1,720,975 research outputs found
Recensione di: Thomas Tolley, Painting the Cannon’s Roar
No full textRecensione al volume Painting the Cannon’s Roar di Thomas Tolle
Musica e perfezionamento dell’uomo: John Gregory e l’Inghilterra del Settecento
No full textIl saggio affronta il pensiero di John Gregory, le considerazioni sulla musica all'interno di una sua opera dedicata ad una generale visione dell'uomo e si sofferma sull'ideale estetico ed educativo alle spalle delle teorie dell'autore
Doctrine of Affections
No full textThe “doctrine of affections” is a legendary creature created by early-20th-century German musicologists: its head is made of prescriptive treatises and its body of descriptive compositions. The term has however entered scholarly parlance and is commonly used to refer to a cluster of theorizations and compositional strategies that shared a common aim: emphasizing the affective dimension of music in order to move the listener. The “doctrine of affections” derives its name from the German term Affektenlehre and it lived its golden age in the Baroque era (see the Oxford Bibliographies article on Baroque Music and its section “Music-Theoretical Issues”). It merges a renewed humanistic interest in the ars rhetorica, ensued to the rediscovery of texts such as Quintilian’s Institutio Oratoria during the 15th century, with an interest in the mechanics of the passions, fostered by Descartes’ Passions de l’âme (1649). The power of music to raise or soothe the passions had already been discussed by philosophers such as Plato and Aristotle (the latter’s theory of catharsis proving especially successful during the Renaissance), and in some sense “doctrines of affections” have often accompanied the history of thinking about music and its effects. However the “doctrine of affections” stricto sensu is tied to the revival of doctrines of musical ethos by the humanists, in combination with medical elements derived from galenic temperament theory and with the idea of musica humana derived from Boethius (Ficino’s theories being a notable example of this combination). Baroque doctrines of affections, while deriving some themes—such as the link between modes and affects—from these former traditions, modified their gravity center. From a Renaissance medical model interested in the bodily transformations induced by music, the focus shifts to a rhetorical model interested in producing determinate effects on the listeners in the orator’s mode. During the 16th and 17th centuries, from the philosophical upsurge of interest in passions themselves and in their communicability and from the coeval transformations in musical compositional techniques, a renovated rhetorical discourse on affective music and its relation to the poetical texts was drafted. Drawing on the speculations of authors like Descartes, Mersenne, and Kircher, 18th-century theorists tried to single out the affective power of modes and figures, albeit without creating universal theories. These musico-rhetorical theories dawned when a new way of addressing the world of the passions and affections was devised later in the 18th century
Le fonti dell’estetica musicale. Nuove prospettive storiche
No full textRaccolta di saggi dedicati all'identificazione di nuove fonti per l'estetica musical
Saggio sulle arti comunemente dette "imitative" [1772]
No full textDiscussione sul concetto di imitazione nelle arti, con particolare riferimento alla music
Viaggio in Etiopia di Francesco Alvarez
No full textAnalisi delle descrizioni a contenuto musicale presenti nel resoconto di viaggio di Francisco Alvarez alla corte del negus etiope Lebna Dengel nel 1520
Civilization in Eighteenth Century Britain: A Subject for Taste
Full text linkIl capitolo esamina la connessione tra il concetto di gusto e l'idea di civiltà nel secolo XVIII in Gran Bretagna. In particolar modo si afferma come l'idea di gusto non possa essere approcciata solo da un'angolatura estetica, ma di come la sua portata morale e sociale vada tenuta in debito conto. Il saggio esamina da vicino la discussione sul gusto elaborata da David Hume negli *Essays Moral, Political, Literary*
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
Variations on the Author
Full text link“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
- …
