Beyond church and court: city musicians and music in Renaissance Valladolid

Texte disponible mis en page sur le site de l'éditeur : http://em.oxfordjournals.org/content/37/3.tocInternational audienceThe study of urban music has often been focused on court or church studies and, as a result, the analysis of music and music-making has been largely limited to these two particular environments. The 'new' vision proposed in the research presented here seeks, however, to examine the place that music occupied in the whole social system, following natural laws of association and dissociation. The role played by music in this new broader context can thus be integrated into what French historiographers have called the 'history of representations', a vision associated with private or public performances and their aesthetics. As musicologists, we are seeking to broaden our knowledge in this area by contributing to present-day interest in the musicians and music-makers in the everyday life of a Spanish town, telling the story of 'those without history'. The present article seeks to offer a documentary view of civilian life in 16th-century Valladolid: this will lead us to examine how music melted into the urban tissue in order to understand more about the way music was performed, taught, sold and transmitted

Morales in Plasencia and " New " Works form his Early Compositional Period

International audienceWhile some recent publications have shed new light on his works, nothing new has been recently been published on Cristobal de Morales's life following the hypothesis published in 2002 by Alison Sanders MacFarland (pointing out a Toledan connexion for the composer), a hypothesis later questioned by Robert Stevenson, one of his main biographers. This article thus seeks to open a new chapter on this composer's life and career prior to his Roman period, or more precisely speaking, during his time as "maestro de capilla" of Plasencia cathedral where the first traces of his activity can be found in its archives

El léxico musical del Renacimiento: premisas para un estudio

International audienc

Unedited Motets by a Little Known Composer: Alonso Ordóñez

International audienceMany Iberian composers of the Renaissance remain to be rediscovered and studied: bringing them out of the obscurity of anonymity has been a task for scholar and performers, often motivated by an almost quixotic spirit, over many years. At the forefront of this quixotic endeavour has been Bruno Turner whose pioneering work as editor and conductor has long been dedicated to bringing to light little known composers of the Spanish Renaissance. My own contribution to this volume follows in Bruno's footsteps and directs the spotlight on one of the many composers who marked Spain out musically in the sixteenth century: Alonso Ordóñez. 1 A A O The only details of Ordóñez's life currently in the scholarly domain are summarized in José López-Calo's entry for the Diccionario de la Música Española e Hispanoamericana, 2 and these will shortly be expanded by Juan The choice of this composer is deliberate. I first met Bruno Turner at the Medieval and Renaissance Music Conference in Bangor in. At the time he was intrigued as to the identity of the composer of an anonymous Mass based on a motet by Morales preserved in a Mexican source at the Newberry Library. When he showed me the score, a mixture of enthusiasm and inexperience immediately led me to suggest Alonso Or-dóñez. Of course, such an attribution is impossible to verify, but it meant that I acquired first-hand experience of Bruno's affability and patience with young musicologists like myself. His friendship and encouragement since our first meeting hava meant a great deal to me. José López-Calo, 'Ordóñez', DMEH, : a

Gravity of the crime and early release: A comparative study of early release practices in international tribunals

The gravity of the crime committed has been considered ‘a factor of fundamental importance’ when deciding the early release of a person convicted by the ad hoc tribunals. Hence, most of the decisions rendered by the International Criminal Tribunal for the former Yugoslavia, for Rwanda and the International Residual Mechanism for Criminal Tribunals include this factor and determine whether it weighs in favour of or against early release. Conversely, when deciding the reduction of the sentence in the case of Thomas Lubanga, the International Criminal Court Panel stated in 2015 that ‘unlike at other international criminal tribunals, the gravity of the crime committed is not a factor that in itself weighs for or against reduction of sentence’. In fact, none of the decisions delivered by the International Criminal Court to date mention gravity. This drastic change reflects the differences in the corresponding statutes and rules of procedure and evidence and ultimately seeks to avoid a double count since the gravity of the crime committed is arguably the most important factor in the determination of the sentence. This divergence is examined in greater detail in this article, drawing on comparative, empirical research to establish the role played by gravity in early release decisions. Ultimately, it is argued that although the explanatory power generally attributed to gravity is often overrated, it is essential to a thorough early release assessment, whether included as a prerequisite per se or indirectly integrated into a wider prognosis of the risk of recidivism.This research was conducted as part of a research project on ‘Gravity and aggravating circumstances in the penal system’, funded by the Spanish Ministry of Science and Innovation and the European Union (PID2022-136847NB-I00)

Crime, violência e insegurança na população jovem e sénior – um estudo exploratório no Concelho de Cabeceiras de Basto

