Polyphony Research Papers - Academia.edu (original) (raw)

This article stems from a panel we jointly convened at the i-Docs 2018 Symposium, where we presented a series of provocations with a view to generating a new theoretical framework for i-docs. These provocations were inspired by all aspects of Mikhail Bakthin's concept of polyphony, from both a theoretical and a practical point of view. This article presents these provocations and reflects further on them. A number of key issues are documented, expanded and commented upon, as a potential framework for further research, including multiplicity, the chronotope, dialogism and interaction. We propose that these lead to new ways of approaching complexity. With the aim of using juxtaposition, nonlinearity and layering to break down binaries, the article demonstrates how complexity can be embraced and, crucially, how the simplicity within it can be revealed. In other words, a key proposition here is that we should accept and celebrate complexity as the natural order of things, without needing to deny simplicity. By investigating several theoretical aspects of Bakthin's wider idea of polyphony, this article identifies some areas for potential development and offers input for further research, particularly in relation to the concepts of heteroglossia, carnival and aesthetics. This article is an expanded version of our " provocations " , a series of ideas and stimuli designed to provoke debate and set the scene for a collaborative panel session on " The Poetics and Politics of Polyphony ". We organised and hosted this session at the i-Docs 2018 Symposium held in Bristol, UK on 21–23 March 2018, based on our combined long-term and ongoing research into the subject (Aston and Odorico). 1 In the spirit of the Russian philosopher Mikhail Bakhtin, our provocations were designed to start a dialogue between us, our guests and the audience, through which we endeavoured to create an equal and open platform for the generation and exchange of ideas. A number of key issues came out of this dialogue, which we document and comment upon here as framings for further research. The structure of this article is based on the order in which we presented our provocations, using our set of six slides from the symposium, followed by a list of keywords that emerged from the ensuing discussion. As we use this structure to talk through our ideas, this is not a typical linear essay, but a series of inputs for further analysis, with certain aspects focussed on in more detail. The article also includes a few additional slides, where we have expanded upon points we first made at the symposium. Overall, the aim of the article is to explore areas of synergy with Bakhtin's thinking on polyphony, and to begin to reflect on the theoretical and practical contribution of a dialogic approach to the field of i-docs.

- by Judith Aston
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- Documentary (Film Studies), Bakhtin, Polyphony, Documentary Film

1. Nel 1583, data in cui dà alla stampa la sua raccolta di Magnificat, 1 Orazio Colombano è già noto al mercato librario musicale dato che nel 1579 e nel 1580 aveva pubblicato, a Venezia per Angelo Gardano e a Brescia per Vincenzo Sabbio, un libro di salmi a 6 voci 2 e le Quinque cantiones a 5 voci. 3 Le poche notizie biografiche riguardanti Colombano 4 da noi possedute provengono, in gran parte, dalle dediche delle sue opere a stampa e da rari documenti d'archivio. La consuetudine di inserire, nei suoi frontespizi, le locuzioni "veronese" o "da Verona" fuga ogni dubbio sul fatto che la città scaligera fosse il suo luogo natio.

- by Tommaso Maggiolo
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- Musicology, Polyphony, Polychorality, Magnificat
- by thea buckle
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- Discourse Analysis, Semiotics, Cultural Studies, Social Change

Bu çalışma ile hedeflenen; yöredeki çok seslilik unsurlarını tespit ve analiz etmektir. Özellikle bu çalışmadan elde edilen sonuçların modernite kavramının ülkemizi etkilediği zamanlardan bu yana tartışıla gelen çok seslilik tartışmalarına katkıda bulunması, konu ile ilgili çalışma yapacak icracı ve araştırmacılara güvenli bir kaynak
oluşturulması çalışmanın temel amaçlarından birisidir. Çalışmanın sonucu olarak Yörük Türkmen müziğinin çok sesli olduğu tespiti yapılmıştır. Tespit edilen çok seslilik unsurları tasnif edilmiştir.

