The diagram of « harmony, the soul of the world », elaborated by Adrastos after the Timaios of Plato, first appeared in the West in Calcidius's commentary to his Latin translation of the.Timaeus. Thereafter, the diagram was added to manuscripts transmitting Macrobius's Commentary to Cicero's Dream of Scipio and the Scolica enchiriadis. The same diagram was also elaborated by Porphyrios in his Commentary of the Timaios. In the eighth century, it was interpolated in Visigothic manuscripts with the third book of the Isidore's Etymologies, between Geometry and Music, but was never exported out of Spain. This article traces the history of this famous diagram through the thirteenth century.
{"title":"L'étude des diagrammes d'harmonique de Calcidius au Moyen Âge","authors":"M. Huglo","doi":"10.2307/20141615","DOIUrl":"https://doi.org/10.2307/20141615","url":null,"abstract":"The diagram of « harmony, the soul of the world », elaborated by Adrastos after the Timaios of Plato, first appeared in the West in Calcidius's commentary to his Latin translation of the.Timaeus. Thereafter, the diagram was added to manuscripts transmitting Macrobius's Commentary to Cicero's Dream of Scipio and the Scolica enchiriadis. The same diagram was also elaborated by Porphyrios in his Commentary of the Timaios. In the eighth century, it was interpolated in Visigothic manuscripts with the third book of the Isidore's Etymologies, between Geometry and Music, but was never exported out of Spain. This article traces the history of this famous diagram through the thirteenth century.","PeriodicalId":42522,"journal":{"name":"REVUE DE MUSICOLOGIE","volume":"91 1","pages":"305-319"},"PeriodicalIF":0.3,"publicationDate":"2005-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/20141615","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69119725","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Jazz, as developed through the last century, has kept a close relationship between creation and tradition. Constant reference to the roots of jazz has been made possible by both the oral transmission and deep and rapid evolution. However, there are numerous signs which show that since the 1980s the past of jazz is becoming more significant than its present. This phenomenon, parallel with certain recent developments of contemporary written music, will be examined here within the general scope of postmodernism. Initially we will have to clarify the meaning of modern and postmodern concepts as applied to music generally, and jazz historiography in particular. A tentative analogy might be made between postmodernism and jazz in their various shared conceptions - renunciation of a linear view of history, obsession with reference and eclectism, concern with communication between artists and audience. Nevertheless, we must also distinguish between different (sometimes opposite) ways of appealing to the past - reconstruction, revivalism, orthodoxy, adaptation, re-reading. Among these, a kind of " moderate postmodernism " appears through the recorded works of Dave Douglas or Franz Koglmann, and emerges from the particular level of historical consciousness which governs the elaboration of their appeals to the past. However, the postmodern analogy cannot be totally relevant if we consider only the resurgence and recycling of historical materials within contemporary jazz. A further stage of this research will consider such musicians as Uri Caine and Gian-Luigi Trovesi for the astonishing width of their scope of reference. Deliberately appropriating all kinds of historical musical materials with the help of collage and quotation, they playfully abolish any hierarchy of style or genre. In so doing, these musicians are approaching many postmodern problematics.
{"title":"La résurgence du passé dans le jazz contemporain : une problématique post-moderne ?","authors":"Vincent Cotro","doi":"10.2307/20141619","DOIUrl":"https://doi.org/10.2307/20141619","url":null,"abstract":"Jazz, as developed through the last century, has kept a close relationship between creation and tradition. Constant reference to the roots of jazz has been made possible by both the oral transmission and deep and rapid evolution. However, there are numerous signs which show that since the 1980s the past of jazz is becoming more significant than its present. This phenomenon, parallel with certain recent developments of contemporary written music, will be examined here within the general scope of postmodernism. Initially we will have to clarify the meaning of modern and postmodern concepts as applied to music generally, and jazz historiography in particular. A tentative analogy might be made between postmodernism and jazz in their various shared conceptions - renunciation of a linear view of history, obsession with reference and eclectism, concern with communication between artists and audience. Nevertheless, we must also distinguish between different (sometimes opposite) ways of appealing to the past - reconstruction, revivalism, orthodoxy, adaptation, re-reading. Among these, a kind of \" moderate postmodernism \" appears through the recorded works of Dave Douglas or Franz Koglmann, and emerges from the particular level of historical consciousness which governs the elaboration of their appeals to the past. However, the postmodern analogy cannot be totally relevant if we consider only the resurgence and recycling of historical materials within contemporary jazz. A further stage of this research will consider such musicians as Uri Caine and Gian-Luigi Trovesi for the astonishing width of their scope of reference. Deliberately appropriating all kinds of historical musical materials with the help of collage and quotation, they playfully abolish any hierarchy of style or genre. In so doing, these musicians are approaching many postmodern problematics.","PeriodicalId":42522,"journal":{"name":"REVUE DE MUSICOLOGIE","volume":"91 1","pages":"425-454"},"PeriodicalIF":0.3,"publicationDate":"2005-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/20141619","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69119789","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"La bibliothèque de musique des ballard d'après l'inventaire de 1750 et les notes de Sebastien de Brossard (Seconde partie)","authors":"L. Guillo","doi":"10.2307/20141600","DOIUrl":"https://doi.org/10.2307/20141600","url":null,"abstract":"","PeriodicalId":42522,"journal":{"name":"REVUE DE MUSICOLOGIE","volume":"91 1","pages":"195-232"},"PeriodicalIF":0.3,"publicationDate":"2005-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/20141600","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69119644","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Philippe Reynal, Giacomo Meyerbeer, Sabine Henze-Döhring
{"title":"Briefwechsel und Tagebücher, Band 7 (1856-1859)","authors":"Philippe Reynal, Giacomo Meyerbeer, Sabine Henze-Döhring","doi":"10.2307/20141625","DOIUrl":"https://doi.org/10.2307/20141625","url":null,"abstract":"","PeriodicalId":42522,"journal":{"name":"REVUE DE MUSICOLOGIE","volume":"91 1","pages":"480"},"PeriodicalIF":0.3,"publicationDate":"2005-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/20141625","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69119833","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Poésie, musique et sociabilité au XVIIe siècle : les 'Livres d'airs de différents auteurs' publiés chez Ballard de 1658 à 1694","authors":"A. Goulet","doi":"10.2307/20141622","DOIUrl":"https://doi.org/10.2307/20141622","url":null,"abstract":"","PeriodicalId":42522,"journal":{"name":"REVUE DE MUSICOLOGIE","volume":"91 1","pages":"471"},"PeriodicalIF":0.3,"publicationDate":"2005-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/20141622","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69119809","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Ferenc Liszt. (1811-1886). List of Works. Elenco delle opere","authors":"S. Gut, M. Short, L. Howard","doi":"10.2307/20141605","DOIUrl":"https://doi.org/10.2307/20141605","url":null,"abstract":"","PeriodicalId":42522,"journal":{"name":"REVUE DE MUSICOLOGIE","volume":"91 1","pages":"269"},"PeriodicalIF":0.3,"publicationDate":"2005-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/20141605","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69119704","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Un siècle de musique russe (1830-1930). Glinka, Moussorgsky, Tchaïkowsky, Stravinsky et autres écrits","authors":"V. Dufour, Pierre Souvtchinsky","doi":"10.2307/20141606","DOIUrl":"https://doi.org/10.2307/20141606","url":null,"abstract":"","PeriodicalId":42522,"journal":{"name":"REVUE DE MUSICOLOGIE","volume":"91 1","pages":"272"},"PeriodicalIF":0.3,"publicationDate":"2005-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/20141606","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69119710","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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