A insegurança surge associada a um clima generalizado de ansiedade relacionada com o processo de mudanças sociais que carateriza a sociedade moderna e de que o aumento da criminalidade é uma das consequências mais visíveis (Lourenço, 2004). Este estudo tem como principal objetivo explorar os sentimentos de insegurança e medo gerados pelo fenómeno do crime e da violência nos indivíduos em meio rural em função da idade.CIEC - Centro de Investigação em Estudos da Criança, IE, UMinho (UI 317 da FCT

Sistematização das artérias da base do encéfalo e suas fontes de suprimento sangüíneo em chinchila (Chinchilla lanigera)

Neste trabalho estudou-se as artérias da base do encéfalo, bem como as suas fontes de suprimento sangüíneo na chinchila ( Chinchilla lanigera), sendo utilizados 30 animais, 17 fêmeas e 13 machos, adultos. O sistema arterial foi preenchido com látex 603 corado em vermelho através do tronco braquiocefálico e da artéria subclávia esquerda. Sistematizouse a origem das fontes de suprimento sanguíneo para o encéfalo e as artérias (Aa) da face ventral do cérebro, tanto à direita (D) como à esquerda (E), com suas respectivas percentagens de aparecimento: o arco aórtico emitiu tronco braquiocefálico e artéria (A.) subclávia E (93,3%), ou tronco braquiocefálico, A. carótida comum E e A. subclávia E (6,7%). O tronco braquiocefálico lançou A. carótida comum D e E e A. subclávia D (93,3%), ou A. carótida comum D e A. subclávia D (6,7%). A. carótida comum D e E dividiu-se em Aa carótidas externa e interna (100%). A. carótida interna D (100%) e A. carótida interna E (93,3%) não cooperaram na irrigação encefálica. Ramos terminais das Aa. vertebrais D e E presentes (100%) formaram a A. basilar (96,7%). A. espinhal ventral presente (100%). A. cerebelar caudal D, ímpar (80%) e dupla (20%), à E, ímpar (70%) e dupla (30%). A. trigeminal D e E ímpar (100%). A. cerebelar rostral vaso caudal D, presente (73,3%) e ausente (26,7%), à E, presente (70%) e ausente (30%). A. cerebelar rostral vaso rostral D e E presente (100%). A. tectal rostral D e E ímpar (100%). A. cerebral caudal D, ímpar (53,3%), duplo (36,7%) e triplo (10%), à E, ímpar (46,7%), duplo (46,7%) e triplo (6,7%). A. hipofisária D e E presente (100%). A. oftálmica interna D, ausente (73,3%) e presente (26,7%), à E, ausente (76,7%) e presente (23,3%). A. cerebral média D e E ímpar (100%). A. cerebral rostral D e E desenvolvida (96,7%) e vaso vestigial (3,3%). A. inter-hemisférica rostral mediana ímpar originada da A. cerebral rostral D (20%) e E (50%), e da união dos ramos das Aa cerebrais rostrais D e E (23,3%). A. lateral do bulbo olfatório à D, individual (76,7%) e tronco comum (23,3%), à E, individual (73,3%) e tronco comum (26,7%). A. medial do bulbo olfatório à D, individual (76,7%) e tronco comum (23,3%), à E, individual (73,3%) e tronco comum (26,7%). A. etmoidal interna D e E presente (100%). Observou-se que o círculo arterial cerebral da chinchila foi fechado caudalmente (100%), rostralmente aberto (70%) e fechado (30%). O encéfalo foi suprido quase que exclusivamente pelo sistema vértebro-basilar

Art Curriculum: Reflections, Discussions, and Concerns

This essay problematizes the resistance processes present in art school curricula. Some curricula are legitimized by the constant emphasis on sequentiality and chronological succession grounded in the history of art, which often comes only from a scholarly conception centered on the work and life of consecrated artists over the centuries, or rereading of works of art. Besides that most of the school curricula are guided by textbooks that legitimize the continuity of these practices, privileging elitist, ideological, sequential aspects that may exclude other artistic manifestations. There is an imposition of good or bad art. There are several discourses in Art that can produce operations and subjectivations of bodies in and out of school, demanding new ways for subjects to be in and out of the classroom in order to produce resistance in curricula and school spaces as a whole. This essay calls these processes urgencies. It is understood that these urgencies are in conflict and have the power to create reliefs with what is legitimized by the school system as a curriculum in Art. In this process, there is a flow of forces between what is put, the status quo and the urgencies, implying lifestyles, aesthetic choices and the construction of discourses, people, bodies, as well as attitudes, actions and ways of walking, speak and behave, that is, ways of managing life that operate in the processes of subjectivation. This essay deals with the resistance that permeates the art curriculum at school, in view of the curricular conceptions already legitimized by the system