Thesis--Universität Zürich. / Vita. Includes bibliographical references (p. 135-138).

This thesis presents a study of the metrics and prosody of the carmina latina epigraphica from the Roman provinces of North Africa, the purpose of which is to test the prevailing but unsubstantiated view that these carmina exhibit especially poor versification, and that in them can be observed a chronological decline in quality of versification. A representative corpus of dated carmina latina epigraphica africana is established, the inscriptions are subjected to an analysis of their metrics and prosody, and conclusions are drawn concerning the nature, extent and chronology of their deviation from classical standards of versification. The corpus of inscriptions has four introductory chapters, which form Part II of the study. The first describes the criteria according to which the texts have been chosen. The second, third and fourth present three premises on which analysis and interpretation of their versification are based; these concern the authorship of the carmina, the educational background of the authors, and the linguistic milieu in which they were composed. The core of the thesis is Part III, which comprises the texts of eighty-six dated carmina, analyses of their versification and commentaries on several features of their composition. Observations are offered regarding: the nature and possible causes of unclassical metric and prosodic phenomena; the extent to which an author deviates from literary norms, and the effect of his errors on a quantitative reading of the poem; a brief assessment of each author's understanding of and competence in the composition of classical quantitative verse; the graphic disposition of the text and its effect on the reader's recognition and recitation of the poetic content. Conclusions drawn from the data compiled in Part III include the following. Unclassical metric features characteristic of the corpus include the combination of different meters in one poem, the composition of hypermetric and hypometric lines and the intermixture of prose with lines of verse. Such phenomena are found in about one-half the texts. Prosodical irregularities fall into two main types: those that can be considered classical (ascribable to an author's application of classical licences); and those that are errors, most of which are attributable to the intrusion of certain unclassical phonological features of an author's everyday speech. Prosodical errors occur in about three-quarters of the texts. Four main observations are offered regarding the distribution of errors in the corpus. The extent to which individual authors adhere to literary norms varies widely; the majority of versifiers, however, have adhered sufficiently well that their works can be read quantitatively without serious hindrance. The presence of metric deviations in a poem carries no chronological significance, for these are fairly evenly distributed throughout the corpus; a general chronological decline in adherence to classical prosody is discernible from the first century to the fifth, with a reverse in the decline seen in poems dated to the last three centuries of the period. The presence in the corpus of several poems of unsound versification of very early date and of poems of sound versification of very late date proves that the practice of some scholars of dating otherwise undatable carmina according to their quality of versification is unsafe. Pagan authors tend to adhere slightly more closely than their Christian counterparts to classical metrics and prosody. Poems of reasonably sound metrics and prosody tend to be inscribed in such a way as to facilitate the reader's recognition and recitation of their poetic content, while poems of poor quality of versification tend to be inscribed haphazardly. Appendix I provides full scansion of each carmen. Appendix II lists initia carminum. / Arts, Faculty of / Classical, Near Eastern and Religious Studies, Department of / Graduate

