In the history of Turkish-Islamic culture, every stage of human life—from birth to death—has been ritualized with profound symbolic and spiritual meanings. Turkish religious music has functioned as a fundamental element in these transitional phases, possessing both aesthetic and devotional dimensions. In individual rites of passage such as naming, circumcision, beginning school, and marriage, as well as in collective rituals such as bidding farewell to and welcoming Hajj pilgrims or observing religious days and nights, Turkish religious music has held a significant place. Confronting death—an inevitable and sorrowful reality of life—Turkish society has employed religious music as a consolatory and spiritually guiding medium, transforming it into a ritual mode of expression intended to soften the disruptive impact of death and to give meaning to the mourning process. Sufi order funerals represent one of the manifestations of this aesthetic depth. In this context, (Janāza) funeral ceremonies are not merely occasions of farewell but also rites of metaphysical acceptance and surrender. Since death is considered not an end but “wuṣlat,” that is, reunion with the Absolute Truth (al-Ḥaqq), within Sufi thought, the funeral rites of Sufi orders have been shaped accordingly. In Mawlawī, Bektāshī, Jarrahī, and Rifāʿī orders, not only the canonical funeral prayer (ṣalāt al-janāza) but also various forms of religious music are performed, imparting both aesthetic and spiritual depth to the ceremony. This study aims to examine the religious musical practices present in the funeral ceremonies of these four major Sufi orders, all of which have historically maintained a close relationship with music. A qualitative ritual-musicological approach has been adopted; semi-structured interviews were conducted with the Shaykh of the Rifāʿī order, the Zakirbaşı of the Jarrahī branch of the Khalwatī order, and a Dede of the Bektāshī order. The data sources of the study consist of interview materials, archival-based works, literature on the history of Sufism, sources on Turkish religious music, and digital recordings of Sufi orders’ funeral rituals. The limited number of interviews were analyzed through thematic analysis, while textual analysis and contextual interpretation were employed to examine in detail “the musical forms, thematic structures, performance contexts, and symbolic functions” present in these rituals. Preliminary findings indicate that the music unique to Sufi order funerals fulfills multiple functions, including “spiritual consolation, strengthening social solidarity, doctrinal expression of belief in the afterlife, and transforming mourning into a sacred experience.” The funeral traditions of the four orders examined possess distinctive musical structures, and these structures constitute an identifiable aesthetic form within the Ottoman and Turkish religious-musical tradition. It has also been determined that the repertory performed in Sufi orders’ funeral ceremonies is largely rooted in the tekke (Sufi lodge) musical tradition and that various forms of Turkish religious music are prominently represented in these rituals. This study has brought to light the religious musical repertory performed within the funeral rituals of Sufi orders—an area that has remained insufficiently explored to date—and has demonstrated that this repertory exerts positive psychosocial effects on both Sufi adherents and other participants in their approach to death. In this respect, the study sheds light on the repertory of Turkish religious music and offers an original contribution to the scholarly literature.
Cinema as an art form developed rapidly in the last century and has not lose its position in the 21st century. What we see on the screen is the embodiment of thoughts, actions, stories of people and society. Serious cinema or cinema not for everyone (sometimes they call it chamber) is in many ways a philosophical creation. However, a cross-section of society, pictures of life are color wide-format frames of commercial cinema. Cinema that millions of people watch with “eyes wide open”. The author of the article notes that often it is fiction and feature films that are more documentary. He draws attention to: which social classes and groups and how they react to what is happening on the screen.
The article attempts to study the life of a modern person in a modern highly developed country. As is known, the world socialist system, socialism on the threshold of the 21st century gave up its positions to the old (according to the calendar) good (in the opinion of many) capitalism. With the beginning of the new century, scientific and technological progress, in the form of digital and other technologies, has dramatically changed the situation in the economy and the life of society. More grandiose changes are expected. Progress brings great advantages (in healthcare, communications, transport) and no less serious disadvantages. Among them are such problems as: future unemployment from robots and digital algorithms.
The problem of recent decades is the alienation of people from each other in the case of the development of new means of communication. The purpose of the article will be the idea that "pure" progress and the latest technologies do not make people's lives better automatically. Happiness remains for many the same unattainable blue-bird-dream. What prompts "ordinary" people and specialists - economists, sociologists, engineers to philosophically understand scientific and technological progress.
As is known from history, humanity postpones the solution of the most acute problems to the end. The author sees the solution (not the only one) to the problem of future unemployment from robots with artificial intelligence in the implementation of the UBI-Unconditional Basic Income. Raises the issue of the mandatory race for "success" in the modern world. These problems are relevant today and the article touches on them through the study of a landmark film. Today, it is art cinema, not music, nor literature, but cinema that can raise acute issues on a massive scale, louder and more colorfully.
