Thesis (MA(Antieke Tale)--Universiteit van Pretoria, 2002. / Includes bibliographical references.

Thesis (S.T.M.)--Concordia Seminary, St. Louis, Mo., 1998. / This is an electronic reproduction of TREN, #020-0180. Includes bibliographical references (leaves 101-103).

Thesis (S.T.M.)--Concordia Seminary, St. Louis, Mo., 1998. / Includes bibliographical references (leaves 101-103).

Det första musikinstrumentet som hittats är 35 000 år gammalt. Forskningen har visat att musikens funktion på den tid då skriftspråket fortfarande inte fanns, bör ha haft andra funktioner än vad musiken har idag. Samtidigt finns många likheter. Dessa kunskaper berikar vår förståelse för vår samtid. Dock visar denna studie att hälften av de musiklärare på högstadiet som deltagit, svarat att de inte nämner forntidens musik eller musikinstrument alls, eller bara i förbifarten. Orsaken till det skulle vara tidsbrist och egen brist på kunskap i ämnet. Läroplanen hjälper inte läraren att prioritera musikens ursprung och utveckling. / The first musical instrument found is 35 000 years old. Research has shown that music function at the time when the written language still not existed, should have had other functions than the music of today. While there are many similarities. This knowledge enriches our understanding of our times. However, this study shows that half of the music teachers in high school who participated, responded that they don´t mention the ancient music or musical instruments at all, or only in passing. The reason for this would be lack of time and their own lack of knowledge on the subject. The curriculum doesn´t help the teacher to give priority to the music's origin and evolution.

Orientador: Eliana Ayoub / Acompanha 2 CD-ROM / Tese (doutorado) - Universidade Estadual de Campinas, Faculdade de Educação / Made available in DSpace on 2018-08-14T22:12:27Z (GMT). No. of bitstreams: 1 Federici_ConradoAugustoGandara_D.pdf: 5206614 bytes, checksum: 46e64165f8b4d883c90774efbae2f593 (MD5) Previous issue date: 2009 / Resumo: Giulio Caccini (1561-1618) e suas Novas Músicas compõem o tema central desta pesquisa. A tradução de suas principais obras, Le Nuove Musiche (1601) e Nuove Musiche e Nuova Maniera di scriverle (1614), o estudo prático do canto e a observação cuidadosa de uma de suas árias fundamentam este trabalho sobre uma época em que imperava a todo artista de corte a habilidade em ser original. Giulio Caccini o fez encontrando em seu ofício de cantor e compositor as maneiras de viver coletivamente e eternizar seu legado pessoal. Chegar às reflexões imersas nas características da arte renascentista, sempre partindo do canto e do texto de origem, deixando-o ressoar, ou "recitar cantando", é o desejo maior deste estudo. Em 3 capítulos, 1. Elogio ao Canto, 2. Aspectos gerais sobre a música no Renascimento e 3. A Camerata Fiorentina, o artista de corte e a paideia, o trabalho aproxima a literatura especializada da musicologia, história e sociologia, integrando conhecimentos dispersos em prol de um melhor entendimento das publicações de Giulio Caccini. A fonte principal são os próprios textos e músicas do autor, colocados em diálogo com a experiência prática de seguir suas lições de canto e a contextualização das condições de seu surgimento. Encerram a pesquisa um apêndice de personalidades relacionadas ao autor e seu tempo, um breve glossário de termos referentes à música do período e, em anexo, as edições em fac-símile das referidas publicações e uma seleção em CDs de amostras musicais da obra de Giulio Caccini disponíveis no mercado. / Abstract: Giulio Caccini (1561-1618) and his New Music are the central subject of this research. The translation of his most important works, Le Nuove Musiche (1601) and Nuove Musiche e Nuova Maniera di scriverle (1614), the chant practical study and the carefully observation of one of his arias are the basis of this work about an age in which the skill of being original was a real high demand for every court artist. Giulio Cacini has done it finding in his job as a singer and composer, the manners of living collectively and leaving his personal legate to eternity. Get into the reflexions of the Renaissance art characteristics, always starting from the chant and original texts, trying to let them reverberate, or in armonia favellare, is the biggest desire of this study. To benefit from a better understanding of Giulio Caccini's publications, the work connect the specialized musicology literature, history and sociology in 3 chapters, in order to integrate the knowledge that uses to be separated: 1. A Praise of Chant, 2. General aspects of the music in Renaissance and 3. The Florentine Camerata, the court artist and the paideia. The author's texts and music are the principal sources, supported by the practical experience following his chant lessons and the context of the treatise's arise conditions. Ending the research, there are an appendix of personalities related to the author and his time, a short ancient music glossary, the copy of the facsimile original edition and a Giulio Caccini's musical selection from CDs that are available in trade market. / Doutorado / Educação, Conhecimento, Linguagem e Arte / Doutor em Educação

No description available.

