Luca Bruno: A Methodological Approach Toward the Harmony of Sixteenth-Century Secular Polyphony

2016 ◽  
Keyword(s):  
Sixteenth Century ◽  
Methodological Approach

“Bini, Vidi, Vici” – On the Misuse of “Style” in the Analysis of Sixteenth Century Luso-African Ivories

2015 ◽  
Vol 42 ◽  
pp. 323-334
Author(s):  
Peter Mark
Keyword(s):  
Sixteenth Century ◽  
West Africa ◽  
Methodological Approach ◽  
Historical Context ◽  
Guinea Coast

AbstractThe Luso-African [or Afro-Portuguese] ivories from West Africa include hunting horns (so-called “olifants” or “oliphants”), spoons, and lidded bowls (saltcellars) embellished with human figures and animals. These objects, first imported into Europe at the beginning of the sixteenth century, have engendered debate over dating and provenance. While scholars agree that the early sixteenth-century pieces were produced by “Sape(s)” (or “Sapi”) artists from the Upper Guinea Coast (“Serra Leoa” in Portuguese sources), there is substantial disagreement whether post-1550 ivories came from “Serra Leoa” or Nigeria. This article argues for Serra Leoa, based on a methodological approach whereby Portuguese written documents, establishing the socio-historical context, and demonstrating continued production by “Sape” artists, are a necessary pre-condition to any stylistic comparison of objects.

Oral Sources and Social Differentiation in the Jaara Kingdom from the Sixteenth Century: A Methodological Approach

1995 ◽  
Vol 22 ◽  
pp. 123-139
Author(s):  
Mamadou Diawara
Keyword(s):  
Sixteenth Century ◽  
Methodological Approach ◽  
Social Classes ◽  
Social Differentiation ◽  
Oral Literature ◽  
The Public ◽  
The Past ◽  
History Of ◽  
The Subject

The dawn of the history of the kingdom of Jaara, during the era of the Jawara dynasty (from the fifteenth to the mid-nineteenth century) is shaped by the story of Daaman Gille and his companions, the most important of whom is Jonpisugo. The lives of these two characters—linked up until their death at Banbagede, where their tombs are only a few hundred meters apart—were the subject of a rich oral literature, all the more noteworthy given the rarity of written documents.In my earlier work (Diawara 1985, 1989, 1990) I discussed the typology of narratives and the specific role of women servants as historians of their social group. The oral sources include family traditions from all social classes, except for recently acquired slaves; the recitals of professional narrators who were by heredity in the service of protector families whose history they proclaimed to the public; the narratives of servants, including the tanbasire, a collection of women's songs from among the royal servants, or the accounts of people who, with their ancestors, had long been slaves (cf. Diawara 1990).Historical chance brings together Daama and Jonpisugo, but their respective social standing differentiates them; just as “friendship” brings together the master and the servant, so the struggle for power leads to the birth of differences in the conception of “the things of the past” among their descendants. How is the past constructed and lived differently by their respective progeny or supposed descendants? What poetic license accrues to the offspring of he who was only a servant, even if he was a royal servant? The response to this question explains the dynamic of a particular servants' oral documentation.

LA CRITICA DI VINCENZO GALILEI AL MISTICISMO NUMERICO DI GIOSEFFO ZARLINO

Nuncius ◽  
2000 ◽  
Vol 15 (2) ◽  
pp. 519-550
Author(s):  
FEDERICA SARGOLINI
Keyword(s):  
Sixteenth Century ◽  
Methodological Approach ◽  
A Priori ◽  
Gioseffo Zarlino ◽  
The Relationship ◽  
Empirical Methodology

Abstracttitle SUMMARY /title The long and bitter dispute between Gioseffo Zarlino, the foremost musical theorist of the sixteenth century, and Vincenzo Galilei, practical musician and Galileo's father, raises important issues as it concerns the methodological approach towards musical phenomena. In particular, the present work shows that the true overthrowing of Zarlino's a priori approach (besides the relationship between music and words and other aspects of content) can be found in a new conception of numbers, namely the passage from numerical and theoretical mysticism (dating back to the Pythagorean approach) to an empirical methodology. The description of this new way to treat numbers (as instruments) is shown through an analysis of two of Vincenzo Galilei's manuscript essays: the Discorso particolare intorno alle forme del Diapason and the Discorso particolare intorno all'Unisono. The originality of these works lies in their presentation of factual experiments.

