DOCSLIB.ORG

Dtv-Atlas Musik

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Dtv-Atlas Musik dtv-Atlas Musik Band 1: Systematischer Teil. Musikgeschichte von den Anfängen bis zur Renaissance Bearbeitet von Ulrich Michels, Gunther Vogel 1. Auflage 1977. Taschenbuch. 288 S. Paperback ISBN 978 3 423 03022 9 Format (B x L): 12,4 x 19,1 cm Weitere Fachgebiete > Musik, Darstellende Künste, Film > Musikwissenschaft Allgemein > Sachbuch, Musikführer, Musikkritik schnell und portofrei erhältlich bei Die Online-Fachbuchhandlung beck-shop.de ist spezialisiert auf Fachbücher, insbesondere Recht, Steuern und Wirtschaft. Im Sortiment finden Sie alle Medien (Bücher, Zeitschriften, CDs, eBooks, etc.) aller Verlage. Ergänzt wird das Programm durch Services wie Neuerscheinungsdienst oder Zusammenstellungen von Büchern zu Sonderpreisen. Der Shop führt mehr als 8 Millionen Produkte. Literatur- und Quellenverzeichnis Beispielsammlungen und Ausgaben älterer Musik Das Chorwerk (Chw.), hg. von F. Blume, 1929–38. Wolfenbüttel 1953 ff. Corpus Mensurabilis Musicae (CMM), hg. vom American Institute of Musicology. Rom 1947 ff. A. della Corte: Scelta di musiche per lo studio della storia. Mailand 41962 Davison, A. T./Apel, W.: Historical Anthology of Music, 2 Bde. Cambridge, Mass. 21959 Denkmäler Deutscher Tonkunst (DDT). 1892–1931 Denkmäler der Tonkunst in Bayern (DTB = 2. Folge der DDT). 1900–31 Denkmäler der Tonkunst in Österreich (DTÖ), 1894 ff. Das Erbe deutscher Musik (ED). Reihe I: Reichsdenkmale 1935–42, 1954 ff. Reihe II: Land- schaftsdenkmale 1935–42 Das Musikwerk (MW). Eine Beispielsammlung zur Musikgeschichte, hg. von K. G. Fellerer, 47 Bde. Köln 1951–75 Publikationen älterer Musik (PäM), hg. von der Dt. Musikges. unter Th. Kroyer, 1926–40 Publikationen älterer praktischer und theoretischer Musikwerke (PGfM), hg. von der Gesell- schaft für Musikforschung unter R. Eitner, 1873–1905 Schering, A.: Geschichte der Musik in Beispielen. Leipzig 1931, ND 1957 Allgemeine Darstellungen und Nachschlagewerke Apel, W.: Harvard Dictionary of Music. Cambridge, Mass. 31970 Blume, F.: Die ev. Kirchenmusik. BückenHdb. Potsdam 1931. Neubearbeitet Kassel 21965 Brockhaus-Riemann-Musiklexikon, hg. von C. Dahlhaus und H. H. Eggebrecht, 2 Bde. Wiesba- den und Mainz 1978/79; 4 Bde. und 1 Ergänzungsbd. 31998; erw. Tb.-Ausg. 1989, 31995 Geschichte der kath. Kirchenmusik, hg. von K. G. Fellerer, 2 Bde. Kassel 1972/76 Handbuch der musikalischen Gattungen, hg. von S. Mauser. Laaber 1993 ff. Handbuch der Musikgeschichte, hg. von G. Adler (AdlerHdb).Berlin21930, ND München 1975 Handbuch der Musikwissenschaft, hg. von E. Bücken (BückenHdb). 10 Bde. Potsdam 1927–34 Handschin, J.: Musikgeschichte im Überblick. Luzern 1948, 21964 Handwörterbuch der musikal. Terminologie, hg. von H. H. Eggebrecht. Wiesbaden 1972 ff. Harden, I.: Epochen der Musikgeschichte. Die Geschichte der Europ. Musik. Mit 4 Audio-CDs. Hildesheim 2008 Hughes, D. G.: AHistory of European Music. New York usw. 1974 Kleine Handbücher der Musikgesch. nach Gattungen, hg. von H. Kretzschmar. Leipzig 1905 ff. Musikgeschichte in Bildern, hg. von H. Besseler und M. Schneider. Leipzig 1962 ff. Die Musik in Geschichte und Gegenwart (MGG), Allgemeine Enzyklopädie der