scholarly journals Performing Ornaments in English Harpsichord Music. Part I

2021 ◽  
Vol 11 (3) ◽  
pp. 381-392
Author(s):  
Alexey A. Panov ◽  
◽  
Ivan V. Rosanoff ◽  
Keyword(s):  
17Th Century ◽  
Detailed Consideration ◽  
Scholarly Publications ◽  
Critical Revision ◽  
Henry Purcell ◽  
French Composers ◽  
Early English

The article deals with the problems of interpreting English ornaments (embellishments, graces) of the second half of the 17th century in the process of their evolution. The authors consistently analyze the recommendations of the early English musicians Edward Bevin, Christopher Simpson, Matthew Locke, John Playford, and Henry Purcell. Emphasis in this study is allotted to the first ever published in England full table of ornaments with their execution written by Christopher Simpson in his The Division-Violist (London, 1659). Detailed consideration here is given to the ornament named “Shaked Beat”. It should be noted that the first full table “Marques des Agréments et leur signification” in France was enclosed only in D’Anglebert’s Pièces de Clavecin (c1689). For comparison, recommendations of the performance of ornaments are provided by some Italian, German and French composers and theorists of this time, such as Emilio del Cavalieri, Guillaume-Gabriel Nivers, Jean Rousseau, Gilles Jullien, Étienne Loulié and Johann Gottfried Walther. A critical revision of scholarly publications on the problems of this study beginning from Edward Dannreuther and Arnold Dolmetsch to the present time has been carried out. Serious inaccuracies were found in the works of modern researchers and in reference and encyclopedic publications, including The New Grove Dictionary of Music and Musicians and Die Musik in Geschichte und Gegenwart.

scholarly journals PRAWO RZYMSKIE W DAWNEJ ANGLII W ŚWIETLE POGLĄDÓW ARTURA DUCKA (WYBRANE ZAGADNIENIA)

2017 ◽  
Vol 6 (2) ◽  
pp. 117
Author(s):  
Łukasz Marzec
Keyword(s):  
Legal System ◽  
Legal Theory ◽  
17Th Century ◽  
Roman Law ◽  
Striking Similarity ◽  
Oxford University ◽  
Contemporary Research ◽  
Early English ◽  
Court Of Chancery ◽  
General Opinion

The Views of Arthur Duck on Roman Law in EnglandSummaryThe aim of this paper is to discuss the views of sir Arthur Duck on the influence and power of Roman Law in England up to 17th century, which he analysed in his work De Usu et Authoritate Juris Civilis Romanorum in Dominiis Principum Christianorum first published in 1652. Chapter 8 of this book seems to be an important source for the contemporary research. Duck, a legal practitioner, a politician and a D. C. L. presented a unique view on the matter. A detailed study shows that the following areas and solutions of the English legal system bear signs of the Roman influence: courts (e. g. Court of Chancery, Court of Admiralty, Court of the Constable and Marshall), lectures at the Oxford University, Vacarius school of law, early English legal writings, legal theory and science. Duck was probably the first to notice and mark the striking similarity between Roman procedure of the ius honorarium and the English equity. He disagrees with the general opinion that the Roman Law exercised no authority in England. 

scholarly journals Slagscener i det elizabethanske teater

2018 ◽  
Vol 33 (80) ◽  
pp. 125-144
Author(s):  
Christian Dahl
Keyword(s):  
17Th Century ◽  
Narrative Development ◽  
Cultural Impact ◽  
English Drama ◽  
Use Of Data ◽  
Acoustic Representation ◽  
Battle Scenes ◽  
Military Engagement ◽  
The Many ◽  
Early English

Christian Dahl: “Battle scenes in the Elizabethan theater”This article analyses the widespread use of staged battle in Elizabethan theater by use of data extracted from Folger Library’s Digital Anthology of Early English Drama. Between 1576 and 1616, hundreds of battle scenes were produced on English stages but although a substantial number is still available for study, only few scholars have recognized their significance. The many battle scenes both attest to the Elizabethans’ vivid interest in history and to the cultural impact of England’s increasing military engagement on the Continent and in Ireland at the end of Elizabeth’s reign. It is often assumed that histories and battle scenes were particularly popular in the 1590’ies and then fell out of fashion early in the 17th century, but the article demonstrates that staged war remained a frequent occurrence in the first two decades of the century and never disappeared entirely. The article discusses visual and, in particular, acoustic representation of warfare based on the evidence of surviving plays and other documents. The article will also (very) briefly sketch the narrative development of battle scenes that took place in the 1590ies.