Introduction

2021 ◽  
pp. 1-14
Author(s):  
Simon Park
Keyword(s):  
Sixteenth Century ◽  
Network Analysis ◽  
Book History ◽  
Methodological Approach ◽  
Literary Analysis ◽  
Sociology Of Professions ◽  
Portuguese Literature

The introduction sets out the methodological approach of this study, which combines book history and literary analysis with methods drawn from sociology, namely, network analysis, valuation studies, and the sociology of professions. It argues for a ‘pragmatics of poetry’ that takes seriously the more practical concerns that poets articulated in their verse and the inventive, and often conflicting, ways in which poets wrote about what it meant to write verse in the period. The introduction also acquaints readers unfamiliar with sixteenth-century Portuguese literature with the writers who will feature most prominently in this study. A concluding section considers how the figure of Orpheus transformed across a set of images and texts from the period concerned in order to illustrate the various issues discussed in the chapters that follow.

scholarly journals On the connection of musico-rhetorical strategies and Marian topic/topos in renaissance motets

Muzikologija ◽  
2020 ◽  
pp. 159-171
Author(s):  
Senka Belic
Keyword(s):  
Sixteenth Century ◽  
Analytical Method ◽  
Methodological Approach ◽  
Doctoral Dissertation ◽  
Rhetorical Strategies ◽  
Research Results ◽  
Late Fifteenth

The text summarizes some of the research results from my doctoral dissertation. In the broadest sense, the following text discusses the influence of rhetorical concepts and practices on the composition practice of the Renaissance. The methodological approach is interdisciplinary and multilayered, and it leads to the interpretation of Marian motifs dating from the late fifteenth to the end of the sixteenth century, in the context of rhetorical ideas and principles, and the Marian topic / topos. The most significant result of this text is the formation of a special analytical method by which the interpretive-contextual reading of musical marking is achieved.

scholarly journals “Art is not only beauty”: An Interview with Art Historian Koenraad Jonckheere

2018 ◽  
pp. 98-105
Author(s):  
Stefaniia Demchuk ◽  
Koenraad Jonckheere
Keyword(s):  
Sixteenth Century ◽  
Methodological Approach ◽  
Assistant Professor ◽  
Associate Professor ◽  
Early Career ◽  
Art Markets ◽  
Historical Interpretation ◽  
The Reformation ◽  
Baroque Art ◽  
National University

Koenraad Jonckheere is associate professor in Northern Renaissance and Baroque Art at Ghent University. The interview was recorded in August 2017 by assistant professor Stefaniia Demchuk (Chair of Art History, Taras Shevchenko National University of Kyiv). In the first part, Prof. Jonckheere talks about his career path of art historian, his teachers and the most influential books. He explains how the scope of his interests shifted from the Seventeenth-Eighteenth century art markets towards Iconoclasm, its impact and the theoretical debates on the Sixteenth century art. His Ph.D. research on art markets was summarized and published in 2008 under the title “The Auction of King William’s paintings”. It was innovative because the author developed a new approach to work on art markets using auction catalogue. In 2012 appeared his monograph on experiments in decorum in the Antwerp Art after Iconoclasm. The next year he curated the exhibition on the Sixteenth century Romanist artist Michiel Coxcie for Museum M (Leuven). Since 2014 Prof. Jonckheere has been working as an Editor-in-Chief at the Centrum Rubenianum (Antwerp). His own research on Rubens resulted in a monograph titled “Corpus Rubenianum Ludwig Burchard: portraits after existing prototypes” (2016). Now Prof. Jonckheere is developing a new methodological approach towards historical interpretation of artworks, which he called the “Thimanthes effect”. This approach uses the rhetorical concept of “quaestio” as a guiding principle for interpretation. Prof. Jonckheere discusses it in the second part of the interview. The third part focuses on the Reformation art and Iconoclasm. Prof. Jonckheere points out main directions in contemporary research on the Reformation art and highlights issues that are still to be solved. The interview concludes with advices to early-career art historians.

Maxims of Foreign Policy

Itinerario ◽  
2000 ◽  
Vol 24 (2) ◽  
pp. 62-79
Author(s):  
W.J. Boot
Keyword(s):  
Foreign Policy ◽  
Sixteenth Century ◽  
Foreign Relations ◽  
East Asian ◽  
Modern Period ◽  
Cultural Sphere ◽  
Japanese Identity

In the pre-modern period, Japanese identity was articulated in contrast with China. It was, however, articulated in reference to criteria that were commonly accepted in the whole East-Asian cultural sphere; criteria, therefore, that were Chinese in origin.One of the fields in which Japan's conception of a Japanese identity was enacted was that of foreign relations, i.e. of Japan's relations with China, the various kingdoms in Korea, and from the second half of the sixteenth century onwards, with the Portuguese, Spaniards, Dutchmen, and the Kingdom of the Ryūkū.

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