Musik, hg. von F. Blume, 16 Bde. Kassel usw. 1949–79; 2. völlig neu bearb. Ausg. (20 Bde. in 2 Tln.), hg. von L. Finscher. Kassel u. Stgt. 1994 ff. Das Musikwerk: Eine Beispielslg. zur MG (Mw), hg. von K. G. Fellerer, 47 Bde. Köln 1951–75 Neues Handbuch der Musikwissenschaft, hg. von Carl Dahlhaus, fortgeführt von H. Danuser, 13. Bde. Wiesbaden und Laaber 1980–95 The New Grove. Dictionary of Music & Musicians (Grove), hg. von Stanley Sadiie, 20 Bde. London 1980, 32001 (auch im Internet) The New Oxford History of Music (NOHM).11Bde.London1954–90 Riemann Musik Lexikon, 12. Aufl. hg. von W. Gurlitt (Personenteil, Mainz 1959/61), H. H. Eggebrecht (Sachteil, 1967), C. Dahlhaus (Ergänzungsbde. 1972/75) Robertson/Stevens: Geschichte der Musik, hg. in 3 Bden. von A. Robertson und D. Stevens. Engl. 1960, dt. München 1964–68 Schweizer, K./Werner-Jensen, A.: Reclams Konzertführer. Orchestermusik. 16., völlig neu bearbeitete Aufl. Stuttgart 1998; 17., aktualisierte Aufl. 2001 Wörner, K. H.: Geschichte der Musik. Göttingen 51972; erw. von L. Meierott 81993 Zeitschriften Acta musicologica (AMI) 1931 ff. (Zeitschr. der Intern. Ges. für Mw., vorher: Mitteilungen der IGMW 1928–30) Archiv für Musikforschung (AfMf), 1936–43 Archiv für Musikwissenschaft (AfMw), 1918–36, 1952 ff. Jahrbuch der Musikbibliothek Peters (JbP), 1894–1940 Journal of the American Musicological Society (JAMS),1948ff. Melos. Zeitschrift für Neue Musik, 1920 ff., ab 1975 zus. mit NZfM, ab 1981 als Vierteljahres- schrift für Zeitgenössische Musik Monatshefte für Musikgeschichte (MfM), 1896–1904 Musica, 1947 ff. Musica Disciplina (MD),1947ff. Music and Letters (M&L), 1920 ff. Literatur- und Quellenverzeichnis II Musical Quarterly, The (MQ), 1915 ff. Die Musikforschung, 1948 ff. Musiktexte. Zeitschrift für Neue Musik, 1983 ff. Neue Zeitschrift für Musik (NZfM), 1834 ff. (gegr. von R. Schumann, ab 1975 zus. mit Melos) Österreichische Musikzeitschrift (ÖMZ), 1946 ff. Revue Musicale, La (RM),1920ff. Rivista musicale italiana (RMI), 1894 ff. Sammelbände der Intern. Musikgesellschaft (SIMG),1899–1914 Vierteljahresschrift für Musikwissenschaft (VfMw),1885–94 Zeitschrift der Intern. Musikgesellschaft (ZIMG), 1899–1914 Zeitschrift für Musikwissenschaft (ZfMw),1918–35 Akustik Büscher, G.: Kleines ABC der Elektroakustik. München 51967 Dorn: Physik. Mittelstufe. Ausgabe A. Hannover 181970 Franke, H.: Lexikon der Physik, hg. von H. Franke. 3 Bde. Stuttgart 31969 (dtv-Lexikon der Physik. 10 Bde. München 1970) German, W./Graewe, H./Neunhöffer, M./Weiss, H.: Der neue Grimsehl. Physik II. Stuttgart 1966 Lottermoser, W.: Akustische Grundbegriffe. MGG Bd. 1. Kassel und Basel 1949–51 Meyer, E./Neumann, E. G.: Physikalische und Technische Akustik. Braunschweig 21974 Rieländer, M. M.: Reallexikon der Akustik. Frankfurt a. M. 1982 Trendelenburg, F.: Einführung in die Akustik. Berlin 1939 Gehörphysiologie/Stimmphysiologie Lehmann, L.: Meine Gesangskunst. Berlin 1909 Rein, H./Schneider, M.: Einführung in die Physiologie des Menschen. Berlin 151964 Vogel, G./Angermann, H.: dtv-Atlas zur Biologie. München 1968 Wellek, A.: Gehörphysiologie. MGG Bd. 4. Kassel und Basel 1955 Winckel, F.: Stimmorgane. MGG Bd. 12. Kassel u. a. 1965 Hörpsychologie Handschin, J.: Der Toncharakter. Eine Einführung in die Tonpsychologie. Zürich 1948 Helmholtz, H. v.: Die Lehre von den Tonempfindungen als physiologische Grundlage für die Theorie der Musik. Braunschweig 1863 Hesse, H.