Cantatas and Canzonets for Solo Voice, Part 1

10.31022/b014 ◽  
1972 ◽  
Author(s):  
Giovanni Legrenzi
Keyword(s):  
Basso Continuo ◽  
Religious Music ◽  
Printed Music ◽  
Figured Bass ◽  
The Many

Giovanni Legrenzi (1626–90) was most famous for his operas in his own day, though only five are known to survive, all in manuscript form. His printed music includes the greater part of his religious music (nine collections ranging from works for instruments and chorus to motets for solo voice and basso continuo) and his shorter secular works (six collections of sonate da chiesa and da camera for two to six soloists with continuo). The present edition is of his Cantate e Canzonette, opus 12, printed in 1676. Twenty-four works for solo voices with continuo are included, twelve for soprano or tenor, six for alto, and six for bass. The cantata forms used by Legrenzi in this collection are similar to short operatic scenes. Of particular interest are the many arias which open with a secco recitative section before moving to an arioso style near the close. A realization of the figured bass line is provided in the edition.

Cantatas and Canzonets for Solo Voice, Part 2

10.31022/b015 ◽  
1972 ◽  
Author(s):  
Giovanni Legrenzi
Keyword(s):  
Basso Continuo ◽  
Religious Music ◽  
Printed Music ◽  
Figured Bass ◽  
The Many

Giovanni Legrenzi (1626–90) was most famous for his operas in his own day, though only five are known to survive, all in manuscript form. His printed music includes the greater part of his religious music (nine collections ranging from works for instruments and chorus to motets for solo voice and basso continuo) and his shorter secular works (six collections of sonate da chiesa and da camera for two to six soloists with continuo). The present edition is of his Cantate e Canzonette, opus 12, printed in 1676. Twenty-four works for solo voices with continuo are included, twelve for soprano or tenor, six for alto, and six for bass. The cantata forms used by Legrenzi in this collection are similar to short operatic scenes. Of particular interest are the many arias which open with a secco recitative section before moving to an arioso style near the close. A realization of the figured bass line is provided in the edition.

scholarly journals Meeting East Asia

Poligrafi ◽  
2019 ◽  
Vol 24 (93/94) ◽  
pp. 1-2
Author(s):  
Helena Motoh
Keyword(s):  
Current Issue ◽  
East Asian ◽  
Musical Instruments ◽  
Historical Period ◽  
Confucian Tradition ◽  
Religious Music ◽  
The Third ◽  
Asian Religions ◽  
Funerary Rituals ◽  
The Many

The current issue of Poligrafi focuses on this historical period and explores different aspects of the contact with East Asian religions at that time. The text by Chikako Shigemori Bučar focuses on the visits Alma Karlin made to the temples and shrines in Japan and the traces that remain of those visits in her work and her collection. Nataša Vampelj Suhadolnik focuses on how Alma Karlin met with Chinese funerary rituals and mourning practices and how she interpreted them. In the third paper Byoung Yoong Kang provides a detailed reconstruction of the events behind an image in Alma Karlin’s collection that depicts a Korean funeral. In the fourth paper, Klara Hrvatin analyses Japanese musical instruments from the collection of Alma Karlin and their relation to religious music. The last paper, by Helena Motoh, talks about the many ways in which Confucian tradition was understood and interpreted in pre-WWII Slovenia.

Ritual Soundings

2019 ◽  
Author(s):  
Sarah Weiss
Keyword(s):  
World Politics ◽  
Religious Fundamentalism ◽  
Women's Bodies ◽  
World Religions ◽  
Performance Practices ◽  
Religious Music ◽  
Disciplinary Boundaries ◽  
The World ◽  
The Rich ◽  
The Many

