as a solution to theological rather than purely metaphysical difficulties. After Descartes, moreover, occasionalism remained significant for reasons that go far beyond the issue of mind-body interaction.

Leibniz's Palace of the Fates: A Seventeenth-Century Virtual Reality System

1997 ◽  
Vol 6 (1) ◽  
pp. 133-135 ◽  
Author(s):  
Eric Steinhart
Keyword(s):  
Virtual Reality ◽  
Seventeenth Century ◽  
Virtual Worlds ◽  
Possible Worlds ◽  
Virtual Reality System ◽  
Direct Relevance ◽  
Conceptual Foundations

In the late 1600s the mathematician and philosopher Leibniz produced the first description of a virtual reality system. He described an organized system of virtual worlds available for human perceptual exploration, along with an interface for exploring them. Leibniz's work on the logic of possible worlds has direct relevance to the conceptual foundations of virtual reality work today.

Test and Evaluation: The Changing Nature of our Scientific Knowledge

2000 ◽  
Vol 44 (37) ◽  
pp. 565-568 ◽  
Author(s):  
Joyce A. Cameron
Keyword(s):  
Seventeenth Century ◽  
Scientific Knowledge ◽  
Scientific Explanation ◽  
Life Sciences ◽  
The United States ◽  
Human Sciences ◽  
Physical Sciences ◽  
Newtonian Physics ◽  
Test And Evaluation ◽  
Conceptual Foundations

Traditionally, human factors/ergonomics professionals, especially in the United States, use concepts and methods derived from engineering and experimental psychology, both of which are rooted in the conceptual framework of classical, seventeenth-century, Newtonian physics. As a result, our conceptual foundations emphasize reductionism and determinism. However, we need to update these conceptual foundations to reflect the reality of the science of today. Concepts such as holism demand re-thinking the structure of scientific knowledge; principles such as uncertainty have profound implications concerning observation and measurement; and principles such as complementarity require re-examination of the nature of scientific explanation. Many variables of interest to Test and Evaluation (T&E) professionals can be investigated using concepts and methods derived from the physical sciences, the life sciences, and/or the human sciences. However, the science used will profoundly influence the available explanatory concepts and the resulting explanations. Thus, in addition to defining the questions to be asked, T&E professionals need also to consider the kind of science to be used in each investigation.

Intersections Between the Architect’s Cubit, the Science of Surveying, and Social Practices in CaʿFer Efendi’s Seventeenth-Century Book on Ottoman Architecture

2019 ◽  
Vol 36 (1) ◽  
pp. 131-177
Author(s):  
Gül Kale
Keyword(s):  
Seventeenth Century ◽  
Early Modern ◽  
Ad Hoc ◽  
Social Practices ◽  
Ethical Concerns ◽  
Ottoman Architecture ◽  
Scientific Context ◽  
Mathematical Sciences ◽  
Architect’S Cubit ◽  
The Relationship

Abstract In 1614 Caʿfer Efendi devoted four chapters of his book on architecture to the science of surveying. Caʿfer’s text is the only extant comprehensive book written by a scholar on the relation between architecture and various forms of knowledge. His sections on surveying have attracted little scholarly attention since they were often viewed as ad hoc chapters in a biography of the chief architect Mehmed Agha. An investigation into the intersection between architecture, as represented by the architect’s cubit, the science of surveying, and jurisprudence sheds significant light on how scholars assessed the legitimacy of early modern Ottoman architecture. In this article, I examine the relationship between architectural practices, mathematical knowledge, and social practices by focusing on Caʿfer Efendi’s elaborations on the architect’s cubit, units of measure, and mensuration of areas. These links need to be understood through the cultural and scientific context in which architects and scholars collaborated. I also explore Caʿfer Efendi’s identity, which gave him the tools to discuss such intrinsic connections. When read along with court decrees, and in conjunction with the use of mathematical sciences for civic affairs, this investigation reveals how Ottoman architecture was embedded in the scientific discourses, social practices, and ethical concerns of the early seventeenth century.

Unknown Organ Tablature from the Early Seventeenth Century

Musicalia ◽  
2017 ◽  
Vol 9 (1-2) ◽  
pp. 125-148
Author(s):  
Dagmar Štefancová
Keyword(s):  
Seventeenth Century ◽  
National Museum ◽  
Musical Practice ◽  
German Speaking ◽  
Tomas Luis De Victoria

In the course of research on fragments from the National Museum Library, a large torso was discovered containing hitherto unknown organ tablatures from the early seventeenth century (shelf mark CZ-Pn 1 K 219). The author of the article reassemble the torso based on signatures and analyzed its content, which consists of intabulations of sacred compositions by leading Renaissance composers (e.g. Orlando di Lasso, Tomás Luis de Victoria, Jakob Handl-Gallus) as well as some lesser-known composers. On the basis of analysis, she then focused her attention on Silesia and the German-speaking milieu of northern Bohemia and Moravia, compared the tablature with similar sources from Czech and foreign collections, and placed it in the context of musical practice in the milieu of Lutheranism.