- by Sinan Ayyıldız
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- Ethnomusicology, Organology, Folk Music, Polyphony
- by Francisco Rodilla
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- Early Music, Gregorian Chant, Polyphony, Spanish Music

När jag har gjort en fältstudie som handlar om dialog under känslosamma omständigheter där människor har skrattat, gråtit, tänkt och samtalat tillsammans, hur kan jag då skriva om detta utan att texten känns platt, linjär och förutsägbar? Det vill säga, hur kan jag skriva om de levande, trevande och pågående samtal som jag har upplevt? Dessa frågor är utgångspunkten för det här kapitlet. Genom att berätta om min egen skrivresa, från det att jag satt med en hel resväska med ”data” till att jag fick ihop det till ett avhandlingsmanus, hoppas jag kunna väcka frågor och funderingar som rör själva skrivprocessen – vad vi kan kalla skrivandets praktik – kring hur vi skriver våra fältstudietexter.

- by Jenny Helin
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- Family Business, Academic Writing, Dialogue, Bakhtin

This article may be used for research, teaching, and private study purposes. Any substantial or systematic reproduction, redistribution, reselling, loan, sub-licensing, systematic supply, or distribution in any form to anyone is expressly forbidden. The publisher does not give any warranty express or implied or make any representation that the contents will be complete or accurate or up to date. The accuracy of any instructions, formulae, and drug doses should be independently verified with primary sources. The publisher shall not be liable for any loss, actions, claims, proceedings, demand, or costs or damages whatsoever or howsoever caused arising directly or indirectly in connection with or arising out of the use of this material.

- by Greg Tanaka
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- Critical Race Theory, Storytelling, Polyphony, Qualitative Studies

The ensemble kindly requests that you silence electronic devices before the performance begins. While applause is welcome after any piece, it is especially welcome at the conclusion of each set. Thank you. 15 the repertory was originally produced and heard. He was Artistic Director of the Connecticut Early Music Festival from 2007 to 2015, selecting nationally and internationally known ensembles to perform as well as conducting concerts by the Connecticut Early Music Ensemble. He was music director and tenor in the Boston-based ensemble Exsultemus from 2003 to 2009. Exsultemus's 2012 CD release, "O rex orbis," his reconstruction of Vespers and Compline services for the feast of Saint Charlemagne as it might have been heard in Aachen in 1582, was "highly recommended on all counts" by Fanfare and received four stars from Belgium's Le soir, which hailed it as "Magnificent and austere music, sensual in its fervor, performed with rigor by its American interpreters." Described by the Atlanta Journal-Constitution as a dignified and beautiful singer, Paul Max Tipton, bass-baritone, performs internationally to acclaim in repertoire ranging from Schütz and Monteverdi to Britten and Bolcom. He solos under such notable figures as

- by Eric Rice
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- Renaissance music, Polyphony, History of the Low Countries
- by Simon Jackson
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- Music, Seventeenth Century, Polyphony, Seventeenth Century English Literature

Critical literacy practices have moved their interest from Freirean binary analyses (e.g. oppressor versus oppressed) to more complex perspectives, where in a text the author/speaker is (dis)aligned with different discourse communities. Despite the fact that these teaching practices that are based in multiple discources are gaining attention, little work has been done on the assessment of the teaching practices. During the last decades, the literacy activities researches have focused on the teacher-student interactions and the teacher talks (asking questions, types of questions), neglecting the final text production, which is also a significant factor in the evaluation of literacy practices. In this paper, after the implementation of polyphonic literacy practices in a rural junior high school in Crete, Greece, the teacher-researcher assessed the final student written products using the Appraisal Theory. Further qualitative methodological data gathering sources enhanced the identification of the contextual factors that can explain in depth the discourses the students (re)produced in their texts. These findings suggest that Appraisal Theory combined with such methodological choices, where the context is identified, is more supportive in the evaluation of these complex critical literacy practices and provides the teacher and students fruitful feedback concerning critical literacy awareness.

The goal of this article is a discourse analysis of the architectonic integrity of polyphonic work on the texture and thematic levels, in conditions of imitative and non-imitative types of polyphonic thinking. The discursive approach in... more

- by Nataliia Belichenko
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- Polyphony, non-imitative polyphony

PhD dissertation abstract and index. Università degli Studi di Pavia, 13.02.2020.