Thesis (MA)--Stellenbosch University, 2001. / ENGLISH ABSTRACT: In his Odes, Horace pays particular attention not only to the subject in hand, but also to the reader as his audience, or the addressee, who is usually mentioned at the beginning of the poem. As this kind of communication draws the poet into his own creation, it is useful to refer to him in that context, as the speaker. It is evident from the manner of communication with the addressee that Horace conveys the message of each poem not solely by means of statements, but by implying certain facts, through this interaction between speaker and addressee. The specific addressee for each ode - to whom the speaker's attitude is a reaction - is therefore chosen with great care, in order to underline a specific subject or support a point of view. Just as each ode is different, and contains a variety of differing emotions, Horace's speakers display a myriad of different attitudes. His deeper sentiments do however remain constant. This brings one to the realisation that Horace applies a number of "roles", in order to obtain the desired effect in each poem. Eventually the interaction is not between the speaker and the addressee, but between the poet and the reader. Some of the poems do not give the names of addressees, only the roles Horace plays as the speaker. These roles are termed personae, and represent the poet on a number of realistic and super-realistic planes. In this study, a selection of personae was analysed and the effects examined, in order to establish in what way the persona might influence the interpretation of the poem. Initially a collective overview of several personae was planned, for the purpose of a synthesis of those personae, possibly leading to the discovery of a central Horatian persona. It was however, found, in the complex perfection of his work, that that central person is Horace: the poet. / AFRIKAANSE OPSOMMING: In Horatius se Odes, gee hy dikwels spesifieke aandag nie net aan die onderwerp nie, maar ook aan die leser as sy gehoor, of die aangesproke persoon, wat dikwels in die begin van die gedig genoem word: Omdat so 'n kommunikasie die digter in sy eie skepping intrek, is dit sinvol om na hom in daardie konteks as die spreker te verwys. In die wyse waarop daar dan met die aangesprokene gekommunikeer word, word dit duidelik dat Horatius die boodskap van sy gedig nie slegs deur middel van stellings oordra nie, maar dat hy ook deur middel van die wisselwerking tussen die aangesprokene en die spreker, sekere feite impliseer. Die aangesproke persoon, waarop die spreker se houding dan'n reaksie is, word dus vir elke ode gekies om 'n sekere onderwerp of siening te ondersteun. Soos wat elke ode dus verskil, en'n verskeidenheid emosies bevat, verskil Horatius se houdings teenoor sy aangesprokenes drasties. Sy dieper oortuigings bly egter dieselfde. Dit lei die leser tot die besef dat Horatius 'n verskeidenheid "rolle" aanwend om in elke gedig die gewensde effek te verkry. Die werklike wisselwerking is nie tussen die spreker en die aangesprokene nie, maar tussen die digter en die leser. Sommige gedigte bevat geen name van aangesprokenes nie; slegs die rolle wat Horatius as die spreker gebruik. Hierdie rolle word personae genoem en verteenwoordig die digter op 'n aantal realistiese en bo-realistiese vlakke. Die effekte van 'n seleksie personae word in hierdie studie deur middel van analise ondersoek om vas te stel hoe die toepassing van die persona die interpretasie van die gedig beïnvloed. 'n Gesamentlike beskouing van 'n aantal digterlike personae is aanvanklik beplan, met die oog op 'n sintese van die personae, wat moontlik tot die ontdekking van 'n sentrale persona by Horatius sou kon lei. Daar is egter bevind dat die sentrale persoon wat in die komplekse perfeksie van sy werk self sit, dié is van Horatius as digter.

The 1994 publication of a new version of Carl Orff's Carmina Burana, arranged for winds, percussion and choruses by Juan Vicente Mas Quiles, created new possibilities for the performance of Orff's monumental work. This dissertation serves as a guide to the study and performance of the Mas Quiles arrangement of Carmina Burana. Chapter One presents a brief discussion of Carl Orff and his Carmina Burana, followed in Chapter two by a short discussion of Mas Quiles' and the other significant transcriptions and arrangements of Carmina Burana, Chapter three contains a review of the literature pertinent to the study Carmina Burana. In Chapter Four a detailed examination and comparison of the original Orff score with the Mas Quiles arrangement provides a framework with which the conductor may study and compare the two scores in preparation for a performance of the Mas Quiles arrangement. The scoring of the Mas Quiles arrangement is masterful in that the arrangement so closely maintains the textural, musical and aesthetic integrity of the work. The Mas Quiles version includes all of the movements, and all of the original elements: choruses, soloists and orchestral parts are preserved intact. The only substantive change is the judicious use of winds in place of the orchestral string parts. By comparison and analysis of Mas Quiles scoring techniques with the Orff original, the author concludes that the Mas Quiles arrangement is a viable and unique alternative to the Orff original and highly worthy of study and performance by conductors of advanced level ensembles.