-P.: Die Wahrnehmung von Tonhöhe und Klangfarbe als Problem der Hörtheorie. Diss. phil. Hamburg 1970 Kurth, E.: Musikpsychologie. Berlin 1931, ND Hildesheim 1969 Motte-Haber, H. de la: Handbuch der Musikpsychologie. Laaber 1985 Reinecke, H.-P.: Experimentelle Beiträge zur Psychologie des musikal. Hörens. Hamburg 1964 Révész, G.: Einführung in die Musikpsychologie. Bern und München 21972 Stumpf, C.: Tonpsychologie. Bd. I/II. Leipzig 1883/1890 Wellek, A.: Die Mehrseitigkeit der Tonhöhe als Schlüssel zur Systematik der musikalischen Erscheinungen. Zeitschrift für Psychologie 134, 1935 ders.: Musikpsychologie und Musikästhetik. Frankfurt 1963 Instrumentenkunde Adelung, W.: Einführung in den Orgelbau. Wiesbaden 31974 Bachmann, W.: Die Anfänge des Streichinstrumentenspiels. Leipzig 1964 Bahnert/Herzberg/Schramm: Metallblasinstrumente. Leipzig 1958 Bartolozzi, B.: Neue Klänge für Holzblasinstrumente. Mainz 1971 Behn, F.: Musikleben im Altertum und frühen Mittelalter. Stuttgart 1954 Bierl, R.: Elementare technische Akustik der elektronischen Musikinstrumente. Schriftenreihe Das Musikinstrument, Heft 4. Frankfurt a. M. 1965 Brandlmeier, J.: Zupfinstrumentenbau. MGG Bd. 14. Kassel usw. 1968 Buchner, A.: Musikinstrumente im Wandel der Zeiten. Prag 21956 Fett, A.: Harmonika. MGG Bd. 5. Kassel usw. 1956 Galpin, F. W.: The Water Organ of the Ancients and the Organ of Today. English Music (1604– 1904). London 1906 Goebel, J.: Theorie und Praxis des Orgelpfeifenklanges. Schriftenreihe Das Musikinstrument, Heft 9. Frankfurt a. M. 1967 Hornbostel, E. M./Sachs, C.: Systematik der Musikinstrumente. Zeitschr. f. Ethnologie XLVI, 1914 Junghanns, H.: Der Piano- und Flügelbau. Fachbuchreihe Das Musikinstrument, Bd. 4. Frank- furt a. M. 31960 Keune, E.: Kleine Trommel. Schlaginstrumente: Ein Schulwerk, Teil 1. Kassel usw. 1975 Kolneder, W.: Das Buch der Violine. Zürich 1972 III Literatur- und Quellenverzeichnis Kotónski, W.: Schlaginstrumente im modernen Orchester. Mainz 1968 Kunitz, H.: Die Instrumentation. Ein Hand- und Lehrbuch. Teil 1–12. Leipzig 1957–61 Lexikon Musikinstrumente, hg. von W. Ruf. Mannheim 1991 Mahillon, V.-Ch.: Catalogue descriptif et analytique du Musée instrumental (historique et tech- nique) du Conservatoire Royal de Musique de Bruxelles. Bd. 1–4. Gent 1880–1912 Musikinstrumente. Die Geschichte ihrer Entwicklung und ihrer Formen, hg. von A. Baines. München 1962 Pape, W.: Instrumentenhandbuch. Streich-, Zupf-, Blas- und Schlaginstrumente in Tabellen- form. Köln 1971 Peinkofer, K./Tannigel, F.: Handbuch des Schlagzeugs. Praxis und Technik. Mainz 1969 Praetorius, M.: Syntagma Musicum II. De Organographia. Wolfenbüttel 1619. ND. hg. von W. Gurlitt. Documenta musicologica XIV. Kassel usw. 1958 Reclams Musikinstrumentenführer. Die Instrumente und ihre Akustik, hg. von E. Briner. 2., verb. Auflage Stuttgart 1992 Richter, W.: Die Griffweise der Flöte. Kassel usw. 1967 Sachs, C.: Geist und Werden der Musikinstrumente. Berlin 1928. ND. Hilversum 1965 ders.: Reallexikon der Musikinstrumente.