- by andres locatelli
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- Music History, Medieval Music, Polyphony, Medieval Palaeography
- by Nicolas Aude
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- Media Studies, Emanuel Swedenborg, Spiritualism, Polyphony
- by Paola Dessì
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- Polyphony, Sacred Music
- by Christoph Neidhart
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- Discourse Analysis, Semiotics, Cultural Studies, Social Change

This work's aim is to analyze polyphony in The Brothers Karamazov, a novel written by Fyodor Dostoevsky, focusing on ideological confrontations that take place between characters, especially between the Karamazov's family. More specifically, I try to understand how Alexei Fyodorovich Karamazov interacts in a dialogical way with his family and friends, and how Alexei's interventions – marked by a religious ethical behavior – contribute to the conflicting discourses. To do so, the main concept on which this paper is relied is the polyphony, developed by Bakhtin in order to understand that each character in the book has a strong and distinct ideology, which helps creating tensions of immense proportions. Finally, this study is also based on Nietzsche's theories about religion, because it is argued that some characters are guided by a Christian ethical thinking, which is – although shown as good most of the times – surrounded by an oppressive fundamentalism.

- by Davi Silistino
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- Christianity, Russian Studies, Russian Literature, Education

T&F Proofs: Not For Distribution fanaticism" one year and praise its "great development of communal and provincial life" the very next, 2 this Heraclitean nature of a thinker's thoughts will be particularly relevant.

- by Ian Almond
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- Violence, Marxism, German History, Rural

The goal of this work was the study of structural aspects in polyphonic pieces by Adrian Willaert, aiming to identify a possible relationship between his vocal and instrumental works, namely the moteto and ricercare genres. Among the various structural aspects that served as a basis for comparison, cadence was chosen as a measurable and predominant common element, by patterns of occurrence and typology associated with a relatively well-established classification by Bernhard Meier. Some unusual cadential species were identified in Willaert’s pieces, specially the melodic clausula cantizans fuggita, which however could not be attributed to the composer without an investigation on its possible occurrence in works by influential composers such as Josquin. This observation implied in the study of primary sources previous to Willaert, in order to identify, on the one hand, aspects that corroborated the development of the instrumental music from vocal models during the fifteenth- and sixteenth-centuries and, on the other hand, possible influences related to the use of these unusual cadential species. An expanded cadential plan model was developed as the pieces were being analyzed, including a method of motivic analysis that prompted the scope examination of this converging analytical method in a piece by Clemens non Papa, a contemporary but unrelated composer to Willaert’s circle. As a consequence of this research, it was possible to identify a cadential structure nominated ‘staggered cadence’ as an ultimate means of potential articulation, besides some structural groupings in coupling with the basic cadential pattern cantizans-tenorizans, here nominated as ‘C/T-cadence’.

- by Fernando L C Pereira
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- Josquin des Prez, Polyphony, Adrian Willaert, Musical Analysis

""Counterpoint is a structural form in music which, in the high modernist era was mapped onto literature with differing degrees of success. It has also been the basis for a model of theoretical criticism, as critics such as Bakhtin and Said have sought to read literature and culture in a polyphonic or polyvocal manner. Both attempts to transpose contrapuntalism are problematised by the difficulty of reconstructing the experience of simultaneity in forms that are encountered serially.
James Joyce, who was a talented amateur singer with a significant interest in music, attempted to incorporate contrapuntal methodology in The Sirens episode of Ulysses, and revisited the experiment in Finnegans Wake. Anthony Burgess, a late Modernist and an accomplished composer, was heavily influenced by Joyce in his fiction-writing, and has repeatedly sought to transpose musical forms into his novels.
Burgess's earliest fiction draws extensively from musical form, and in his novels he developed literary structures that seek to emulate the passacaglia, the suite and the symphony. However, the challenge of constructing a literary counterpoint was one that he repeatedly revisited, exploring ways to create the form verbally, linguistically, typographically and even televisually.
In this paper, I intend to examine the extent to which Burgess's contrapuntal experiments in fiction draw upon and extend beyond those of Joyce. I also hope to explore whether the form of counterpoint can be considered beyond the level of mere metaphor in literature or in criticism, and what, if anything contrapuntal criticism and contrapuntal literature have to say to each other.""

