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Music in Cyprus draws its authors from both sides of the divided island to give a rounded picture of musical culture from the beginning of the British colonial period (1878-1960) until today. The book crosses conventional scholarly divides between musicology and ethnomusicology in order to achieve a panorama of music, culture and politics. Shared practices of traditional music and dance are outlined, and the appropriation of those practices by both communities in the aftermath of the de facto division of the island is examined. Art music (European and Ottoman) is also discussed, both in terms of the structures of musical life and the creative praxes of composers, and there is an account of the early stages of a popular music industry. The authors consider such questions as: What is the role of different musics in defining national, regional, social and cultural identities in Cyprus? How do Cypriot alterities illuminate European projects of modernity? And what has been the impact of westernization and modernization (and, conversely, of orientalization) on music in Cyprus? The book will be of interest to students and academics working not only in both historical musicology and ethnomusicology, but also in the history and anthropology of Cyprus and of the entire Greek-Anatolian region.
Guillaume de Machaut was the foremost poet-composer of his time. Studies look at all aspects of his prodigious output.
Essays - collected in honour of Margaret Bent - examining how medieval and Renaissance composers responded to the tradition in which they worked through a process of citation of and commentary on earlier authors.
A unique capacity of measured polyphony is to give precisely fixed places not only to musical notes, but also to individual words in relation to them and each other. The Motet in the Late Middle Ages offers innovative approaches to the equal partnership of music and texts in motets of the fourteenth century and beyond, showcasing the imaginative opportunities afforded by this literal kind of intertextuality, and yielding a very different narrative from the common complaint that different simultaneous texts make motets incomprehensible. As leading musicologist Margaret Bent asserts, they simply require a different approach to preparation and listening. In this book, Bent examines the words and music of motets from many different angles: foundational verbal quotations and pre-existent chant excerpts and their contexts, citations both of words and music from other compositions, function, dating, structure, theory, and number symbolism. Individual studies of these original creations tease out a range of strategies, ingenuity, playfulness, striking juxtapositions, and even subversion. Half of the thirty-two chapters consist of new material; the other half are substantially revised and updated versions of previously published articles and chapters, organized into seven Parts. With new analyses of text and music together, new datings, new attributions, and new hypotheses about origins and interrelationships, Bent uncovers little-explored dimensions, provides a window into the craft and thought processes of medieval composers, and opens up many directions for future work.
This volume is the only scholarly work in English examining the multicultural society of the Lusignan Kingdom of Cyprus during the first two centuries of Frankish rule following the conquest of the Byzantine island during the Third Crusade. In this global synthesis based on original research, often in manuscripts, six chapters by acknowledged experts treat the main ethnic groups – Greeks and Franks – and the economy, religion, literature, and art of a frontier society between Byzantium, the papacy, the Crusader States, and the Islamic world. Cyprus, also home to Armenians, Syrians (Maronites, Melkites, Jacobites, Nestorians), Jews, Muslims, and others, offers an excellent opportunity to study the fascinating issues of identity construction, acculturation, and assimilation in a ethnically and religiously diverse society.