Le voyage de Henri III, roi de France, en Italie du Nord en 1574 fut marque par un contexte politique moins favorable que le laisse entendre certaines chroniques de l'epoque. Apres avoir delimite les contours du climat politique entourant ce voyage en Italie, l'A. propose quelques echos musicaux de la progression du Roi depuis Venise jusqu'a Turin. Si les traces des compositions et representations musicales en l'honneur du Roi furent dispersees par la suite dans des editions et publications diverses, il semble que le raffinement et l'elegance des divertissements musicaux offerts au Roi diminuerent a mesure de sa progression vers les regions occidentales. Les oeuvres chorales polyphoniques executees par les forces musicales de Venise mobiliserent plus puissamment l'attention musicale du Roi que les madrigaux de Marc'Antonio Ingegneri a Cremone. Par ailleurs les textes des oeuvres ou divertissements musicaux ne manquerent pas de rappeler au Roi son role personnel dans la realite politique du moment.
{"title":"\"Onde havrà ‘l mond’esempio et vera historia”: musical echoes of Henri III’s progress through Italy","authors":"Laurie Stras","doi":"10.2307/932837","DOIUrl":"https://doi.org/10.2307/932837","url":null,"abstract":"Le voyage de Henri III, roi de France, en Italie du Nord en 1574 fut marque par un contexte politique moins favorable que le laisse entendre certaines chroniques de l'epoque. Apres avoir delimite les contours du climat politique entourant ce voyage en Italie, l'A. propose quelques echos musicaux de la progression du Roi depuis Venise jusqu'a Turin. Si les traces des compositions et representations musicales en l'honneur du Roi furent dispersees par la suite dans des editions et publications diverses, il semble que le raffinement et l'elegance des divertissements musicaux offerts au Roi diminuerent a mesure de sa progression vers les regions occidentales. Les oeuvres chorales polyphoniques executees par les forces musicales de Venise mobiliserent plus puissamment l'attention musicale du Roi que les madrigaux de Marc'Antonio Ingegneri a Cremone. Par ailleurs les textes des oeuvres ou divertissements musicaux ne manquerent pas de rappeler au Roi son role personnel dans la realite politique du moment.","PeriodicalId":43273,"journal":{"name":"ACTA MUSICOLOGICA","volume":"72 1","pages":"7-41"},"PeriodicalIF":0.2,"publicationDate":"2000-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/932837","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69170974","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Johannes Brahms and Johannes Kreisler. Creativity and Aesthetics of the Young Brahms Illustrated by the \"Piano Trio in B-Major\" Opus 8","authors":"A. Baldassarre","doi":"10.2307/932782","DOIUrl":"https://doi.org/10.2307/932782","url":null,"abstract":"","PeriodicalId":43273,"journal":{"name":"ACTA MUSICOLOGICA","volume":"72 1","pages":"145"},"PeriodicalIF":0.2,"publicationDate":"2000-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/932782","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69170808","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Die Macht der Musik. Musiktheorie im Machtgefüge der Karolingerzeit","authors":"I. Jungmann","doi":"10.2307/932670","DOIUrl":"https://doi.org/10.2307/932670","url":null,"abstract":"","PeriodicalId":43273,"journal":{"name":"ACTA MUSICOLOGICA","volume":"25 1","pages":"83"},"PeriodicalIF":0.2,"publicationDate":"1999-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/932670","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69170457","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
With this statement, the late fourteenth century anonymous author of the Tractatus Figurarum concludes his prologue.2 The subsequent chapters in this treatise detail a rich vocabulary of novel signs used to achieve a new, subtle rhythmic freedom. From the grammatical tense of the previous passage, it is clear that this treatise is concerned with innovations that have already occurred. While very few of the actual signs in the treatise are found in the surviving sources containing this repertoire, the concerns expressed by the author of the Tractatus clearly reflect the notational situation apparent in surviving works in the ars subtilior style. Prior to the twentieth century, no greater diversity of notational signs (figure)3 are found in a mensural context than in the surviving versions of works by Jacob de Senleches, his contemporaries and his immediate successors. The use of special figures in his La harpe de melodie and En attendant esperance is
用这句话，这位14世纪晚期《哲学论文集》(Tractatus figarum)的匿名作者结束了他的序言这篇论文的后续章节详细介绍了用于实现新的，微妙的节奏自由的新颖符号的丰富词汇。从前一段的语法时态来看，很明显，这篇论文关注的是已经发生的创新。虽然在现存的包含这些曲目的文献中很少发现论文中的实际符号，但作者所表达的关注清楚地反映了ars subtilior风格的现存作品中明显的符号情况。在20世纪之前，没有比Jacob de Senleches、他的同时代人以及他的直接继任者幸存的作品版本更多样化的符号符号(图3)了。在他的《旋律竖琴》和《随之而来的表演》中，特别人物的运用是