- by Jim Clarke
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- Music History, Musicology, Philosophy, James Joyce

The article analyzes the media logic of urban acts of communication in early modern German cities. As is demonstrated by Cologne and Hamburg in the late seventeenth and early eighteenth centuries, the growing use of print (particularly pamphlets) moved local conflict away from face-to-face confrontation into progressively more multifaceted modes of communication, increasingly expressed in both manuscript and print. In highlighting the mediality of early modern urban culture, the changing relationship between the urban community, public opinion, and forms of communication is addressed. The resulting effect from the interplay and complementation of oral, written, and printed means of communication is described as echoes that formed an urban resonating box—a constant polyphonic state including both the literate and illiterate.

- by Daniel Bellingradt
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- Literacy, Communication, Public Opinion, Early Modern History

A Prolation Canon for three voices by Johannes Ciconia (c. 1370 – 1412). this piece is a unique example of irregular prolation from the French Ars Subtilior. Utilizing a 4:3:1 proportion, this piece creates an interesting rhythmic phasing effect between the triplum and the cantus (top two voices) nearly 600 years before the 20th century composer Steve Reich popularized such musical textures. Check out the score in motion at https://www.youtube.com/watch?v=YrOEOuwYy3M

- by Jordan Alexander Key
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- Music, Music History, Musicology, Composition (Music)

This brief summary updates the definition of 3 main types of musical texture: heterophony, polyphony, and homophony - and explains why they are all unsuitable for the earliest phylogenetic forms of musicking, as described by the theory of musilanguage by Steven Brown. This theory, adopted by many scholars of the origins of music, models the evolution of human proto-music and proto-language from animal calls. I introduce a new term, “isophony,” specifically tailored to the sonic texture of musilanguage, and distinguish its texture from heterophony, polyphony, and homophony. Audio examples are provided for reference.

- by Aleksey Nikolsky
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- Ethology, Psychology, Ethnomusicology, Psychoacoustics

Dans le chapitre « Les relations de temps dans le verbe français », Benveniste organise les temps verbaux de la langue française en deux systèmes distincts auxquels il fait correspondre deux plans différents d'énonciation: celui de l'histoire et celui du discours. L'opposition entre formes énonciatives de l'histoire et du discours se réfère à l'emploi des formes verbales françaises : le parfait (le passé composé) entretient une double relation avec le passé simple (l'aoriste) et avec le présent. La forme verbale il a fait, par exemple, entretient avec il fit un lien diffèrent de celui qu'elle entretient avec le présent il fait. Cette distinction crée un problème théorique qu'il faut résoudre. C'est à ce propos que Benveniste nous indique l'existence des deux formes énonciatives : « Les temps d'un verbe français ne s'emploient pas comme les membres d'un système unique, ils se distribuent en deux systèmes distincts et complémentaires. […] tous les deux sont en usage concurrent et demeurent disponibles pour chaque locuteur. Ces deux systèmes manifestent deux plans d'énonciation différents, que nous distinguerons comme celui de l'histoire et celui du discours ». 1 Benveniste, en décrivant les deux plans d'énonciation du discours et de l'histoire, semble nous indiquer un schéma théorique précis où à chaque plan d'énonciation correspond un engagement différent de la voix du locuteur. Dans la forme énonciative de l'histoire, « il faut et il suffit que l'auteur reste fidèle à son propos d'historien et qu'il proscrive tout ce qui est étranger au récit des événements (discours, réflexions, comparaisons). A vrai dire, il n'y a même plus alors de narrateur. Les événements sont posés comme ils se sont produits à mesure qu'ils apparaissent à l'horizon de l'histoire » 2. La théorie benvenistienne semble admettre la correspondance entre auteur et locuteur et, par conséquent, la totale disparition du locuteur dans les récits historiques : le locuteur n'existe pas, il devient un narrateur des événements factuels. Pour Benveniste, il n'y a pas un « je » qui implique une prise de parole, une comparaison, un dialogue entre un locuteur et un auditeur. Au contraire, le plan énonciatif du discours suppose l'existence d'un locuteur qui doit chercher à influencer celui qui l'écoute.

