1,720,982 research outputs found
Ancient Greek Music in Early Modern Italy: Performance and Self-Representation
No full textThe transmission of musical heritage from the ancient world to the medieval and early modern West was part of a broad process in which antiquity was preserved, revised, altered and revived. This process, spanning more than ten centuries from Late Antiquity or Early Middle Ages to the time of the Scientific Revolution, was crucial for the cultural life of European countries and influenced the transmission of knowledge and behavioural models, as well as the dissemination of ideas and relevant symbolic representations through texts, images and artefacts.
This chapter, dealing in particular with 15th and 16th century Italy and its medieval roots, presents two case studies in which the appeal of ancient Greek music concerns, on the one hand, the public of readers of musical evidence looking for clues in the texts and, on the other hand, the audience of the first performance of a Greek tragedy in Modern Age. In both these examples, the cultural reasons for the revival of ancient music intersect and intertwine with self-representation and cultural propaganda. Through them, it is possible to outline a cultural history of the reception and transmission of ancient Greek music.
This study offers new research insights that will contribute to the future developments of the field, outlining new interdisciplinary approaches to investigate the importance of performing arts in the ancient world and its reception in modern culture
Alexander the Great’s Travels and Musical Encounters
No full textIt is well known that Alexander spent about twelve years travelling, from the spring of 334 BC – the beginning of his expedition against the Achaemenid king Darius – until his death in Babylon in late spring 323, occurred on his way back, his nostos. There are so many references to sound and music in ancient Greek and Latin texts about the king’s travel, that one could rewrite Alexander’s biography through his musical experiences . Most musical musical events in Alexander’s life were described as mirabilia. One of them occurred before he was born – the thunderbolt, one of his birth myths – and one at the end of his life. At Pella’s court in 356 BC, Olympias heard a sudden thunder during the night before her wedding and Alexander’s conception took place . The music event at the end of Alexander’s life occurred in Babylon, perhaps in June 323 BC, and concerns his sudden silence: in the last days of his life he was described as speechless (anaudos) – in a sort of contrappasso – the marvellous power of his voice disappeared . He lost the high timbre voice which had calmed down Bucephalus, the horse Alexander was given when he was a boy , the voice which had sung his famous hymenaios at the wedding in Susa . Explaining the symbolism built around his silence is a big challenge: the meanings attached to his sounds and his music can in fact be regarded as being related to the way historiographers represent Alexander’s identity, political agenda and propaganda, but also to the representations of rites, cults and religious practices of his age
Paesaggi con eventi sonori : dall'Antichità al Grand Tour. Introduzione a due voci
No full textNell'introduzione ai lavori della sessione del convegno dedicata ai paesaggi con eventi sonori, le curatrici della sessione hanno presentato i risultati di un ventennio di ricerca sul tema della presenza di eventi sonori nelle narrazioni di viaggio, testuali e visuali, e formulato progetti per la continuazione della ricerca
Musica greca e tradizioni regionali
No full textOscurato per secoli, soltanto di recente il legame fra musica e tradizioni regionali viene lentamente riscoperto come una proficua prospettiva storica e multiculturale, collegabile al rinnovamento in atto negli studi sul mondo antico sia nelle discipline storiche, archeologiche e letterarie, sia in quelle musicologiche. Il saggio considera: lo stato della questione, le metodologie e le nuove prospettive della ricerca
Human Genomics and the Biocultural Origin of Music
Full text linkMusic is an exclusive feature of humankind. It can be considered as a form of universal communication, only partly comparable to the vocalizations of songbirds. Many trends of research in this field try to address music origins, as well as the genetic bases of musicality. On one hand, several hypotheses have been made on the evolution of music and its role, but there is still debate, and comparative studies suggest a gradual evolution of some abilities underlying musicality in primates. On the other hand, genome-wide studies highlight several genes associated with musical aptitude, confirming a genetic basis for different musical skills which humans show. Moreover, some genes associated with musicality are involved also in singing and song learning in songbirds, suggesting a likely evolutionary convergence between humans and songbirds. This comprehensive review aims at presenting the concept of music as a sociocultural manifestation within the current debate about its biocultural origin and evolutionary function, in the context of the most recent discoveries related to the cross-species genetics of musical production and perception
Circolazione della cultura letteraria e forme della spettacolarità nel simposio plutarcheo
No full textLa musique dionysiaque sur la grande fresque de la villa des Mystères à Pompéi
No full textLa place des instruments de musique dans l’iconographie dionysiaque est, on le sait, considérable. Elle a fait l’objet, au cours du colloque de Comacchio consacré à Dionysos, mythe et mystère, d’une étude de Donatella Restani consacrée surtout à l’apparition de l’aulos et de la cithare dans l’imagerie classique, et concluant notamment que Dionysos emploie de préférence les instruments à corde, lyre, cithare ou harpe, abandonnant aux ménades l’emploi des instruments à percussion, tympanon, cro..
La musique dionysiaque sur la grande fresque de la villa des Mystères à Pompéi
No full textLa place des instruments de musique dans l’iconographie dionysiaque est, on le sait, considérable. Elle a fait l’objet, au cours du colloque de Comacchio consacré à Dionysos, mythe et mystère, d’une étude de Donatella Restani consacrée surtout à l’apparition de l’aulos et de la cithare dans l’imagerie classique, et concluant notamment que Dionysos emploie de préférence les instruments à corde, lyre, cithare ou harpe, abandonnant aux ménades l’emploi des instruments à percussion, tympanon, cro..
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
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