Load more

Recommended publications
  • Universum Alte Musik
    Fiori Musicali: Universum Alte Musik Montag, 12. Juni 2017, 22.05 - 24.00 Uhr Ein nächtlicher Flug durch 500 Jahre Musikgeschichte vom Mittelalter bis zum Barock. Vom wandernden Ritter Oswald von Wolkenstein über die Tänze der italienischen Piffari bis zu den opulenten Klanggemälden in den Kathedralen. Und auf anderen Wegen wieder zurück. Redaktion: Norbert Graf Salamanca. Guy Bovet Label: Auvidis Valois Track 04: Antonio de Cabezón- Pour un plaisir. Bearbeitung für Orgel Guy Bovet, Orgel Music for the Spanish Kings: Renaissance Music from the Neapolitan Court Label: Virgin Track 17: Antonio de Cabezón / Adrian Willaert- Je fille quand Dieu me donne de quoy. Diminution Track 12: Antonio de Cabezón- Tiento Nr. 9. Quinto tono Track 11: Antonio de Cabezón- Diferencias sobre "Las vacas" Track 09: Antonio de Cabezón- Tres sobre la Alta. La Spagna Track 03: Antonio de Cabezón- Diferencias sobre "La dama le demanda" Hespèrion XX, Leitung: Jordi Savall The marriage of England and Spain. Orchestra of the Renaissance Label: Glossa Track 01: Hochzeitsmesse für die Heirat von Maria Tudor und Philipp von Spanien in der Winchester: Fanfare, Levet (Cesare Bendinelli) Track 02: Processional: Jubilate Deo omnis terra (Cristóbal de Morales) Track 10: Sanctus (John Taverner : Missa Gloria tibi Trinitas) William Missin, Kontratenor, Simon Berridge, Tenor, Charles Gibbs, Bass Tom Phillips, Tenor, Orchestra of the Renaissance, Leitung: Richard Cheetham Ye sacred muses. Music from the House of Tudor Label: Carus Track 09: William Byrd- Wilson's wild. Variationen Track 08: William Byrd- La volta Track 11: William Byrd- The hunt's up, or Pescodd time Track 10: William Byrd- Pavana Track 25: Augustine Bassano- Pavan zu 5 Stimmen Track 28: Jeronimo Bassano- Fantasie zu 5 Stimmen Nr.
    [Show full text]
  • A Bibliographical Guide to the Study of the Troubadours and Old Occitan Literature
    A Bibliographical Guide to the Study of the Troubadours and Old Occitan Literature Robert A. Taylor RESEARCH IN MEDIEVAL CULTURE Bibliographical Guide to the Study of the Troubadours and Old Occitan Literature Medieval Institute Publications is a program of The Medieval Institute, College of Arts and Sciences Bibliographical Guide to the Study of the Troubadours and Old Occitan Literature Robert A. Taylor MEDIEVAL INSTITUTE PUBLICATIONS Western Michigan University Kalamazoo Copyright © 2015 by the Board of Trustees of Western Michigan University All rights reserved Manufactured in the United States of America This book is printed on acid-free paper. Library of Congress Cataloging-in-Publication Data Taylor, Robert A. (Robert Allen), 1937- Bibliographical guide to the study of the troubadours and old Occitan literature / Robert A. Taylor. pages cm Includes index. Summary: "This volume provides offers an annotated listing of over two thousand recent books and articles that treat all categories of Occitan literature from the earli- est enigmatic texts to the works of Jordi de Sant Jordi, an Occitano-Catalan poet who died young in 1424. The works chosen for inclusion are intended to provide a rational introduction to the many thousands of studies that have appeared over the last thirty-five years. The listings provide descriptive comments about each contri- bution, with occasional remarks on striking or controversial content and numerous cross-references to identify complementary studies or differing opinions" -- Pro- vided by publisher. ISBN 978-1-58044-207-7 (Paperback : alk. paper) 1. Provençal literature--Bibliography. 2. Occitan literature--Bibliography. 3. Troubadours--Bibliography. 4. Civilization, Medieval, in literature--Bibliography.