- by Ivan Altieri
- •
- Philosophy, Languages and Linguistics, Polyphony, Emile Benveniste

The characteristic properties of the non-imitative polyphony are compared with the imitative one in the aspect of musical logic. It is established that imitative polyphony in its main historical genre-compositional manifestations as a whole tends to reproduce the principles of dialogue (polylogue), with the linear narrative logic of prose inherent in it. In non-imitative polyphony, the logic of poetry with its methods has the leading role as well as the logic of song syntax.

- by Nataliia Belichenko
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- Dialogue, Polyphony, Polylogue, non-imitative polyphony

Magnus, a novel from Sylvie Germain published in 2005, is a narration made up of several marks of hybridity – structural, generic and discursive hybridity. Those marks are not simply formal but emphasize the necessity of a true presence towards the world and others. The itinerary of the character is a spiritual one, and the novel reveals the part played by reading and writing in the reconsideration of our relationship towards the world and the other people.

- by Quêtes littéraires
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- Hybridity, Polyphony, Sylvie Germain, Otherness

The Varthamanappusthakam is the description of the travel to Rome performed by Paremmackal Thoma Kathanar and Kariyattil Joseph Malpan both of whom were members of the Kerala Nazrani Church. This is one of the early travelogues in the Indian languages and the first one in Malayalam. This book is considered from different angles in the history of literature. This work is not to be confined to the limits of the literary branch of travelogue; instead, it is a work that embraces literature, language, history and religion with its emphasis on difference of opinions. In other words, it is a narration that extends to different spheres of knowledge. It represents an important stage in the standardization of language. The basis of the historical importance of the Varthamanappusthakam is that it is the first Malayalam work in which the national feeling of India and the Indians was manifested. For the appreciators of travelogue, it is a historical document that gives in a picturesque manner the life styles and particulars of Europe and America which two Malayalis visited at a time when distant lands were a nightmare.

Se aborda el estudio y edición crítica de una extensa Salve Regina a cuatro voces conservada en la Catedral de Puebla, que ha sido atribuida a Tomás Luis de Victoria (1548-1611), pero que no coincide con ninguna de las versiones publicadas de este autor. El autor considera que decir esto es posible porque el estudio de la circulación de la obra del compositor abulense, en fuentes manuscritas, ha permitido la identificación de nuevas piezas, nunca publicadas, que se añaden al catálogo de ese autor. Tras analizar distintas evidencias litúrgicas, estilísticas y contextuales, se cuestiona la atribución de esa Salve Regina a Tomás Luis de Victoria, dada por auténtica hasta ahora, y propone una nueva hipótesis que llevaría a considerar a Juan de Victoria, maestro de capilla de la Catedral de Puebla entre 1566 y 1569-1570, el verdadero autor de la obra.

- by Javier Marín-López
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- Authorship Attribution, Renaissance music, Polyphony, Spanish Music

Edizione critica dei 16 Balletti a tre voci (trascritti dall'edizione a stampa di Anversa, 1631).
Raffinate e giocose miniature sonore dedicate all’intrattenimento di corte, i balletti di Gastoldi erano pensati “per cantare, sonare et ballare”, così come si può leggere nei frontespizi delle edizioni originali a stampa. I testi sono per lo più di intonazione amorosa: il compositore tratteggia con piglio divertito e con felice mano contrappuntistica diverse tipologie di carattere (Il felice, Il risentito, Il curioso, Il passionato...), donando a ognuna di esse una sapida atmosfera, nel costante rispetto metrico della versificazione e dei cadenzati passi della danza.