{"title":"Symbolic Innovation: The Notation of Jacob de Senleches","authors":"J. Stoessel","doi":"10.2307/932672","DOIUrl":"https://doi.org/10.2307/932672","url":null,"abstract":"With this statement, the late fourteenth century anonymous author of the Tractatus Figurarum concludes his prologue.2 The subsequent chapters in this treatise detail a rich vocabulary of novel signs used to achieve a new, subtle rhythmic freedom. From the grammatical tense of the previous passage, it is clear that this treatise is concerned with innovations that have already occurred. While very few of the actual signs in the treatise are found in the surviving sources containing this repertoire, the concerns expressed by the author of the Tractatus clearly reflect the notational situation apparent in surviving works in the ars subtilior style. Prior to the twentieth century, no greater diversity of notational signs (figure)3 are found in a mensural context than in the surviving versions of works by Jacob de Senleches, his contemporaries and his immediate successors. The use of special figures in his La harpe de melodie and En attendant esperance is","PeriodicalId":43273,"journal":{"name":"ACTA MUSICOLOGICA","volume":"71 1","pages":"136-164"},"PeriodicalIF":0.2,"publicationDate":"1999-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/932672","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69170541","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"\"Glaube an den Süden\". Anmerkungen zur Musikästhetik Friedrich Nietzsches","authors":"V. Otto","doi":"10.2307/932671","DOIUrl":"https://doi.org/10.2307/932671","url":null,"abstract":"","PeriodicalId":43273,"journal":{"name":"ACTA MUSICOLOGICA","volume":"71 1","pages":"126"},"PeriodicalIF":0.2,"publicationDate":"1999-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/932671","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69170467","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Aujourd'hui, les pays baltiques (Estonie, Lituanie, Lettonie) semblent former un ensemble homogene alors que l'histoire des relations avec la Russie a eu des impacts differents pour chacun de ces pays. Les cinquante annees de l'occupation sovietique ont ete cependant un facteur d'unification. L'A. discute certaines idees communes sur l'histoire de la musique des pays baltiques a partir des publications en musicologie qui ont fait suite au congres de musicologie initie en 1967 : il s'agissait d'une volonte de retourner aux sources anterieures a l'occupation sovietique. L'A. rappelle les principales caracteristiques de la musique de ces pays et la mise en place des etudes en musicologie, du fonds d'archives et d'etudes, puis s'interesse aux musiques nationales en etudiant leurs rapports avec l'ideologie sovietique.
{"title":"Baltic music history writing : Problems and perspectives","authors":"Urve Lippus","doi":"10.2307/932903","DOIUrl":"https://doi.org/10.2307/932903","url":null,"abstract":"Aujourd'hui, les pays baltiques (Estonie, Lituanie, Lettonie) semblent former un ensemble homogene alors que l'histoire des relations avec la Russie a eu des impacts differents pour chacun de ces pays. Les cinquante annees de l'occupation sovietique ont ete cependant un facteur d'unification. L'A. discute certaines idees communes sur l'histoire de la musique des pays baltiques a partir des publications en musicologie qui ont fait suite au congres de musicologie initie en 1967 : il s'agissait d'une volonte de retourner aux sources anterieures a l'occupation sovietique. L'A. rappelle les principales caracteristiques de la musique de ces pays et la mise en place des etudes en musicologie, du fonds d'archives et d'etudes, puis s'interesse aux musiques nationales en etudiant leurs rapports avec l'ideologie sovietique.","PeriodicalId":43273,"journal":{"name":"ACTA MUSICOLOGICA","volume":"71 1","pages":"50-60"},"PeriodicalIF":0.2,"publicationDate":"1999-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/932903","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69171421","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"EIN BEITRAG ZUR ASTHETIK NEUER MUSIK DES 20. JAHRHUNDERTS","authors":"H. Federhofer","doi":"10.2307/932706","DOIUrl":"https://doi.org/10.2307/932706","url":null,"abstract":"","PeriodicalId":43273,"journal":{"name":"ACTA MUSICOLOGICA","volume":"70 1","pages":"116-132"},"PeriodicalIF":0.2,"publicationDate":"1998-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/932706","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69170768","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"ANTIKE UBERLIEFERUNGEN IN DER BYZANTINISCHEN MUSIKTHEORIE","authors":"L. Richter","doi":"10.2307/932707","DOIUrl":"https://doi.org/10.2307/932707","url":null,"abstract":"","PeriodicalId":43273,"journal":{"name":"ACTA MUSICOLOGICA","volume":"70 1","pages":"133-208"},"PeriodicalIF":0.2,"publicationDate":"1998-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/932707","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69170776","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"CANON FORMATION : SOME MORE REFLECTIONS ON LYDIA GOEHR'S IMAGINARY MUSEUM OF MUSICAL WORKS","authors":"W. Erauw","doi":"10.2307/932705","DOIUrl":"https://doi.org/10.2307/932705","url":null,"abstract":"","PeriodicalId":43273,"journal":{"name":"ACTA MUSICOLOGICA","volume":"70 1","pages":"109-115"},"PeriodicalIF":0.2,"publicationDate":"1998-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/932705","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69170756","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"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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