    [Show full text]
  • TRECENTO FRAGMENTS M Ichael Scott Cuthbert to the Department Of
    T R E C E N T O F R A G M E N T S A N D P O L Y P H O N Y B E Y O N D T H E C O D E X a thesis presented by M ichael Scott Cuthbert t the Depart!ent " M#si$ in partia% "#%"i%%!ent " the re&#ire!ents " r the de'ree " D $t r " Phi% s phy in the s#b(e$t " M#si$ H ar)ard * ni)ersity Ca!brid'e+ Massa$h#setts A#'#st ,--. / ,--.+ Mi$hae% S$ tt C#thbert A%% ri'hts reser)ed0 Pr "0 Th !as F rrest 1 e%%y+ advisor Mi$hae% S$ tt C#thbert Tre$ent Fra'!ents and P %yph ny Bey nd the C de2 Abstract This thesis see3s t #nderstand h 4 !#si$ s #nded and "#n$ti ned in the 5ta%ian tre6 $ent based n an e2a!inati n " a%% the s#r)i)in' s #r$es+ rather than n%y the ! st $ !6 p%ete0 A !a( rity " s#r)i)in' s #r$es " 5ta%ian p %yph ni$ !#si$ "r ! the peri d 788-9 7:,- are "ra'!ents; ! st+ the re!nants " % st !an#s$ripts0 Despite their n#!eri$a% d !i6 nan$e+ !#si$ s$h %arship has )ie4 ed these s #r$es as se$ ndary <and "ten ne'%e$ted the! a%t 'ether= " $#sin' instead n the "e4 %ar'e+ retr spe$ti)e+ and pred !inant%y se$#%ar $ di6 $es 4 hi$h !ain%y ri'inated in the F% rentine rbit0 C nne$ti ns a! n' !an#s$ripts ha)e been in$ !p%ete%y e2p% red in the %iterat#re+ and the !issi n is a$#te 4 here re%ati nships a! n' "ra'!ents and a! n' ther s!a%% $ %%e$ti ns " p %yph ny are $ n$erned0 These s!a%% $ %%e$ti ns )ary in their $ nstr#$ti n and $ ntents>s !e are n t rea%%y "ra'!ents at a%%+ b#t sin'%e p %yph ni$ 4 r3s in %it#r'i$a% and ther !an#s$ripts0 5ndi)id#6 a%%y and thr #'h their )ery n#!bers+ they present a 4 ider )ie4 " 5ta%ian !#si$a% %i"e in the " #rteenth $ent#ry than $ #%d be 'ained "r ! e)en the ! st $are"#% s$r#tiny " the inta$t !an#s$ripts0 E2a!inin' the "ra'!ents e!b %dens #s t as3 &#esti ns ab #t musical style, popularity, scribal practice, and manuscript transmission: questions best answered through a study of many different sources rather than the intense scrutiny of a few large sources.
    [Show full text]
  • Early Fifteenth Century
    CONTENTS CHAPTER I ORIENTAL AND GREEK MUSIC Section Item Number Page Number ORIENTAL MUSIC Ι-6 ... 3 Chinese; Japanese; Siamese; Hindu; Arabian; Jewish GREEK MUSIC 7-8 .... 9 Greek; Byzantine CHAPTER II EARLY MEDIEVAL MUSIC (400-1300) LITURGICAL MONOPHONY 9-16 .... 10 Ambrosian Hymns; Ambrosian Chant; Gregorian Chant; Sequences RELIGIOUS AND SECULAR MONOPHONY 17-24 .... 14 Latin Lyrics; Troubadours; Trouvères; Minnesingers; Laude; Can- tigas; English Songs; Mastersingers EARLY POLYPHONY 25-29 .... 21 Parallel Organum; Free Organum; Melismatic Organum; Benedica- mus Domino: Plainsong, Organa, Clausulae, Motets; Organum THIRTEENTH-CENTURY POLYPHONY . 30-39 .... 30 Clausulae; Organum; Motets; Petrus de Cruce; Adam de la Halle; Trope; Conductus THIRTEENTH-CENTURY DANCES 40-41 .... 42 CHAPTER III LATE MEDIEVAL MUSIC (1300-1400) ENGLISH 42 .... 44 Sumer Is Icumen In FRENCH 43-48,56 . 45,60 Roman de Fauvel; Guillaume de Machaut; Jacopin Selesses; Baude Cordier; Guillaume Legrant ITALIAN 49-55,59 · • · 52.63 Jacopo da Bologna; Giovanni da Florentia; Ghirardello da Firenze; Francesco Landini; Johannes Ciconia; Dances χ Section Item Number Page Number ENGLISH 57-58 .... 61 School o£ Worcester; Organ Estampie GERMAN 60 .... 64 Oswald von Wolkenstein CHAPTER IV EARLY FIFTEENTH CENTURY ENGLISH 61-64 .... 65 John Dunstable; Lionel Power; Damett FRENCH 65-72 .... 70 Guillaume Dufay; Gilles Binchois; Arnold de Lantins; Hugo de Lantins CHAPTER V LATE FIFTEENTH CENTURY FLEMISH 73-78 .... 76 Johannes Ockeghem; Jacob Obrecht FRENCH 79 .... 83 Loyset Compère GERMAN 80-84 . ... 84 Heinrich Finck; Conrad Paumann; Glogauer Liederbuch; Adam Ile- borgh; Buxheim Organ Book; Leonhard Kleber; Hans Kotter ENGLISH 85-86 .... 89 Song; Robert Cornysh; Cooper CHAPTER VI EARLY SIXTEENTH CENTURY VOCAL COMPOSITIONS 87,89-98 ...