- by Marco Berrini
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- Renaissance music, Polyphony, Choral Music, 16th-Century Polyphony

Resumen: El impreso musical conocido como Cancionero de Uppsala (Venecia, 1556) ha recibido mucha atención por parte de músicos prácticos, y ha sido objeto de varias ediciones totales o parciales y de diversas grabaciones que han permitido poner al alcance de los estudiosos y del público en general este importante repertorio de cincuenta y cuatro villancicos. El presente estudio sugiere que el recopilador ordenó estas obras preexistentes no sólo atendiendo, como se pensaba, a un posible uso pedagógico, con incremento progresivo del número de voces -a dos, a tres, a cuatro y a cinco-, sino también de acuerdo con un plan narrativo que ha pasado desapercibido hasta ahora, que implica una nueva lectura de este Cancionero y, especialmente, una nueva aproximación a su interpretación musical. Considerando este posible programa narrativo, el Cancionero incluso podría ser representado teatralmente. La única pieza atribuida en él a un compositor (Nicolas Gombert) adquiere especial relevancia, lo que, sumado a las características de este impreso, cuestiona la hasta ahora asumida procedencia de la corte valenciana del Duque de Calabria (1488-1550.

References to organs and organists in fourteenth-century European institutions, both religious and secular, are literally uncountable. For a capsulized overview, see Peter Williams, A New History of the Organ (London and Boston: Indiana University Press, 1980): 46-51, where he summarizes how "organs were known in cathedrals less as an exception and more as a norm." 2 Only seven sources are currently known to represent fourteenth-century keyboard traditions, most of them being fragmentary manuscripts or transmitting isolated pieces. These sources are edited and / or discussed in

- by David Catalunya
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- Improvisation, Medieval Music, Polyphony, Organ Music

En términos generales, los estudios teatrales tradicionales afirman que una de las características distintivas del género texto dramático es que se trata de un "discurso sin sujeto" (cf. entre otros, De Toro, 2008; Helbo, 2012; Ubersfeld, 1989). Sin embargo, existen una serie de trabajos que establecen un diálogo polémico con esta tradición y sugieren que, en efecto, todo texto de teatro posee una voz que es mostrada como a cargo de la enunciación global y que puede ser identificada, por ejemplo, en el discurso didascálico (cf. entre otros, De Marinis, 2005; Veltrusky, 1997; Villegas, 1991). De hecho, desde nuestra perspectiva, el modo en que se configura esta voz, que queda asociada convencionalmente con la figura del dramaturgo en tanto ethos autoral (Maingeneau, 2002), define la perspectiva enunciativa de todo el texto dramático (i.e. el lugar desde el cual se presentan los hechos). En ese sentido, en este trabajo, que forma parte de una investigación de doctorado en curso, nos proponemos analizar la manera específica en que queda construido el responsable de la enunciación global en La inapetencia [1996] (2000), pieza teatral de Rafael Spregelburd. En particular, observaremos que el texto pone en escena una imagen del dramaturgo como la de alguien que adopta una posición de distancia crítica frente a los personajes del drama. Para dar cuenta de esta dimensión, estudiaremos el modo en que estos últimos queda representados en tanto Locutores en sus propios discursos, lo que nos permitirá evaluar la actitud con la que el "Locutor-Dramaturgo" aparece mostrado frente a ellos. Finalmente, en cuanto a nuestra perspectiva de trabajo, nos enmarcaremos en el Enfoque dialógico de la argumentación y la polifonía enunciativa (García Negroni, 2009; 2016a; 2016b; 2018), teoría no veritativista de la significación y no unicista del sujeto.

- by Mariano Zucchi
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- Theatre Studies, Dramatic Literature, Dramaturgy, Drama

