Automatic Palaeographic Exploration of Genizah Manuscripts

The Cairo Genizah is a collection of hand-written documents containing approximately 350,000 fragments of mainly Jewish texts discovered in the late 19th century. The fragments are today spread out in some 75 libraries and private collections worldwide, but there is an ongoing effort to document and catalogue all extant fragments. Palaeographic information plays a key role in the study of the Genizah collection. Script style, and–more specifically–handwriting, can be used to identify fragments that might originate from the same original work. Such matched fragments, commonly referred to as “joins”, are currently identified manually by experts, and presumably only a small fraction of existing joins have been discovered to date. In this work, we show that automatic handwriting matching functions, obtained from non-specific features using a corpus of writing samples, can perform this task quite reliably. In addition, we explore the problem of grouping various Genizah documents by script style, without being provided any prior information about the relevant styles. The automatically obtained grouping agrees, for the most part, with the palaeographic taxonomy. In cases where the method fails, it is due to apparent similarities between related scripts

The influence of Christianity on the Bunun language: A prelilminary overview

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Oral and Written Transmission in Ethiopian Christian Chant

Of all the musical traditions in the world among which fruitful comparisons with medieval European chant might be made, the chant tradition of the Ethiopian Orthodox Church promises to be especially informative. In Ethiopia one can actually witness many of the same processes of oral and written transmission as were or may have been active in medieval Europe. Music and literacy are taught in a single curriculum in ecclesiastical schools. Future singers begin to acquire the repertory by memorising chants that serve both as models for whole melodies and as the sources of the melodic phrases linked to individual notational signs. At a later stage of training each one copies out a complete notated manuscript on parchment using medieval scribal techniques. But these manuscripts are used primarily for study purposes; during liturgical celebrations the chants are performed from memory without books, as seems originally to have been the case also with Gregorian and Byzantine chant. Finally, singers learn to improvise sung liturgical poetry according to a structured system of rules. If one desired to imitate the example of Parry and Lord, who investigated the modern South Slavic epic for possible clues to Homeric poetry, it would be difficult to find a modern culture more similar to the one that spawned Gregorian chant.African and African American StudiesMusi

Unsupervised segmentace gregoriánských melodií pro zkoumání chorální modality

Gregorian chant, as an oral musical tradition, was performed by singers that had to memorize thousands of melodies. Each melody has a set of properties, one of which is what mode it belongs to within the modal system. To understand the learning process principles of chants, it may be helpful to decompose melodies into smaller units and analyze their relationship to modality. In this work, we compare Bayesian and neural network unsupervised segmentation methods. We measure their performance on evalu- ation metrics we design in order to examine the chant's properties with respect to the memorization challenge considering the modality aspects. For this purpose, we have two datasets, one with over thirteen thousand antiphons and the other with over seven thousand responsories. We find the Pitman-Yor process to be a more fitting model than BERT for this particular task, especially the conditional Pitman-Yor process model we proposed to segment each mode independently. We provide several clear arguments that modality and chant segmentation are closely connected. We also dispute the claim by Cornelissen et al. [2020] that the natural segmentation by chant words or syllables is best in terms of mode classification, and we provide a new state-of-the-art performance on the mode classification task. 1Gregoriánský chorál, jako ústní hudební tradice, byl prováděn zpěváky, kteří se museli naučit tisíce melodií. Každá melodie má několik vlastností, z nichž jednou je, do jakého modu v rámci modálního systému patří. Pro pochopení principů vyučování chorálových melodií může být užitečné rozložit melodie na menší jednotky a analyzovat jejich vz- tah k modalitě. V této práci porovnáváme modely neřízené segmentace založené na Bayesovských metodách s těmi, které využívají neuronové sítě. Jejich schopnost segmen- tovat chorální melodie měříme námi navrženými metrikami s cílem prozkoumat vlastnosti chorálů, jak v kontextu modality, tak v kontextu řešení problému se zapamatováním si všech zpěvů. K tomuto účelu máme k dispozici dva datasety: jeden s více než třinácti tisíci antifonami a druhý s více než sedmi tisíci responsorií. Zjistili jsme, že metoda založená na Pitman-Yor procesu je pro tuto konkrétní úlohu vhodnějším modelem než BERT, zejména námi navržený podmíněný model Pitman-Yor procesu, který segmentuje každý modus samostatně. Uvádíme několik jasných argumentů, že modalita úzce souvisí se segmentací melodií. Rovněž zpochybňujeme tvrzení, že přirozená segmentace podle slov nebo slabik chorálu je z hlediska klasifikace modů nejlepší (Cornelissen et al. [2020]), a poskytujeme doposud nejlepší výsledek v úloze...Institute of Formal and Applied LinguisticsÚstav formální a aplikované lingvistikyFaculty of Mathematics and PhysicsMatematicko-fyzikální fakult

Like WheatT Arising Green: How the Church Grows and Thrives

(Excerpt) The theme for the 1991 Institute of Liturgical Studies is taken from the hymn Now the Green Blade Rises. This wonderful Easter hymn, No. 148 in The Lutheran Book of Worship, concludes each stanza with the refrain, Love is come again like wheat arising green. The resurrection of Jesus is portrayed as grain which sprouts from seed. The imagery comes from the Gospel of John, from a saying of Jesus, the whole context of which is instructive

Clothing Sacred Scriptures

According to a longstanding interpretation, book religions are agents of textuality and logocentrism. This volume inverts the traditional perspective: its focus is on the strong dependency between scripture and aesthetics, holy books and material artworks, sacred texts and ritual performances. The contributions, written by a group of international specialists in Western, Byzantine, Islamic and Jewish Art, are committed to a comparative and transcultural approach. The authors reflect upon the different strategies of »clothing« sacred texts with precious materials and elaborate forms. They show how the pretypographic cultures of the Middle Ages used book ornaments as media for building a close relation between the divine words and their human audience. By exploring how art shapes the religious practice of books, and how the religious use of books shapes the evolution of artistic practices this book contributes to a new understanding of the deep nexus between sacred scripture and art

La Salle University Graduate Bulletin 2000-2001

Issued for La Salle University Graduate Programs 2000-2001https://digitalcommons.lasalle.edu/course_catalogs/1169/thumbnail.jp

La Salle University Graduate Bulletin 1999-2000

Issued for La Salle University Graduate Programs 1999-2000https://digitalcommons.lasalle.edu/course_catalogs/1167/thumbnail.jp

Targum Samuel in Sepharad

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