Horace and his Greek originals

Typescript.it is the purpose of this thesis to give specific examples of Horace's indebtedness to Greek originals in the first book of Odes. The term Greek originals, as used here, includes those parts of ante-Horatian literature, written in the Greek language, which he has translated, whose spirit he has caught, or whose thought he has imitated. Hence the classification of these collected examples is made, in respect to the degree of indebtedness, into the following divisions: 1) Lines which are unconscious echoes of the Greek, 2) lines which consciously imitate the Greek, 3) poems unconsciously imitative of Greek spirit or thought, 4) poems consciously imitative of the Greek, and 5) poems translated.--Page 1.Includes bibliographical references (pages 224-228)

Listening to the domestic music machine

Klavierbearbeitungen waren für die Aufführungs- sowie Hörgewohnheiten des nichtprofessionellen Musikers des neunzehnten Jahrhunderts entscheidend. Nicht nur deckten sie den dringenden Bedarf an einer kosteneffektiven musikalischen Verbreitungstechnologie sondern ihre immense Popularität verursachte eine mit großen Umfang kommerzielle musikalische Verlagsindustrie. Diese Dissertation stellt zum ersten Mal die viele Seiten des Klavierarrangements wieder her, indem es als musikalisches Schaffen, als Konsumware und als Objekt vieler kritischen Diskurse analysiert wird. Es wird gezeigt, dass Arrangement---als musikalisches Schaffen---eine Methodensammlung statt einer in sich geschlossenen Technik ist. Walter Benjamins Übersetzungstheorie wird mit einer Analyse der ersten, in dem Robertsbridge Codex aus 1360 sich befindenden, Klavierbearbeitung verbunden, um vorzuschlagen, dass Arrangements als eine Auferstehung ihrer Originale gesehen werden sollen. Die wirtschaftliche Wichtigkeit der Klavierbearbeitung wird durch einer vom Computer errechneten statistischen Analyse dargestellt, indem es gezeigt wird, dass Arrangementmethoden in 30 Prozent der in deutschsprachigen Ländern zwischen 1829 und 1900 publizierten Klaviermusik vorkommt. Die kritischen Diskurse mit denen den Wert eines Arrangements geschätzt wurde werden auch rekonstruiert: Musikalische Lexika werden benutzt, um eine Begriffsgeschichte mehrerer Schlüsselbegriffe zu schreiben. Letztlich werden die Ähnlichkeiten des Hörgewohnheiten der Hörer des neunzehnten und des einundzwanzigsten Jahrhunderts betont, damit neue Forschungsperspektiven eröffnet werden können.Keyboard arrangement was central to both the performing and the listening habits of the nineteenth-century non-professional musician. Not only did it respond to the desperate need for a cheap technology of musical circulation, but its immense popularity helped create a commercial musical publishing industry of an unprecedented scale. This thesis reconstructs for the first time the many faces of the keyboard arrangement by analysing it simultaneously as a musical work, an economic commodity and the object of a number of critical discourses. As a musical work, arrangement is shown to be a collection of practices, rather than, and as has been previously assumed, a self-contained product. Walter Benjamin''s theory of translation is combined with an analysis of the first extant keyboard arrangement in the Robertsbridge Codex of 1360 to construct a model which suggests that arrangements should be understood as resurrections of the material of their originals. The economic significance of keyboard arrangement is demonstrated through a computer-aided statistical analysis which shows that on average practices of arrangement appeared in 30 percent of the keyboard music published in German-speaking countries from 1829 to 1900. Significant attention is given to an attempt to reconstruct the critical discourses by which arrangements were assessed: in particular, musical dictionaries are used to produce a Begriffsgeschichte of several key terms relating to the production of arrangements. Finally, throughout the thesis, emphasis is placed on the extent to which the kinds of listening experience that arrangement engendered show similarities with those offered by popular musical styles of today, thereby opening up new avenues for research