Ces recherches participent d’une large réflexion menée actuellement sur les comportements démographiques de la population de l’Urbs. De récents travaux ont défini un régime démographique spécifique de la mégapole antique, où une natalité insuffisante et un fort taux de mortalité auraient empêché le renouvellement des générations. La population de Rome, « ville-tombeau », ne se serait maintenue que grâce à une immigration venue d’Italie et des provinces. Les tentatives de dénombrement ayant leurs limites, au vu des sources disponibles, ce doctorat s’inscrit dans le domaine de l’histoire sociale de la population de Rome. Centré sur les milieux populaires, il analyse les comportements familiaux et la place de l’enfant dans la famille. Il se fonde sur une étude d’épitaphes versifiées païennes (carmina Latina epigraphica), datant de la fin de la République et de l’Empire. Il présente ainsi un corpus d’épitaphes consacrées à des enfants dont l’âge au décès est mentionné, revues et traduites, ainsi qu’une étude de ce catalogue. Cette dernière analyse la nature et le rôle du carmen dans la commémoration funéraire. Elle précise l’identité des défunts et l’origine sociale des familles commanditaires des carmina, puis évoque la structure de ces familles en recensant l’ensemble des personnes mentionnées dans les épitaphes. Elle révèle des structures de famille complexes, où les enfants illégitimes sont nombreux, en raison du statut servile actuel ou passé de certains parents. Elle aborde enfin la question de la place de l’enfant dans la famille, en examinant les modes d’expression du chagrin selon les différents motifs littéraires et locuteurs choisis. Ces travaux permettent ainsi de mieux connaître le statut de l’enfant au sein des familles modestes et l’attitude de ces dernières face à la naissance et à la mort. / These researches participate in a wide reflection led at present on the demographic behavior of the population of Rome. Recent works defined a specific demographic model of the antique megalopolis, where an insufficient birthrate and a strong mortality rate would have prevented the renewal of the generations. The population of Rome would have held steady thanks to an immigration coming from Italy and from the provinces. This doctorate joins in the field of the social history of the population of Rome. It analyzes the family behavior in the lower classes, and the place of the child in the family. It bases itself on a study of funerary verse inscriptions (carmina Latina epigraphica), dating back to the end of the Republic and the Empire. It so presents a corpus of epitaphs dedicated to children (with an age mentioned), as well as a study of this catalog. This study analyzes the nature and the role of the carmen in commemoratives practices. It specifies the identity of the deceased and the social origin of families ; then it evokes the structure of these families by listing all the persons mentioned in the epitaphs. It reveals complex structures of family, where there are many illegitimate children, because of the current or past slavish status of certain relatives. It approaches finally the question of the place of the child in the family, by examining the modes of expression of sorrow, according to the various literary motives and chosen speakers. This research allows to know better the status of the child within the modest families and the attitude of these families in front of birth and of death.

Since Suetonius, Odes 4 has been the focus of much criticism and apology. Some explanation seems required for Odes 4’s apparent disunity and eclectic mixture of encomium with occasional pieces. My dissertation offers an interpretation of Book 4 by considering it in the light of the Mausoleum of Augustus. By considering the ways in which Horace builds evocations of the Mausoleum into book 4, I argue that there is sustained connection between the two works, which points towards a unified purpose for Odes 4: Horace is building a literary Mausoleum of Augustus. The first chapter establishes the justification for viewing Odes 4 through the lens of the material world by considering the functions of architecture and topography in Horace's models and contemporaries. After studying the ways the city of Rome is used by the Augustan poets and by Horace, the chapter concludes by making a case for understanding Odes 4 as a poetic monument. The second chapter studies the interrelationship between C.3.30 and the Mausoleum. First, I parse out a preliminary list of the Mausoleum's evocations. I then show how Horace evokes the Mausoleum in C.3.30 and recreates it in the poetic sphere. In chapter 3, I revisit Horace's autobiography and Suetonius's statements regarding the origin of Odes 4. I argue that the impetus of Odes 4 is not imperial compulsion but rather Horace's understanding of his own role as poet in the years following his selection by Augustus to compose the Carmen Saeculare. In chapter 4, I make the case for Odes 4 being a literary Mausoleum of Augustus. I first discuss the ways Horace builds his new poetic work upon the foundation of his earlier lyric successes. I then show how Horace uses the themes of time, death and the power of poetry as the brick and mortar of his literary mausoleum. I conclude by showing how Horace praises Augustus in ways that engage specifically with the Mausoleum by incorporating many of its evocations into this book. / text