Mira Kristiyanti Gea, Tiara Kristina Pasaribu, Erika Sinambela
The study is very important because when listening to songs, most people only focus on the music rather than the lyrics without knowing the meaning of the song. This study aims to find out the types of figurative language in “Short n Sweet” song album by Sabrina Carpenter and how is the figurative language realized in the song album. This research used mix-method research namely quantitative and qualitative. This study used Perrine (1992) theory which classified figurative language into 12 types. However, this research only focuses into 6 types of figurative language with the research results of 97 data. There are Metaphor (16), Simile (14), Personification (9), Symbol (19), Hyperbole (23), and Irony (16). The realization is that there are six types of figurative language, namely metaphors (comparing two different ideas, namely intelligence with sharpest tools and describing a partner with bee). Simile (make a direct comparison using the term "like"). Personification (inanimate objects namely fan and car are given human characteristics or talents). Symbol (use elements of numbers and drink brands with meanings that are different from their literal meanings). Hyperbole (use clearly exaggerated statements to emphasize certain feelings and situations). Irony (there is a mismatch between what is said or expected and the truth or deepest feelings behind the statement). This study is very important for english department and literature students, teacher, lecturer, and other researchers because it will teach them how to evaluate and analyze figurative language both in songs and in other media.
Language. Linguistic theory. Comparative grammar, Theory and practice of education
Transmediality refers to a concept’s transformation across different media while retaining a recognizable core. In Dumitru Tsepeneag’s Vain Art of the Fugue (originally published as Arpièges, Paris, Flammarion, 1973), this is exemplified through a wordplay between “arpeges” (arpeggios) and “pièges” (traps), structuring the novel around the musical concept of the fugue. The fugue, a polyphonic musical genre, shapes Tsepeneag’s narrative through a rigorous, contrapuntal framework, redefining its musical origins within a literary context. Similarly, in The Bulgarian Truck, Tsepeneag employs transmediality by transitioning from real to virtual realms, using counterpoint to interweave fragmented memories and vivid imagery. These images often evoke violent realities and obsessions tied to a fugitive escaping Communist oppression. This transmedial approach creates a dynamic interplay, where music and cinema converge to explore themes of resistance, identity, and existential reflection, challenging conventional narrative structures and enriching literary expression through multifaceted artistic integration.
Tsepeneag’s narratives exhibit “narrative schizophrenia,” where multiple characters experience the same events from diverse perspectives, guided by the fugue’s intricate structure. This creates a dual analytical framework: one explores captivity within cyclical time and confined space, reflecting themes of lost freedom and predetermined destinies; The other examines auto-theory, where narrative perception shifts through episodic, fragmented storytelling, fostering self-reflexivity and interpretive multiplicity. This redefines the literary process through transmedial interplay with music and cinema, creating a dynamic narrative that challenges traditional forms and enriches meaning through cross-artistic dialogues and innovative structural integration.
Through these works, Tsepeneag harnesses the fugue’s musical principles to craft a transmedial narrative that engages with Romania’s socio-political context. From a transmedial perspective, literature emerges as a space of transfer and reconstruction across domains such as music and cinema, redefining itself through an interrogation of its own creative process. In the novel Vain Art of the Fugue, Dumitru Tsepeneag adopts the structure of a musical fugue, integrating musical and narratological principles. In The Bulgarian Truck, logic gives way to an intertextual dialogue with Marguerite Duras’s film Le Camion, where music and cinema become central narrative pillars. Associated with the Oniric group, Tsepeneag, alongside Leonid Dimov, proposed escapism through dreams as an act of resistance against politically imposed socialist realism. The intersection of music and literature finds precedents, such as in André Gide’s The Pastoral Symphony, where a blind character associates sounds with colors, inspired by Beethoven’s Sixth Symphony. Gide’s novel was adapted into a film in 1946 by Jean Delannoy. Through these works, transmediality highlights how literature absorbs and transforms elements from other arts, constituting a form of subversion through the novel.
From a transmedial perspective, literature serves as a space where multiple artistic domains, such as music and cinema, converge and are reconstructed, prompting literature to reflect on its own creative process. While one might initially analyze the analogy with musical structures as intra-compositional intermediality with implicit formal imitation, Tsepeneag’s novels reveal a deeper metareferential process leading to transmediality. Transmediality in literature can be defined as the interplay of three or more instrumentalized fields, where their characteristics are transferred to literature, structuring it and encouraging self-interrogation about its creation.
Chi Yhun Lo, Benjamin Rich Zendel, Deniz Baskent
et al.
<h4>Background</h4>Unaddressed age-related hearing loss is highly prevalent among older adults, typified by negative consequences for speech-in-noise perception and psychosocial wellbeing. There is promising evidence that group singing may enhance speech-in-noise perception and psychosocial wellbeing. However, there is a lack of robust evidence, primarily due to the literature being based on small sample sizes, single site studies, and a lack of randomized controlled trials. Hence, to address these concerns, this SingWell Project study utilizes an appropriately powered sample size, multisite, randomized controlled trial approach, with a robust preplanned statistical analysis.<h4>Objective</h4>To explore if group singing may improve speech-in-noise perception and psychosocial wellbeing for older adults with unaddressed hearing loss.<h4>Methods</h4>We designed an international, multisite, randomized controlled trial to explore the benefits of group singing for adults aged 60 years and older with unaddressed hearing loss (registered at clinicaltrials.gov, ID: NCT06580847). After undergoing an eligibility screening process and completing an information and consent form, we intend to recruit 210 participants that will be randomly assigned to either group singing or an audiobook club (control group) intervention for a training period of 12-weeks. The study has multiple timepoints for testing, that are broadly categorized as macro (i.e., pre- and post-measures across the 12-weeks), or micro timepoints (i.e., pre- and post-measures across a weekly training session). Macro measures include behavioural measures of speech and music perception, and psychosocial questionnaires. Micro measures include psychosocial questionnaires and heart-rate variability.<h4>Hypotheses</h4>We hypothesize that group singing may be effective at improving speech perception and psychosocial outcomes for adults aged 60 years and older with unaddressed hearing loss-more so than participants in the control group.