"Hold on, hold on to your old ways" : nostalgia in indie folk

This thesis sheds light upon the nostalgic choices being made by people from the millennial generation in twenty-first century, or post-millennial, indie folk music culture. It suggests that where post-millennial creative work nostalgically invokes the past, it is an important tool for articulating the identities and ideologies of participants in the culture from which that work emerges. In response to their experiences of millennial life, indie folk’s musicians and listeners may utilise the inclusion of certain images, sounds, themes and ideologies from the past to critique the present and experiment with imagined futures. For example, indie folk’s nostalgic and sometimes sentimental treatment of nature’s healing and inspirational spaces, independent of human interference, imagines an alternative relationship to the Earth than that offered in post-millennial discourses which often pivot around climate change’s threat to nature. Indie folk’s nostalgia for small-scale domestic communities and home spaces creates a counter-narrative to post-millennial life’s networked, digitised and distanced forms of community. Indie folk’s use of religious myths, stories and symbols constructs personalised ontological frameworks for a time and generation of participants increasingly disaffiliated with institutionalised religions.10 These alternative narratives are constructed through a careful process of selecting and discarding certain elements of the past, and combining these with new technologies, ideas and contexts

Crossing Central Europe

This volume studies elements of Austro-Hungarian or Central European culture that were common across linguistic, national, and ethnic communities, and shows how some of these commonalities survived or were transformed by the turmoil of the 20th century: two world wars, a major depression between the wars, Stalinism and the Iron Curtain

Elektron Elohim: a cosmic oratorio for soloists, chamber choir, electric guitars and keyboard synthesisers

The doctoral composition concerned by this document is a contemporary oratorio of 95 minutes: it involves seven solo singers (two sopranos, a mezzo, two altos, a tenor and a bass), a polyphonic chamber choir (divided in three to sixteen parts) and an electroacoustic quartet of guitars and synthesisers. The title refers to the otherworldly guardians of the Jewish canon (Tanakh) and speculates on the energetic appearance of the Elohim, reflected by the timbral qualities of the electronic instruments. The narrative, built around four angelic characters (Seraphim) and a female earthling counterpart, outlines in seven movements a fictional cosmogony, and the evolution of human society overseen by astral mentors. The libretto has been written on purpose by the composer himself, mostly in Italian: some multi-linguistic fabrics blend poetry with Christian fragments in Greek and Latin

INCIPIT: The search for a multidisciplinary language at the crossroads of Antiquity and Contemporaneity

