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A short excursus throughout Jewish music and composers during the Baroque era.
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Interview with Vinicius Cantuaria, Musician and Football Fanatic
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Интервју со Винисиуш Кантуарија, музичар и фудбалски фанатик
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Prof. D.Sc. Rosalia Bix, an ardent historian of Bulgarian opera, renowned critic, fervent essayist and untiring promoter of operatic knowledge, passed away on November 6, 2013. With her wide-reaching scholarly and social activities at the Institute of Art Studies and in her capacity of a long standing member of the Executive Council of the Bulgarian Academy of Sciences, of the Steering Committee of Boris Christoff Foundation and the International Competition for Young Opera Singers, of the Organizing Committee of the Opera and Ballet Festival in Stara Zagora, as well as of the Editorial Board of the Journal Bulgarian Musicology, prof. Bix left an immense indelible mark on Bulgarian musical culture.
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This study focuses on the two questionnaires, launched by Bogdan Petriceicu Hasdeu, in 1878 and 1884, stressing their relevance and importance in the history of systematic researches on Romanian traditional culture (mythology, ritual studies, folk religion, language and literature), in all Romanian Kingdom provinces. It also analyzes the crucial influence of these surveys in the 20-th century Romanian ethnological and anthropological qualitative methodology: developed in the frame of various philological trends in ethnology, in Bucharest, Cluj and Iasi and also in sociological and anthropo-geographical approaches around the same centers.
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The is based on work of bandmaster and compozitor Leonard Bernstein, whose music is a blend of different musical styles from different epochs.
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An often neglected small treatise, conventionally entitled The Ptolemaean ‘Musica’ (apparently dated to the Late Antiquity), is translated into the Russian for the first time. The work is a compilation of various sources, which include the Aristoxenian rhythmics, the Neopythagorean numerology and harmonics as well as the Ptolemaean geocentric astrology. According to its author the planetary cycles in their unity are closely related to the musical proportions. This approach further allows correlating the planetary rhythms with the musical rhythmics.
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The paper outlines the Pythagorean science of harmonics in its historical and theoretical aspects. It is intended to be a chapter in the history of ancient mathematical studies of nature, although the author occasionally touches upon such related areas as the history of philosophy and the history of music, and hopes that his work will be interesting to scholars working in these fields. After a short introduction the author first turns to the phenomenology of harmony and then analyses in considerable details the harmony as a structure of numerical relations and – alleged or real – acoustic experiments designed to establish the qualities of sound, as well as consonant and dissonant intervals.
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Although a work of several hands, rather then of Euclid (active around 300 BCE), this short treatise (an introduction and 20 propositions formulated in the manner of theorems, preserved independently and, partially and slightly differently, in Porphyry and Boethius), is counted among the most important writings on ancient mathematical harmonics. The central part of the treatise could indeed be written by the great mathematician himself, undoubtedly, on the basis of the works of early authors, such as Archytas, while the rest, esp. the introduction, is admittedly a later addition. Despite few logical incontinences, the treatise as a whole is a unique early attempt at the composing of a systematic mathematical harmonics, based both on the empirical observations and an intrinsic logic of the division of the musical kanon. The treatise is translated into the Russian for the first time.
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In his extensive treatise On music Aristides Quintilianus (the late 3rd c. CE, according to Mathiesen 1983) tried to collect everything relevant to the study of musical theory and practice. Although somewhat eclectic, this massive compilation is unique in many respects, both providing us with access to the sources unknown otherwise and offering a unifying and personalized vision of music and musical education in the structure of human society and cosmos. The first book largely deals with the technical side of the Aristoxenian harmonics, rhythmic, and metrics; the most original and well structured second book focuses on the educational and therapeutic value of music, the ethical and emotional (‘male and female’) characters of melody as well as the peculiarities of various musical instruments; while the last third presents a metaphysical outlook, influenced by (Neo-)Pythagorean and Platonic inclinations of the author, and includes the ‘Pythagorean’ number theory (the division of kanon, concordant relations, etc.) and ‘physics’ (presented as a correlation between musical and physical realms, mostly in Platonic terms). The chapters, presented in this study in a new Russian translation, concern the pedagogical aspects of music. The work will be continued.
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Extracts of the musical treatise of Ptolemaïs of Kyrene, the only female musical theorist in Antiquity, preserved by Porphyry in his Commentary to Ptolemy’s Harmonics, are important, first of all, because, they belongs to those very scanty testimonies that witness continuous development of the musical science from the time of Aristoxenus to this of Nicomachus of Gerasa. In this respect the present study supplements two earlier our publications: the musical sections of The Mathematics Useful for Understanding Plato by Theon of Smyrna (the 2nd c. CE), which contain material taken from Thrasyllus (the beginning of the 1st c. CE) and Adrastus (the end of the 1st c. CE) [cf. Vol. 3.2 (2009) of the journal, translated by A. Schetnikov], and some passages from Heraclides the Younger (active in the time of Claudius and Nero), Didymus the Musician (active in the time of Nero), Panaetius the Younger (unknown date), and Aelianus (the end of the 2nd c.), preserved by Porphyry and translated as supplements to our study on Theophrastus [included in this volume]. Apparently Porphyry quotes Ptolemaïs on the basis of the work of Didymus and gives absolutely no information about her live. Most recently Levin (2009) speculated that this Ptolemaïs could be a woman of noble origin and live in Alexandria in the time of Eratosthenes (c. 275–194 BCE), which would be nice but cannot be proved. The extracts introduce the notion of the science of kanonike and contribute to the famous polemics between the mathematikoi and the mousikoi, which lead to ‘reason-based’ Pythagorean and ‘perception-based’ Aristoxenian approaches to musical theory, and Ptolemaïs apparently prefers the latter despite the title of her work, given by Porphyry.
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