    [Show full text]
  • The New Dictionary of Music and Musicians
    The New GROVE Dictionary of Music and Musicians EDITED BY Stanley Sadie 12 Meares - M utis London, 1980 376 Moda Harold Powers Mode (from Lat. modus: 'measure', 'standard'; 'manner', 'way'). A term in Western music theory with three main applications, all connected with the above meanings of modus: the relationship between the note values longa and brevis in late medieval notation; interval, in early medieval theory; most significantly, a concept involving scale type and melody type. The term 'mode' has always been used to designate classes of melodies, and in this century to designate certain kinds of norm or model for composition or improvisation as well. Certain pheno­ mena in folksong and in non-Western music are related to this last meaning, and are discussed below in §§IV and V. The word is also used in acoustical parlance to denote a particular pattern of vibrations in which a system can oscillate in a stable way; see SOUND, §5. I. The term. II. Medieval modal theory. III. Modal theo­ ries and polyphonic music. IV. Modal scales and folk­ song melodies. V. Mode as a musicological concept. I. The term I. Mensural notation. 2. Interval. 3. Scale or melody type. I. MENSURAL NOTATION. In this context the term 'mode' has two applications. First, it refers in general to the proportional durational relationship between brevis and /onga: the modus is perfectus (sometimes major) when the relationship is 3: l, imperfectus (sometimes minor) when it is 2 : I. (The attributives major and minor are more properly used with modus to distinguish the rela­ tion of /onga to maxima from the relation of brevis to longa, respectively.) In the earliest stages of mensural notation, the so­ called Franconian notation, 'modus' designated one of five to seven fixed arrangements of longs and breves in particular rhythms, called by scholars rhythmic modes.
    [Show full text]
  • De Vulgari Eloquentia
    The De vulgari eloquentia, written by Dante in the early years of the fourteenth century, is the only known work of medieval literary theory to have been produced by a practising poet, and the first to assert the intrinsic superiority of living, vernacular languages over Latin. Its opening consideration of language as a sign-system includes foreshadowings of twentieth-century semiotics, and later sections contain the first serious effort at literary criticism based on close ana- lytical reading since the classical era. Steven Botterill here offers an accurate Latin text and a readable English translation of the treatise, together with notes and introductory material, thus making available a work which is relevant not only to Dante's poetry and the history of Italian literature, but to our whole understanding of late medieval poetics, linguistics and literary practice. Cambridge Medieval Classics General editor PETER DRONKE, FBA Professor of Medieval Latin Literature, University of Cambridge This series is designed to provide bilingual editions of medieval Latin and Greek works of prose, poetry, and drama dating from the period c. 350 - c. 1350. The original texts are offered on left-hand pages, with facing-page versions in lively modern English, newly translated for the series. There are introductions, and explanatory and textual notes. The Cambridge Medieval Classics series allows access, often for the first time, to out- standing writing of the Middle Ages, with an emphasis on texts that are representative of key literary traditions and which offer penetrating insights into the culture of med- ieval Europe. Medieval politics, society, humour, and religion are all represented in the range of editions produced here.
    [Show full text]
  • American Dante Bibliography for 1959.Pdf
    American Dante Bibliography for 1959 Anthony L. Pellegrini This bibliography is intended to include the Dante translations published in this country in 1959, and all Dante studies and reviews published in 1959 that are in any sense American. The latter criterion is construed to include foreign reviews of Dante publications by Americans. Translations Dante Alighieri. The Divine Comedy. Illustrated by Umberto Romano. Garden City, N.Y.: Garden City Books/ Doubleday and Company, 1959. Essentially a re-issue, omitting the color plates, of the original edition published in 1946 under the imprint of Doubleday and Company. The illustrations retained are line drawings. There is a section of notes to the text, which, though not actually identified, is the translation by Henry F. Cary. Dante Alighieri. The Divine Comedy of Dante Alighieri. I. Inferno. With translation and comment by John D. Sinclair. New York: Oxford University Press, 1959. This is a paperback edition identical to the hard-cover edition of 1948. The translation, in prose, with the original Italian on opposite pages, is based on the critical text of the Società Dantesca Italiana; “the few departures . from that text are limited to readings adopted either in Moore’s or Casella’s texts.” Each canto is very briefly annotated and followed by a “Note,” or commentary. In a preface, Mr. Sinclair acknowledges his indebtedness to major recent commentaries and studies, from Scartazzini to Croce, from which he has quoted freely. There is a short note on Dante’s Hell and a diagram of the punitive system. Dante Alighieri. “The Purgatorio: Canto II, by Dante Alighieri.” Translated by John Ciardi.