In eighteenth-century Britain, many aristocrats studied music, participated as amateurs in musical clubs, and patronized London’s burgeoning concert life. Richard Fitzwilliam, Seventh Viscount Fitzwilliam of Merrion and Thorncastle (1745-1816), was one such patron and amateur. Fitzwilliam shaped his activities – participation, patronage, and collecting – in a unique way that illustrates his specialized tastes and interests. While as an amateur musician he sang in the Noblemen’s and Gentlemen’s Catch Club (the premiere social club dedicated to musical performance), he rose to the highest level of patronage by spearheading the Handel Commemoration Festival of 1784 and serving for many years as a Director of the Concert of Antient Music, the most prestigious concert series in Georgian Britain. His lasting legacy, however, was his bequest to Cambridge University of his extensive collection of art, books and music, as well as sufficient funds to establish the Fitzwilliam Museum. At the time of his death, Fitzwilliam’s collection of music was the best in the land, save that in the Royal Library. Thus, his collection is ideally suited for examination as proof of his activities, taste and connoisseurship. Moreover, the music in Fitzwilliam’s collection shows his participation in the contemporary musicological debate, evidenced by his advocacy for ancient music, his agreement with the views of Charles Avison and his support for the music of Domenico Scarlatti. On one side of this debate were proponents of learned, ancient music, such as Fitzwilliam and Avison, whose Essay on Musical Expression of 1752 was a milestone in musical criticism. On the other side of the discussion were advocates for the more modern, “classical” style and genres, led by historian Charles Burney.

The aulos was the most important wind instrument in the ancient Greek world. In this thesis, the eight pre-Hellenistic graves in which auloi have been found are investigated with the aim of understanding auloi as grave goods. To achieve this aim, the eight burial assemblages are analysed and compared to each other, but also to the burial assemblages of other graves with musical instruments. In the ensuing discussion, the move from empirical analysis to explanatory reasoning is made, and it is concluded that the auloi found in graves reflect the musical activities of the deceased. Given the composition of the burial assemblages, it is suggested that these activities should be considered as a part of the well-educated background of the deceased, rather than as an indication of professional musicianship. / Musikinstrumentet aulos var det viktigaste blåsinstrumentet i den antika grekiska världen. I den här uppsatsen undersöks de åtta förhellenistiska gravar där auloi har påträffats. Syftet med undersökningen är att förstå auloi i egenskap av gravgåvor. För att uppnå detta syfte analyseras och jämförs de åtta gravarnas sammansättningar av gravgåvor med varandra, men även med sammansättningar från andra samtida gravar med musikinstrument. I den diskussion som följer övergår uppsatsen från empirisk analys till ett förklarande resonemang, vilket leder fram till slutsatsen att de auloi som påträffats i gravar återspeglar de avlidnas musikaliska verksamhet. Med tanke på gravarnas sammansättning föreslås det att denna verksamhet bör betraktas som en del av de avlidnas välutbildade bakgrund, snarare än som en indikation på yrkesverksamhet inom musik.

No description available.

The extant ancient Greek treatises on music show very striking similarities regarding the explanation of music theory, although they span a time period of seven centuries. The aim of this thesis is to prove that these similarities were not caused by the missing development of music, but rather by the habit of ancient musicologists, who seem to have preferred the information contained in their sources, however old they were, to the description of real musical practice. In this respect Aristides Quintilianus, an author of the 3rd century AD, who wrote three books On music, was not different. This thesis includes an explanation of the development of music as it is depicted by contemporary non-musicological writers and notational diagrams, then presents the work of Aristides Quintilianus per se as well as in the context of the other ancient Greek musicological research. There is also a translation and a commentary on Aristides's first book, where the musical changes should be present. Finally, by a comparison of some parallel passages found in Aristides's first book and in the rest of the extant musicological treatises, Aristides's sources are exposed.