[EN] SUMMARY OF THE THESIS The PhD thesis "INCIPIT: The search for a multidisciplinary language at the crossroads of Antiquity and Contemporaneity" focusses on the influence of the methodology of Historically Informed Performance practice on the creation of a Contemporary Music Theatre performance. The framework and creative basis for their connection is the Divina Commedia of Dante Alighieri (1265-1321). In music theatre it is not only about music as one of the scenic elements; musical thinking structures the entire theatrical process. It is a genre-between-genre, where various art disciplines interact. Historically Informed Performance practice is a characteristic musical approach of the Early Music movement. It includes study of historical documents and objects in order to obtain a more profound understanding of the music and a performance practice which is based upon this comprehension. In our thesis, Historically Informed Performance practice has been connected with Contemporary Music Theatre through a mise-en-scene of Dante's Commedia, principally based upon its sonorous non-musical and musical references. Also references of movement, gesture, colour and light were taken into account for the mise-en-scene, but always in relation to the sonorous references. In this way, the mise-en-scene is a sonorous journey through Dante's Afterworld as he might have imagined it, but also a contemporary visual and dramatical journey. This research has been done through artistic practice: the creation and performance of a contemporary music theatre work called Incipit. It is based upon thorough knowledge of the Commedia and, through its methodology of Historically Informed Performance Practice, it has mostly made used of 14th century musical sources. An audio file was created as a sonorous element for Incipit, based on previously existing sounds and recording of songs and texts.The performance was recorded in video format. The research question was: How do the work methods taken from Historically Informed Performance practice contribute to the creation of a contemporary music theatre performance in a mise-en-scene of the Divina Commedia? For this practice-based research not only historical-musical knowledge was necessary but also literary knowledge of Dante's Commedia and its underlying meanings. Theoretical knowledge thus was an important basis for the practice. However, the practice itself also provided information for the theory. For the composition of three-voice "simple polyphony" according to the rules for polyphonic improvisation around 1300, theoretical knowledge was essential, but their practice led to historical-musical insights of its performance and its rules for intervallic and rhythmic matters. The practice provided a new perspective on Dante's narrative from a sonorous point of view. Finally, the practice combined two disciplines, Early Music and Contemporary Music Theatre, which are not commonly combined, and it provides us new theoretical insights of creative processes and musical-theatrical languages.[ES] RESUMEN DE LA TESIS La tesis doctoral "INCIPIT: La búsqueda de un lenguaje multidisciplinario en el punto de encuentro entre la antigüedad y contemporaneidad" trata sobre la influencia de la metodología de la práctica de interpretación históricamente informada en la creación de una puesta en escena de Teatro Musical Contemporáneo. El marco y la base creativa para su combinación es la Divina Comedia de Dante Alighieri (1265 - 1321). El teatro musical no se centra solamente en la música como uno de los elementos escénicos; el pensamiento musical estructura todo el proceso teatral. Es un género-entre-géneros donde interactúan varias disciplinas artísticas. La interpretación históricamente informada es una manera de abordar la música que caracterizan los intérpretes especializados en la Música Antigua. Incluye el estudio de documentos y objetos históricos con el fin de llegar a una comprensión más profunda de la música antigua y una práctica interpretativa que se basa en este entendimiento. En esta tesis, se ha relacionado la interpretación históricamente informada con el teatro musical contemporáneo a través de una puesta en escena de la Comedia de Dante basada principalmente en sus referencias sonoras, tanto musicales como no musicales. Además se tomaron en cuenta las referencias de movimiento, gesto, color y luz para la puesta en escena pero siempre en relación con las referencias sonoras. De esta forma, la puesta en escena se ha convertido en un viaje sonoro a través del Más Allá de Dante como él mismo podría haberlo imaginado, pero también siendo un viaje visualmente y dramáticamente de carácter contemporáneo. Esta investigación se ha realizado a través de la práctica artística: la creación e interpretación de una obra de teatro musical contemporáneo llamada Incipit. Se basa en un conocimiento profundo de la Comedia y, a través de la metodología de la práctica interpretativa históricamente informada, se ha hecho principalmente uso de fuentes musicales del siglo XIV. Un archivo de audio fue creado como elemento sonoro para Incipit, compuesto de sonidos previamente existentes y la grabación de cantos y textos. La actuación fue grabada en formato de vídeo. La pregunta de investigación fue: ¿Cómo contribuyen los métodos de trabajo tomados de la práctica interpretativa históricamente informada a la creación de una actuación de teatro musical contemporáneo en una puesta en escena de la Divina Comedia? Para esta investigación basada en la práctica, no sólo fue necesario el conocimiento histórico-musical, sino también el conocimiento literario de la Comedia de Dante y sus significados subyacentes. Por lo tanto el conocimiento teórico ha constituido una base importante para la práctica. Sin embargo, la práctica en sí también proporciona información para la teoría. En cuanto a la composición de "polifonía sencilla" a tres voces, de acuerdo con las reglas para la improvisación polifónica de principios del siglo XIV, ha sido esencial recurrir a un gran conocimiento teórico, pero su práctica interpretativa dio lugar a ideas histórico-musicales de su interpretación y sus normas acerca de cuestiones de intervalos y ritmos musicales. La práctica proporciona, desde un punto de vista sonoro, una nueva perspectiva de la narrativa de Dante. Por último, la interpretación junta dos disciplinas que no han sido combinadas frecuentemente: la Música Antigua y el Teatro Musical Contemporáneo, proporcionándonos nuevos conocimientos teóricos de los procesos creativos y los lenguajes musical-teatrales.[CA] RESUM DE LA TESI La tesi doctoral "INCIPIT: La recerca d'un llenguatge multidisciplinari en el punt de trobada entre l'antiguitat i contemporaneïtat" tracta sobre la influència de la metodologia de la pràctica d'interpretació històricament informada en la creació d'una posada en escena de Teatre Musical Contemporani. El marc i la base creativa per la seua combinació és la Divina Comèdia de Dante Alighieri (1265-1321). El teatre musical no se centra només en la música com un dels elements escènics; el pensament musical estructura tot el procés teatral. És un gènere-entre-gèneres on interactuen diverses disciplines artístiques. La interpretació històricament informada és una manera d'abordar la música que caracteritzen els intèrprets especialitzats en la Música Antiga. Inclou l'estudi de documents i objectes històrics per tal d'arribar a una comprensió més profunda de la música antiga i una pràctica interpretativa que es basa en aquest endement. En aquesta tesi, s'ha relacionat la interpretació històricament informada amb el teatre musical contemporani a través d'una posada en escena de la Comèdia de Dante basada principalment en les seues referències sonores, tant musicals com no musicals. A més es van prendre en compte les referències de moviment, gest, color i llum per a la posada en escena però sempre en relació amb les referències sonores. D'aquesta manera, la posada en escena s'ha convertit en un viatge sonor a través del Més Enllà de Dante com ell mateix podria haver-ho imaginat, però també sent un viatge visualment i dramàticament de caràcter contemporani. Aquesta investigació s'ha realitzat a través de la pràctica artística: la creació i interpretació d'una obra de teatre musical contemporani anomenada Incipit. Es basa en un coneixement profund de la Comèdia i, a través de la metodologia de la pràctica interpretativa històricament informada, s'ha fet principalment ús de fonts musicals del segle XIV. Un arxiu d'àudio va ser creat com a element sonor per a Incipit, compost de sons prèviament existents i de la gravació de cants i textos. L'actuació va ser gravada en format de vídeo. La pregunta d'investigació va ser: Com contribueixen els mètodes de treball presos de la pràctica interpretativa històricament informada a la creació d'una actuació de teatre musical contemporani en una posada en escena de la Divina Comèdia? Per a aquesta investigació basada en la pràctica, no només va ser necessari el coneixement històric-musical, sinó també el coneixement literari de la Comèdia de Dante i els seus significats subjacents. Per tant el coneixement teòric ha constituït una base important per a la pràctica. No obstant això, la pràctica en si també proporciona informació per a la teoria. Pel que fa a la composició de "polifonia senzilla" a tres veus, d'acord amb les regles per a la improvisació polifònica de principis del segle XIV, ha sigut essencial recórrer a un gran coneixement teòric, però la seua pràctica interpretativa va donar lloc a idees historicomusicals de la seua interpretació i les seues normes sobre qüestions d'intervals i ritmes musicals. La pràctica proporciona, des d'un punt de vista sonor, una nova perspectiva de la narrativa de Dante. Finalment, la interpretació junta dues disciplines que no han estat combinades freqüentment: la Música Antiga i el Teatre Musical Contemporani, proporcionant-nos nous coneixements teòrics dels processos creatius i els llenguatges musical-teatrals.Sprenkeling, L. (2016). INCIPIT: The search for a multidisciplinary language at the crossroads of Antiquity and Contemporaneity [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/62682TESI