    [Show full text]
  • American Dante Bibliography for 1983.Pdf
    American Dante Bibliography for 1983 Anthony L. Pellegrini This bibliography is intended to include the Dante translations published in this country in 1983 and all Dante studies and reviews published in 1983 that are in any sense American. The latter criterion is construed to include foreign reviews of American publications pertaining to Dante. I wish to express my profound appreciation to Teodolinda Barolini, Joan M. Ferrante, Christopher Kleinhenz, and Richard H. Lansing for their collegial spirit of cooperation and their substantial assistance in the abstracting of a number of items for this bibliography. Translations [Paradiso, excerpts] “Paradiso: Lines from a New Translation.” Translated by Stefan Brecht. In Studies in Medievalism, II, No. 3 (Summer 1983): [Special Issue] “Dante in the Modern World,” edited by Kathleen Verduin, 79-85. Presents some selected short passages from Paradiso II, III, V, VII, VIII, IX, X, XI, and XII, interspersed with a very free prose translation. [Four Latin letters: Epistolae V-VIII.] In Babylon on the Rhone: A Translation of the Letters by Dante, Petrarch, and Catherine of Siena on the Avignon Papacy. Translated by Robert Cogan. Madrid: José Porrúa Turanzas, 1983). Provides an English translation only, with notes, of Epistolae V-VIII, along with a general introduction discussing the state of Italy and Dante’s ideas about the kind of government needed for the Empire, as compared with the ideas of Petrarch and Saint Catherine on the subject. Studies Abrash, Merritt. “Dante’s Hell as an Ideal Mechanical Environment.” In Clockwork Worlds: Mechanized Environments in SF, edited by Richard D. Erlich, Thomas P.
    [Show full text]
  • I. the Term Стр. 1 Из 93 Mode 01.10.2013 Mk:@Msitstore:D
    Mode Стр. 1 из 93 Mode (from Lat. modus: ‘measure’, ‘standard’; ‘manner’, ‘way’). A term in Western music theory with three main applications, all connected with the above meanings of modus: the relationship between the note values longa and brevis in late medieval notation; interval, in early medieval theory; and, most significantly, a concept involving scale type and melody type. The term ‘mode’ has always been used to designate classes of melodies, and since the 20th century to designate certain kinds of norm or model for composition or improvisation as well. Certain phenomena in folksong and in non-Western music are related to this last meaning, and are discussed below in §§IV and V. The word is also used in acoustical parlance to denote a particular pattern of vibrations in which a system can oscillate in a stable way; see Sound, §5(ii). For a discussion of mode in relation to ancient Greek theory see Greece, §I, 6 I. The term II. Medieval modal theory III. Modal theories and polyphonic music IV. Modal scales and traditional music V. Middle East and Asia HAROLD S. POWERS/FRANS WIERING (I–III), JAMES PORTER (IV, 1), HAROLD S. POWERS/JAMES COWDERY (IV, 2), HAROLD S. POWERS/RICHARD WIDDESS (V, 1), RUTH DAVIS (V, 2), HAROLD S. POWERS/RICHARD WIDDESS (V, 3), HAROLD S. POWERS/MARC PERLMAN (V, 4(i)), HAROLD S. POWERS/MARC PERLMAN (V, 4(ii) (a)–(d)), MARC PERLMAN (V, 4(ii) (e)–(i)), ALLAN MARETT, STEPHEN JONES (V, 5(i)), ALLEN MARETT (V, 5(ii), (iii)), HAROLD S. POWERS/ALLAN MARETT (V, 5(iv)) Mode I.
    [Show full text]
  • Pietro Aaron on Musica Plana: a Translation and Commentary on Book I of the Libri Tres De Institutione Harmonica (1516)
    Pietro Aaron on musica plana: A Translation and Commentary on Book I of the Libri tres de institutione harmonica (1516) Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Matthew Joseph Bester, B.A., M.A. Graduate Program in Music The Ohio State University 2013 Dissertation Committee: Graeme M. Boone, Advisor Charles Atkinson Burdette Green Copyright by Matthew Joseph Bester 2013 Abstract Historians of music theory long have recognized the importance of the sixteenth- century Florentine theorist Pietro Aaron for his influential vernacular treatises on practical matters concerning polyphony, most notably his Toscanello in musica (Venice, 1523) and his Trattato della natura et cognitione de tutti gli tuoni di canto figurato (Venice, 1525). Less often discussed is Aaron’s treatment of plainsong, the most complete statement of which occurs in the opening book of his first published treatise, the Libri tres de institutione harmonica (Bologna, 1516). The present dissertation aims to assess and contextualize Aaron’s perspective on the subject with a translation and commentary on the first book of the De institutione harmonica. The extensive commentary endeavors to situate Aaron’s treatment of plainsong more concretely within the history of music theory, with particular focus on some of the most prominent treatises that were circulating in the decades prior to the publication of the De institutione harmonica. This includes works by such well-known theorists as Marchetto da Padova, Johannes Tinctoris, and Franchinus Gaffurius, but equally significant are certain lesser-known practical works on the topic of plainsong from around the turn of the century, some of which are in the vernacular Italian, including Bonaventura da Brescia’s Breviloquium musicale (1497), the anonymous Compendium musices (1499), and the anonymous Quaestiones et solutiones (c.1500).