Zugl.: Rostock, Univ., Diss., 2006

No description available.

[pt] No presente trabalho pretendo analisar as profundas mudanças que ocorrem no Ocidente Medieval do século XII e que foram notadas por Haskins como uma forma distinta de Renascimento. Bem como essas são representadas dentro do conjunto de textos satíricos, os Carmina Burana. Para isso mobilizarei um esforço, em um primeiro momento, para compreender a formulação do conceito de Renascimento Cultural, que é estabelecido em seus devidos contornos por Jakob Burckhardt e é utilizado por Haskins para pensar uma era de rompimentos e fluidez sociais, que eram atípicas a uma sociedade ligada a estabilidade que uma cultura agrária, conforme nos mostrou Ernst Gellner, possuía. Essa discussão de caráter historiográfico é importante para percebermos o momento de formulação de um conceito bem definido e totalmente explicativo e de outro modo apresentar uma instabilidade que não desmerece as formulações de 70 anos de historiografia, mas compreender uma outra via de explicação do real-passado que não age pela via conceitual, mas por uma outra via formativa da linguagem, isto é, a Metáfora. Dentro dessas compreensões pretendo levar, por um caminho híbrido, um esforço para demonstrar a formatividade desses versos, sua ambiência e como eles, por certa via, dão conta de uma experiência de real e assim demonstrar minha hipótese principal de ter nos textos risíveis dos Carmina Burana uma forma metafórica de construção de um conhecimento sobre o passado. / [en] In this paper we analyze the profound changes taking place in the twelfth century Medieval West and were noted by Haskins as a distinct form of Renaissance. And these are represented within the set of satirical texts, Carmina Burana. For this mobilizarei an effort, at first, to understand the formulation of the concept of Cultural Renaissance, which is established in their proper contours by Jakob Burckhardt and is used by Haskins to think an era of breakups and social fluidity, which were atypical to a company linked to stability that an agrarian culture, as we showed Ernst Gellner, possessed. This discussion of historiographical character is important to realize the time to formulate a well-defined concept and fully explanatory and otherwise present an instability that does not diminish the formulations of 70 years of history, but to understand another way of real-last explanation does not act via the conceptual, but another via formation of language, that is, the metaphor. Within these understandings intend to take, by a hybrid way, an effort to demonstrate the formativeness these verses, their surroundings and how they, in some way, realize a real experience and thus demonstrate my main hypothesis have the laughable texts of Carmina Burana a metaphoric way of building knowledge about the past.

The base theme of diploma thesis is the musical life with a focus on musical ensembles in Rychnov nad Kněžnou. At first the history of the town and its musical evolution is presented. In the next part of the thesis the active musical ensembles in Rychnov nad Kněžnou are discussed. They are for example the Rychnov Children's Choir of Carmina, Praus Choir and the X-tet and the Rychnov Temple Choir. There are also instrumental ensembles working at the ZUŠ of Rychnov nad Kněžnou: Sarabanda Flute ensemble, Orecchie grandi String Orchestra, Orecchie piccole String Orchestra, Nona Band, I flauti Matti Flute ensemble and Dance Orchestra ColorBand. The aim of the thesis is to map the culture of Rychnov in the field of artificial music.