Full title: 'A Little Known Part-Book from Toledo. Music by Morales, Guerrero, Jorge de Santa María, Alonso Lobo and Others in Barcelona, Instituto Espanõl de Musicología, Fondo Reserva, Ms. 1'.
Published in: Anuario Musical 65 (2010), pp. 25-56. || ABSTRACT. A part-book preserved in the Instituto Español de Musicología, Barcelona, contains over fifty items of sacred music by composers associated with both the Cathedral and the Colegio de los Infantes in Toledo during the sixteenth and early seventeenth centuries. These composers range from Morales and Guerrero, to Francisco de Tapia and Jorge de Santa María—both Masters at the Colegio in the later sixteenth century—and Alonso Lobo, chapelmaster at the cathedral, 1593 to 1603. The majority of the music is unique to this source, and it also includes works by Morales that were revised for publication when he was in Italy. The part-book is very largely copied for second or first superius, and there are indications that much of the repertory was intended for high voices; but there is also the occasional piece for a lower voice part. The manuscript contains a wide range of Latin-texted sacred music that includes mass settings, Magnificats, motets and psalms. In addition to about a dozen items by Morales, the part- book includes rare settings of calendas by Santa Maria, examples of mass propers in contrapunto style by Francisco de Tapia, and a sequence of music for the Christmas Misa del gallo (midnight mass).

Si algo ha demostrado la reciente y dramática eclosión de la Covid 19 es el alto nivel de interdependencia global entre todas las personas del mundo y la nueva dimensión que han adquirido valores típicamente humanos como la responsabilidad, la solidaridad y la profesionalidad. El FeMAUB 2020, marcado por la expansión del virus, también quiere situar en el centro a las personas por medio del evocador lema “DE MVSICA HVMANA” (la música del hombre), término utilizado desde la Alta Edad Media para referirse a la armonía interior que une el alma y el cuerpo en la persona (por oposición a “mvsica mvndana” o del universo y a “mvsica instrumentalis” o de los instrumentos musicales). El concepto de “mvsica humana” ejerció una gran influencia en el Renacimiento –época de esplendor de Úbeda y Baeza– y cristalizó en el pensamiento humanista, que ubica al hombre en el centro del universo y del saber, en tanto criatura privilegiada. Desde esta perspectiva filosófica más humanizada y antropocentrista, el FeMAUB 2020 se dedica al conjunto de personas que hacen posible su celebración desde hace casi un cuarto de siglo: artistas, audiencias, organizadores, patrocinadores, proveedores y, en definitiva, a todos los que de manera directa e indirecta han participado y participan en el mismo, como metáfora expresiva e ideal, a pequeña escala, de la necesaria armonía universal. Todo ello sin perder de vista el elemento más característico desde su creación: la recuperación y difusión del patrimonio musical hispano en entornos artísticos excepcionales y únicos como son los constituidos por las ciudades de Úbeda y Baeza. // If the recent and dramatic emergence of the COVID-19 pandemic has taught anything, it is both the high level of global interdependence between people and the new dimension acquired by typically human values, such as responsibility, solidarity and professionality. The FeMAUB 2020, marked by the spread of the virus, also aims to put people at the centre by means of the evocative title “DE MVSICA HVMANA” (human music), a concept used from the early Middle Age in order to refer to the inner harmony that links the soul with the human body (as opposite both to the “mvsica mundana” or that of the cosmos, and to the “mvsica instrumentalis” or the music produced by musical instruments). The notion of “mvsica humana” exerted an important influence on the Renaissance –a flourishing period in Úbeda and Baeza– and crystallised in the humanist thought, which put the human being at the centre of both the universe and the knowledge, as it was considered a privileged creature. From this more humanised and anthropocentric philosophical perspective, the FeMAUB 2020 is dedicated to the group of people who has made it possible the celebration of the festival for nearly a quarter of a century: artists, audiences, organisers, sponsors, suppliers and, ultimately, all those who in a direct or indirect way have participated and continue to participate in the festival, as an ideal and expressive, small-scale metaphor for universal harmony. Nor is it overlooked that the most characteristic element from the creation of the festival has been the recovery and dissemination of Hispanic musical heritage in exceptional artistic settings such as those provided by the cities of Úbeda and Baeza.