This book documents ways in which women’s performance practices engage with and localize world religions while creating opportunities for women’s agency. This study draws on the rich resources of three disciplines: ethnomusicology, gendered studies of religion, and religious music studies. It is a meta-ethnography formed by comparisons among different ethnographic case studies. The book analyses women’s performances at religious events in cultural settings spread across the world to demonstrate the pivotal roles women can play in localizing the practice of world religions, exploring moments in which performance allows women the agency to move, however momentarily, beyond culturally determined boundaries while revealing patterns that suggest unsuspected similarities in widely divergent religious contexts. With the rise of religious fundamentalism and with world politics embroiled in debate about women’s bodies and their comportment in public, ethnomusicologists and other scholars must address questions of religion, gender, and their intersection. By reading deeply into, but also across, the ethnographic detail of multiple studies, this book reveals patterns of similarity between unrelated cultures. It invites ethnomusicologists back into comparative work, offering them encouragement to think across disciplinary boundaries and suggesting that they can actively work to counter the divisive rhetoric of religious exceptionalism by revealing the many ways in which religions and cultures are similar to one another.

Haydn-Gellert, Betrachtung des Todes: A meeting of tradition and innovation

2010 ◽  
Vol 51 (1-2) ◽  
pp. 193-199
Author(s):  
Katalin Komlós
Keyword(s):  
Eighteenth Century ◽  
Professional Education ◽  
The Other ◽  
Basso Continuo ◽  
Rhetorical Devices ◽  
Other Hand ◽  
Figured Bass

Haydn’s Betrachtung des Todes , a late little masterpiece by the composer, represents the simultaneity of the old and the new. The text is the second verse of Gellert’s fourteen-verse poem ‘Wie sicher lebt der Mensch, der Staub!’, No. 50 in the volume Geistliche Oden und Lieder , 1757. In the short catalogue at the end of the volume Gellert names the hymn ‘Herr Jesu Christ, meines Lebens Licht’, as the appropriate melody for the poem. Haydn’s vocal trio with basso continuo is perhaps the most extraordinary setting in the series of the Mehrstimmige Gesänge (Hob. XXVb:3). Its harmonies and key changes uncannily foreshadow the language of Schubert and Mendelssohn. The musical representation of the poetic lines, on the other hand, is full of rhetorical devices. Most startling is the presence of figured bass, as an anachronistic code for the keyboard accompaniment. Co-existence of Baroque and Romantic, or ‘First Viennese Modernism’ (James Webster): the roots of the composer’s professional education preserved in a highly innovative setting of an old Protestant poem, in the very last years of the eighteenth century.

The Editing of Monteverdi

1954 ◽  
Vol 7 (1) ◽  
pp. 18-20
Author(s):  
Hans F. Redlich
Keyword(s):  
Critical Edition ◽  
Basso Continuo ◽  
Figured Bass ◽  
Working Out ◽  
Keyboard Instrument

Before a modern edition of Monteverdi is issued, the musical text should be clarified and interpreted. To carry out these two fundamental editorial demands is less easy than it sounds. There are no autographs on which a truly critical edition could be based—only first prints, many of which are studded with misprints despite the fact that they had been supervised by the composer himself. These first prints (of which only very few copies have survived completely) present the music—beginning with the publication of Il quinto libro dei Madrigali in 1605—not as it was actually sung or played but in an abridged version only, i.e. in the summarizing notation of the ‘Basso continuo’ period which cuts right across Monteverdi's life.Any music, backed by a figured bass, needs realization of that part in harmonies and the working-out of a playable part for a ‘fundamental-instrument’ (keyboard- instrument or lute).

Identifying suboptimalities with factorial model comparison

2018 ◽  
Vol 41 ◽  
Author(s):  
Wei Ji Ma
Keyword(s):  
Experimental Design ◽  
Model Comparison ◽  
Process Models ◽  
Multiple Forms ◽  
Factorial Experimental Design ◽  
Factorial Model ◽  
Multiple Components ◽  
The Many

AbstractGiven the many types of suboptimality in perception, I ask how one should test for multiple forms of suboptimality at the same time – or, more generally, how one should compare process models that can differ in any or all of the multiple components. In analogy to factorial experimental design, I advocate for factorial model comparison.