    [Show full text]
  • Freely and Liberally
    Vertical Readings in Dante’s Comedy Volume 3 EDITED BY GEORGE CORBETT AND HEATHER WEBB Vertical Readings in Dante’s Comedy Volume 3 edited by George Corbett and Heather Webb http://www.openbookpublishers.com © 2017 George Corbett and Heather Webb. Copyright of individual chapters is maintained by the chapter’s author. This work is licensed under a Creative Commons Attribution 4.0 International license (CC BY 4.0). This license allows you to share, copy, distribute and transmit the work; to adapt the work and to make commercial use of the work providing attribution is made to the authors (but not in any way that suggests that they endorse you or your use of the work). Attribution should include the following information: George Corbett and Heather Webb (eds.), Vertical Readings in Dante’s ‘Comedy’: Volume 3. Cambridge, UK: Open Book Publishers, 2017. http://dx.doi.org/10.11647/OBP.0119 In order to access detailed and updated information on the license, please visit https://www. openbookpublishers.com/product/623#copyright Further details about CC BY licenses are available at http://creativecommons.org/licenses/ by/4.0/ All external links were active on 22/11/2017 unless otherwise stated and have been archived via the Internet Archive Wayback Machine at https://archive.org/web Every effort has been made to identify and contact copyright holders and any omission or error will be corrected if notification is made to the publisher. Digital material and resources associated with this volume are available at https://www. openbookpublishers.com/product/623#resources ISBN Paperback: 978-1-78374-358-2 ISBN Hardback: 978-1-78374-359-9 ISBN Digital (PDF): 978-1-78374-360-5 ISBN Digital ebook (epub): 978-1-78374-361-2 ISBN Digital ebook (mobi): 978-1-78374-362-9 DOI: 10.11647/OBP.0119 Cover image: Fra Angelico (circa 1395–1455), The Last Judgement circa 1450, Gemäldegalerie, Berlin.
    [Show full text]
  • La Caccia Nell'ars Nova Italiana
    8. Iohannes Tinctoris, Diffinitorium musice. Un dizionario Il corpus delle cacce trecentesche rappresenta con «La Tradizione Musicale» è una collana promossa di musica per Beatrice d’Aragona. A c. di C. Panti, 2004, ogni probabilità uno dei momenti di più intenso dal Dipartimento di Musicologia e Beni Culturali pp. LXXIX-80 e immediato contatto tra poesia e musica. La viva- dell’Università di Pavia, dalla Fondazione Walter 9. Tracce di una tradizione sommersa. I primi testi lirici italiani cità rappresentativa dei testi poetici, che mirano Stauffer e dalla Sezione Musica Clemente Terni e 19 tra poesia e musica. Atti del Seminario di studi (Cre mona, alla descrizione realistica di scene e situazioni im- Matilde Fiorini Aragone, che opera in seno alla e 20 febbraio 2004). A c. di M. S. Lannut ti e M. Locanto, LA CACCIA Fonda zione Ezio Franceschini, con l’intento di pro- 2005, pp. VIII-280 con 55 ill. e cd-rom mancabilmente caratterizzate dal movimento e dalla concitazione, trova nelle intonazioni polifo- muovere la ricerca sulla musica vista anche come 13. Giovanni Alpigiano - Pierluigi Licciardello, Offi - niche una cassa di risonanza che ne amplifica la speciale osservatorio delle altre manifestazioni della cium sancti Donati I. L’ufficio liturgico di san Do nato di cultura. «La Tradizione Musicale» si propone di of- portata. L’uso normativo della tecnica canonica, de- Arezzo nei manoscritti toscani medievali, 2008, pp. VIII-424 NELL’ARS NOVA ITALIANA frire edizioni di opere e di trattati musicali, studi 8 finita anch’essa ‘caccia’ o ‘fuga’, per l’evidente me- con ill. a colori monografici e volumi miscellanei di alto valore tafora delle voci che si inseguono, si dimostra 16.
    [Show full text]