- by Javier Marín-López and +1
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- Early Music, Musicology, Festivals and music, Baroque Music

Caryl Phillips' multi-voiced texts have often been studied through the lens of Bakhtinian polyphony. In this essay I focus on the volume of fictionalized biographies Foreigners: Three English Lives (2007) to demonstrate that polyphony in Phillips' work resides not only in the structural confrontation of characters' and narrators' voices but also in the subtle inscription of the implied author's subjectivity within his texts. Borrowing methods from the discipline of stylistics, I first establish through a focus on the use of adjectives and modality (that is, grammatical means indicating how speakers position themselves in relation to propositions) in the opening section of Foreigners, "Dr Johnson's Watch," how the first-person narrator gradually transitions from tentativeness to self-confidence. This change enables the implied author, on the one hand, to expose the thwarted logic of the colonially tinted discourse of his eighteenth-century narrator and, on the other, to reflect on the process of ideological encoding inherent in the writing of historiography. Such an investigation based on modality further allows me to challenge the critical consensus that the second section of the book, "Made in Wales," is a straightforward factual account. I suggest that the story of the rise and fall of mixed-race boxer Randolph Turpin is in fact a highly polyphonic narrative that features increasingly marked clashes in modality and point of view. These clashes, I argue, draw attention to the construction of historiographical discourse deceptively made to appear so commonsense by the narrator of "Dr Johnson's Watch."

- by Daria Tunca
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- Caribbean Literature, Modality, Postcolonial Literature, Polyphony

With the emergence of the legend of Saint Blaise, who protected the people of Dubrovnik against the Venetian menace, the city of Dubrovnik has been continuously organizing a feast in Saint Blaise's honour on the 3rd of February of each year. In addition to the social importance of this event, it also emphasizes musical activity as the daily Liturgy of the Hour is modified to fit the festivity and enriched with musical instruments which accompany the main services. In this article, we will travel back to the feast of 1588, where Serafi no Razzi, a Dominican friar on a two-year canonical visitation to Dubrovnik, witnessed the festivity. What did Razzi have a possibility of hearing at that time in Dubrovnik, were there performing forces to support the festivity, and what did the liturgy look like on the 2nd and 3rd of February 1588 are the main questions this paper will address through a thorough analysis of Razzi's account, its comparison with other performances in European city-states, and extensive use of available sources.

- by Tin Cugelj
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- History, Music History, Renaissance History, Liturgy

2015 marks the 500th anniversary of the foundation in Jaén of a major confraternity attached to the parish church of San Andrés and known as Santa Capilla. What differentiates this brotherhood of others created in Spain at the time is the bylaws established presence of a music chapel in order to exalt its religious celebrations. This article offers a panoramic study of the Santa Capilla as a musical institution during the 16th century, based on new archival findings. The work includes an analysis of models of patronage that its founder, the Apostolic Protonotary Gutierre González Doncel, might have in mind; a critical review of the musical activities of singers, instrumentalists and chapelmasteres at the service of the institution; some hypotheses about the repertoire used; and a specific study, accompanied by the critical edition, of two odd sets of verses for minstrels by Gil de Ávila, the only pieces preserved by the only 16th-century chapelmaster of the Santa Capilla with known musical production. // En el año 2015 se conmemora el quinto centenario de la fundación en Jaén de una importante cofradía adscrita a la iglesia parroquial de San Andrés y conocida con el nombre de Santa Capilla. Lo que diferencia a esta hermandad de otras creadas en la España de la época es la presencia, estatutariamente establecida, de una capilla de música con el propósito de enaltecer sus celebraciones religiosas. El presente artículo ofrece un estudio panorámico sobre la Santa Capilla como institución musical durante el siglo XVI, basándose en nuevos hallazgos archivísticos. El trabajo incluye un análisis de los modelos de mecenazgo que pudo tener en mente su fundador, el protonotario apostólico Gutierre González Doncel; una revisión crítica de las actividades musicales de cantores, instrumentistas y maestros de capilla al servicio de la cofradía; algunas hipótesis sobre el repertorio musical empleado; y un estudio específico, acompañado de la edición crítica, de dos singulares juegos de versos para ministriles de Gil de Ávila, únicas piezas del único maestro de la Santa Capilla del siglo XVI del que conocemos música.

- by Javier Marín-López and +2
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- Patronage (Music), Josquin des Prez, Renaissance music, Polyphony