Representing utility and deploying the body

2020 ◽  
Vol 43 ◽  
Author(s):  
David Spurrett
Keyword(s):  
Functional Activity ◽  
Degrees Of Freedom ◽  
The Body ◽  
Target Article ◽  
Processing Demands ◽  
The Many

Abstract Comprehensive accounts of resource-rational attempts to maximise utility shouldn't ignore the demands of constructing utility representations. This can be onerous when, as in humans, there are many rewarding modalities. Another thing best not ignored is the processing demands of making functional activity out of the many degrees of freedom of a body. The target article is almost silent on both.

The many faces of obligation

2020 ◽  
Vol 43 ◽  
Author(s):  
Michael Tomasello
Keyword(s):  
Third Party ◽  
The Many ◽  
Sense Of Obligation

Abstract My response to the commentaries focuses on four issues: (1) the diversity both within and between cultures of the many different faces of obligation; (2) the possible evolutionary roots of the sense of obligation, including possible sources that I did not consider; (3) the possible ontogenetic roots of the sense of obligation, including especially children's understanding of groups from a third-party perspective (rather than through participation, as in my account); and (4) the relation between philosophical accounts of normative phenomena in general – which are pitched as not totally empirical – and empirical accounts such as my own. I have tried to distinguish comments that argue for extensions of the theory from those that represent genuine disagreement.

Hydrogen Cyanide Polymers from the Impact of Comet P/Shoemaker-Levy 9 on Jupiter

1997 ◽  
Vol 161 ◽  
pp. 179-187
Author(s):  
Clifford N. Matthews ◽  
Rose A. Pesce-Rodriguez ◽  
Shirley A. Liebman
Keyword(s):  
Amino Acids ◽  
Solar System ◽  
Hydrogen Cyanide ◽  
Nitrogen Heterocycles ◽  
Laboratory Studies ◽  
Heterogeneous Solids ◽  
The Many ◽  
Comet Halley ◽  
The Impact ◽  
By Products

AbstractHydrogen cyanide polymers – heterogeneous solids ranging in color from yellow to orange to brown to black – may be among the organic macromolecules most readily formed within the Solar System. The non-volatile black crust of comet Halley, for example, as well as the extensive orangebrown streaks in the atmosphere of Jupiter, might consist largely of such polymers synthesized from HCN formed by photolysis of methane and ammonia, the color observed depending on the concentration of HCN involved. Laboratory studies of these ubiquitous compounds point to the presence of polyamidine structures synthesized directly from hydrogen cyanide. These would be converted by water to polypeptides which can be further hydrolyzed to α-amino acids. Black polymers and multimers with conjugated ladder structures derived from HCN could also be formed and might well be the source of the many nitrogen heterocycles, adenine included, observed after pyrolysis. The dark brown color arising from the impacts of comet P/Shoemaker-Levy 9 on Jupiter might therefore be mainly caused by the presence of HCN polymers, whether originally present, deposited by the impactor or synthesized directly from HCN. Spectroscopic detection of these predicted macromolecules and their hydrolytic and pyrolytic by-products would strengthen significantly the hypothesis that cyanide polymerization is a preferred pathway for prebiotic and extraterrestrial chemistry.

On Future Directions in Pathology

1982 ◽  
Vol 40 ◽  
pp. 274-277
Author(s):  
Benjamin F. Trump ◽  
Irene K. Berezesky ◽  
Raymond T. Jones
Keyword(s):  
Electron Microscopy ◽  
Transmission Electron Microscopy ◽  
Clinical Pathology ◽  
Future Directions ◽  
Diagnostic Pathology ◽  
The Past ◽  
Transmission Electron ◽  
Organ Systems ◽  
The Many

The role of electron microscopy and associated techniques is assured in diagnostic pathology. At the present time, most of the progress has been made on tissues examined by transmission electron microscopy (TEM) and correlated with light microscopy (LM) and by cytochemistry using both plastic and paraffin-embedded materials. As mentioned elsewhere in this symposium, this has revolutionized many fields of pathology including diagnostic, anatomic and clinical pathology. It began with the kidney; however, it has now been extended to most other organ systems and to tumor diagnosis in general. The results of the past few years tend to indicate the future directions and needs of this expanding field. Now, in addition to routine EM, pathologists have access to the many newly developed methods and instruments mentioned below which should aid considerably not only in diagnostic pathology but in investigative pathology as well.

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