Results 11 to 20 of about 1,102 (188)
Current Musicology, 2004 Anyone who has heard medieval music in live performance or on record in the last fifty years knows the sound that medieval music used to make: the joyful yowling of a mixed crew of instrumentalists, bowing, tooting, honking, and plucking, and-in the best
Thomas Irvine
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Medievalism and Exoticism in the Music of Dead Can Dance
Current Musicology, 2008 In 1991, the alternative rock band Dead Can Dance released an album that caught the attention of music reviewers by constructing an aural allegiance to the Middle Ages.
Kirsten Yri
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De Musica Disserenda, 2015 The performance of medieval music includes three different tasks: scholarly transcription of music manuscripts, interpretation of their meaninsg, and actual performance of music, which depends on the artist’s inspiration but may also be susceptible to ...
Stefan Engels
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The role of women in Medieval Islamic Music Art based on pottery designs [PDF]
زن در فرهنگ و هنر, 2014 Music in Iran has a long history. In the early Islamic period, music was denounced. In the Umayyad period, music still faced opposition from some jurisprudents and a group of Muslims.
Mohamad Ebrahim Zarei +1 more
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The Medieval Concept of Music Perception. Hearing, Calculating and Contemplating
Scripta Instituti Donneriani Aboensis, 1996 Seeking to indicate the most salient features of the medieval perception of music, we must first of all point to the close relationship between the sensual and intellectual elements.
Elzbieta Witkowska-Zaremba
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The Jewish attitude towards the playing of music in the Tripartite Mahzor
Cogent Arts & Humanities, 2020 The Tripartite Mahzor (Lake Constance, Southern Germany, ca. 1322) is an illuminated manuscript of an Ashkenazi Hebrew prayer book used on special Sabbaths (Saturdays) and festivals.
Guy Shaked
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The Role of Byzantine Chant in Ukrainian Religious Mentality, Orthodox Church and Paraliturgical Music Traditions [PDF]
Pharos Journal of TheologyThe purpose of the study was to identify the characteristic features of the development of liturgical singing in the Ukrainian Orthodox tradition and to establish its connection with musical practices originating from the Byzantine rite.
Viktoriia Kashaiuk +4 more
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“O Jewel Resplendent”: The Virgin Mary and Her Analogues in Hildegard of Bingen’s Scivias
Religions, 2023 Despite the lush visual imagery of the twenty-six visions that form the foundation of Hildegard of Bingen’s first work, Scivias, the physical person of the Virgin Mary appears only once, as the Queen of the heavenly symphony in the book’s final vision ...
Nathaniel M. Campbell
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‘For musike meueþ affecciouns’: Interpreting Harp Performance in Medieval Romance [PDF]
Ceræ, 2015 Performances are focal points in medieval romances with musical protagonists. Whilst these performances may not necessarily be accurate representations of medieval music, such episodes in popular literature are valuable to early music practitioners ...
Alana Bennett
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Pavlov’s Dog and the Liturgy: Listening and Recognition in Gregorian Chant
De Musica Disserenda, 2015 In medieval life, church music, especially Gregorian chant, serves to create many acoustic memories: daily events and various times and occasions. Examples of this music perception of time include church bells, the melodies of the Kyrie eleison, chanted ...
Karl Franz Prassl
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