From Impurity to Piety: Mid 17th-Century French Devotional Airs and the Spiritual Conversion of Women

2005 ◽  
Vol 22 (2) ◽  
pp. 268-291
Author(s):  
CATHERINE GORDON-SEIFERT
Keyword(s):  
Sacred Music ◽  
17Th Century ◽  
Church Leaders ◽  
Musical Settings ◽  
Sacred Texts ◽  
Religious Conversions ◽  
Religious Devotion ◽  
Spiritual Conversion ◽  
French Composers

ABSTRACT With his three books of airs de déévotion (1656, 1658, 1662), Father Franççois Berthod offered singers the best of two worlds: newly-written sacred texts set to preexisting love songs by prominent French composers. In his dedications, he indicates that his parodies were written for women, enabling them to sing passionate melodies while maintaining their ““modesty, piety, and virtue.”” Inspired by the adopted musical settings, Berthod retained the provocative language of the original texts but directed expressions of concupiscent love toward Jesus in lieu of mortal man. Drawing on church documents, devotional treatises, and introductions to sources of sacred music, it can be shown how Berthod's devotional airs——a repertory virtually ignored by scholars——were part of a Catholic campaign to convert female aristocrats from a life of frivolity and immorality to one of religious devotion. This study examines Berthod's choice of airs, his organization of topics, and his parodic procedures as representations of religious ““conversions.”” Also addressed is the debate surrounding his textual transformations, for some questioned whether women could enter into the spirit of the devotional text without thinking about its ““sinful”” version. The airs, in fact, embody a central, yet controversial, interpretation of post-Tridentine doctrine: In order to know what is good one must know what is not. Ultimately this study reveals that Church leaders believed that by singing airs de déévotion, a woman, even if married with children, would transcend worldly desire, fantasize amorous conversations with Jesus, and express her love for him ““as her true husband.””

scholarly journals Hedge mazes and landscape gardens as cultural boundary objects

2016 ◽  
Vol 44 (1/2) ◽  
pp. 53-68
Author(s):  
Katarzyna Kaczmarczyk ◽  
Montana Salvoni
Keyword(s):  
Comparative Analysis ◽  
18Th Century ◽  
17Th Century ◽  
Boundary Objects ◽  
Transitional Objects ◽  
Plant Matter ◽  
Cultural Boundary ◽  
Early English ◽  
Structural Levels

Despite their obvious functional and stylistic differences, hedge mazes and English landscape gardens have salient symbolic and structural similarities which make them fruitful objects of comparative analysis. Both invert the norms expected of interior and exterior spaces, of human cultivation and “wilderness”, creating landscapes of semiotic uncertainty. Being at once natural and cultural, both types of space present a “problem to be solved” either by reaching a centre or understanding a layout. Both “play” with the notion of boundary by constructing uncrossable and at times oppressive walls from seemingly fragile plant matter or by hiding their boundaries. At the same time there are important differences which make this comparison of boundary spaces even more interesting: hedge mazes and landscape gardens are distinguishable by their respective structural levels, the presence or absence of a centre, their relation to other parts of gardens and connected human habitations.Using Juri Lotman’s notion of hybrid and transitional objects characteristic of boundary mechanisms, this paper explores the semiotically dense nature-culture boundary which these mazes and gardens both inhabit and create. The objects of our analysis are 17th-century English mazes and early English gardens dating from the beginning of the 18th century: mazes at Longleat and Hampton Court, and landscape gardens such as Rousham and Stowe.

scholarly journals Publishing scientific papers in the 21st century

2021 ◽  
Author(s):  
Matteo Cavalleri ◽  
Alberto Pepe
Keyword(s):  
Research Methods ◽  
21St Century ◽  
17Th Century ◽  
Scientific Article ◽  
Scholarly Publications ◽  
The Future ◽  
Scientific Papers ◽  
Senior Director

The format of science papers and articles now have hardly changed since the 17th century, even though research methods and published content have evolved immensely. Why do scientists produce innovative modern-day research, but still publish it in a 400-year-old format? What can we do to produce scientific articles ‘of the future’ that better serve the global, collaborative, and data-rich science of the 21st century? Alberto Pepe, Senior Director, Strategy and Innovation, Atypon and Matteo Cavalleri, Publisher, Wiley will be discussing Wiley’s vision of the scientific article, and how preprints, interactive figures, multimedia elements and code integration are innovating scholarly publications. Part of Wiley Research APAC Webinars, recording available (free registration required) here.

Why byloti dievop ‘speak to God’, but prašyti dieviep ‘ask God’?

2016 ◽  
Vol 7 ◽  
pp. 137-173
Author(s):  
Eglė Žilinskaitė-Šinkūnienė
Keyword(s):  
General Feature ◽  
17Th Century ◽  
Historical Usage

The paper aims to investigate the historical usage of two local cases, namely the Allative and the Adessive, governed by verba dicendi in Old Lithuanian. In Mikalojus Daukša’s Postil (1599) the Allative occurs with verbs of address and denotes the Addressee as a Goal of a verbal act. The Adessive, however, is governed by predicates of request and conveys the Source of a desired item. To verify whether this is part of Daukša’s idiolect or a general feature of Lithuanian at the beginning of its written period, the data from DP are compared to the texts of two other varieties of written Lithuanian of the 16th–17th century: Jonas Bretkūnas’ Postil (1591) and Konstantinas Sirvydas’ Punktay sakimu (two parts, 1629 and 1644). In order to explain the motivation for this usage, dialectal and typological data are used.  

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