Pandemic Media: Preliminary Notes Toward an Inventory

With its unprecedented scale and consequences the COVID-19 pandemic has generated a variety of new configurations of media. Responding to demands for information, synchronization, regulation, and containment, these "pandemic media" reorder social interactions, spaces, and temporalities, thus contributing to a reconfiguration of media technologies and the cultures and polities with which they are entangled. Highlighting media’s adaptability, malleability, and scalability under the conditions of a pandemic, the contributions to this volume track and analyze how media emerge, operate, and change in response to the global crisis and provide elements toward an understanding of the post-pandemic world to come

Reading the Juggler of Notre Dame

In this two-part anthology, Jan M. Ziolkowski builds on themes uncovered in his earlier The Juggler of Notre Dame and the Medievalizing of Modernity. Here he focuses particularly on the performing arts. Part one contextualises Our Lady’s Tumbler, a French poem of the late 1230s, by comparing it with episodes in the Bible and miracles in a wide variety of medieval European sources. It relates this material to analogues and folklore across the ages from, among others, Persian, Jewish and Hungarian cultures. Part two scrutinizes the reception and impact of the poem with reference to modern European and American literature, including works by the Nobel prize-winner Anatole France, professor-poet Katharine Lee Bates, philosopher-historian Henry Adams and poet W.H. Auden. This innovative collection of sources introduces readers to many previously untranslated texts, and invites them to explore the journey of Our Lady’s Tumbler across both sides of the Atlantic. Reading the Juggler of Notre Dame: Medieval Miracles and Modern Remakings will benefit scholars and students alike. The short introductions and numerous annotations shed light on unusual beliefs and practices of the past, making the readings accessible to anyone with an interest in the arts and an openness to the Middle Ages