From Sounds To Music: The Contextualizations of Pitch

2004 ◽  
Vol 21 (3) ◽  
pp. 431-456 ◽  
Author(s):  
WILLIAM THOMSON
Keyword(s):  
Human Perception ◽  
Unified Theory ◽  
Spectral Content ◽  
Cognitive Domains ◽  
Single Tone ◽  
Musical Practice ◽  
Preliminary Discussion ◽  
Pitch Structure ◽  
Sensory Neural

Current musicology demands opposing explanations of pitch structure, a styles-driven approach that ignores both the kinetics common to diverse musics and the broadly shared bases of human perception. To establish a unified theory, a ““from-bit-to-whole”” path is argued, noting sensory, neural, and cognitive domains as they are relevant and empirically confirmed. After preliminary discussion of the most elemental dynamics of tone bunching into wholes, an extensive examination of melodic pitch framing ensues. The tonality frame is observed in melodies from a broad sampling of eras and cultures; thus is confirmed a conception of organization that ties the spectral content of the single tone to the chord and to melody, both bearing in common the properties of sonance and root. Such an explanation helps link current musical practice with conceptualizations and practices of both ancient and exotic cultures.

Thomas Dawes in Aleppo

2020 ◽  
pp. 249-276
Author(s):  
Simon Mills
Keyword(s):  
Seventeenth Century ◽  
Ad Hoc ◽  
Indian Subcontinent ◽  
Ad Hoc Collaboration ◽  
Pass Through ◽  
English Manuscript ◽  
At Home

Chapter 8 discusses the chaplain Thomas Dawes’s letters from Aleppo in the 1760s. It uses Dawes’s career to reflect again on the book’s central themes. The first section describes Dawes’s work on behalf of the English Hebraist Benjamin Kennicott, and his attempt to view the renowned ‘Aleppo Codex’. It then sets out a series of arguments explaining why English manuscript collecting in Aleppo had tailed off since the days of Pococke and Huntington in the 1630s and 1670s. The shift of British commercial and imperial interests to the Indian subcontinent had been mirrored by a reorientation of scholarly concerns. The chapter then describes Dawes’s meeting with the German traveller Carsten Niebuhr, and explains what had happened to the interest in antiquities since Maundrell was in Aleppo at the end of the seventeenth century. The emergence of professional, state-sponsored antiquarian travellers, such as Niebuhr, had displaced the older more ad hoc collaboration between the chaplain and scholars at home. Although individual erudite travellers would continue to pass through Aleppo, the commerce of knowledge had come to an end.

Modal Theory, Church Keys, and the Sonata at the End of the Seventeenth Century

1998 ◽  
Vol 51 (2) ◽  
pp. 245-281 ◽  
Author(s):  
Gregory Barnett
Keyword(s):  
Seventeenth Century ◽  
A Priori ◽  
Modal System ◽  
Musical Practice ◽  
Modal Theory ◽  
Core Set ◽  
Tonal System

In the latter half of the seventeenth century, two composers, Giovanni Maria Bononcini and Giulio Cesare Arresti, published collections of sonatas arranged according to modal criteria. Although their conceptions of a modal system differ markedly from one another and from other modal theories of the period, Bononcini's and Arresti's common use of a particular set of eight tonalities concurs with a widespread practice among seicento sonata composers that was also widely attested by theorists. In their music, composers extended these eight tonalities to greater numbers through transpositions. This practice thus reflects an a priori conception of a tonal system based on a core set of tonalities plus transpositions of that set. This core set derives, not from the modes, but from tonalities originating in the eight psalm tones used in the Catholic offices. The significance of these psalm tone tonalities-otherwise known as church keys-cannot be underestimated: they provide a crucial link between seventeenth-century modal theory and the musical practice of that period; moreover, the particular characteristics of the psalm tones themselves explain features found in late seicento tonalities.

Conclusion

2018 ◽  
Author(s):  
Anna-Maria Hartmann
Keyword(s):  
Seventeenth Century ◽  
Ad Hoc ◽  
English Translations

Although they did not set out explicitly to theorize myth, the mythographers in this study formulated particular concepts of myth. These concepts were developed ad hoc, rather than as part of a sustained dialogue on the question, ‘What is myth?’, and as such they can be considered ‘proto-theories’ of myth. While drawing on continental sources, the English mythographies form their own, distinct phase in the genre’s history. This phase ends in the middle of the seventeenth century. The second mythography by Alexander Ross, Mystagogus Poeticus, is identified as the transitional work. It is the first English mythography written explicitly as a reference work for use in schools. Other characteristics of the genre in the second half of the seventeenth century are exemplified by the mythographies by Nicholas Billingsley and Robert Whitcombe, as well as in the English translations of mythographies by Pierre Gautruche and François Pomey.

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