Manuela M. Marin, Manuela M. Marin, Bruno Gingras
et al.
More than a century ago, Darwin proposed a putative role for music in sexual attraction (i.e., sex appeal), a hypothesis that has recently gained traction in the field of music psychology. In his writings, Darwin particularly emphasized the charming aspects of music. Across a broad range of cultures, music has a profound impact on humans’ feelings, thoughts and behavior. Human mate choice is determined by the interplay of several factors. A number of studies have shown that music and musicality (i.e., the ability to produce and enjoy music) exert a positive influence on the evaluation of potential sexual partners. Here, we critically review the latest empirical literature on how and why music and musicality affect sexual attraction by considering the role of music-induced emotion and arousal in listeners as well as other socio-biological mechanisms. Following a short overview of current theories about the origins of musicality, we present studies that examine the impact of music and musicality on sexual attraction in different social settings. We differentiate between emotion-based influences related to the subjective experience of music as sound and effects associated with perceived musical ability or creativity in a potential partner. By integrating studies using various behavioral methods, we link current research strands that investigate how music influences sexual attraction and suggest promising avenues for future research.
HE Jingyi, WANG Fang, SHUI Xiaoling, LI Ling, LIANG Qian
Background The presence of insomnia symptoms reduces the quality of life of perimenopausal women and increases their risk of developing other diseases. Currently, there are numerous non-pharmacological interventions available to improve perimenopausal insomnia symptoms, with disagreement as to which intervention is most effective. Objective To evaluate the efficacy of non-pharmacological interventions in improving perimenopausal insomnia symptoms using a network meta-analysis. Methods In March 2022, Cochrane Library, PubMed, EmBase, Web of Science, CNKI, Wanfang Data Knowledge Service Platform, VIP and CBM were searched for the randomized controlled trials (RCTs) on the improvement of perimenopausal insomnia symptoms by non-pharmacological interventions from inception to March 2022. Two investigators independently screened the literature, extracted data, and evaluated the risk of bias of the included literature using the RCT bias risk assessment tool recommended by the Cochrane Manual of Systematic Review 5.1.0. A Bayesian network meta-analysis was performed on the overall response rate to the improvement of perimenopausal insomnia symptoms, as well as improvement in Pittsburgh Sleep Quality Index Scale (PSQI) score, Kupperman score and estradiol (E2) level under different non-pharmacological interventions by using R 4.1.3 software and the GeMTC package. Results A total of 44 RCTs including 3 354 patients were selected, involving 12 non-pharmacological interventions (moxibustion, electroacupuncture, acupoint pressing with beans, scraping, fire dragon pot, thumbtack needle, massage, warm acupuncture, bee acupuncture, acupoint embedding, music therapy, acupuncture). The results of meta-analysis showed that moxibustion, electroacupuncture, and acupuncture were superior to sedative-hypnotic western drugs in overall response rate to the improvement of perimenopausal insomnia symptoms (P<0.05), and moxibustion was identified as the most probable superior intervention. Moxibustion, electroacupuncture, scraping, and acupuncture were superior to sedative-hypnotic western drugs (P<0.05), moxibustion was more effective than warm acupuncture (P<0.05) in the improvement of PSQI score and identified as the most probable superior intervention. There was no significant difference in the improvement of Kupperman score and E2 level among different interventions (P>0.05), with scraping emerging and acupuncture as the most probable superior intervention, respectively. Conclusion Current evidence demonstrates that moxibustion is superior in overall response rate to the improvement of perimenopausal insomnia symptoms and PSQI score in perimenopausal women, while scraping is superior in improving Kupperman score and acupuncture has advantages in improving E2 level, however, further validation of this conclusion is needed by conducting more high-quality studies.
O texto que se segue busca avaliar em que medida o conhecimento musical é mediado pela subjetividade e pela objetividade, em quais esferas musicais essas duas categorias atuam, de que forma, quais critérios investigativos devem ser adotados para melhor compreendermos esta linguagem e como pontuar de que maneira a música, dotada de um poder comunicativo, pode contribuir para o desenvolvimento bio/psíquico/social dos indivíduos. Para avaliar essas questões o texto avalia em cada um dos objetivos elencados, as publicações de diversos pesquisadores musicais e de outras áreas de conhecimento.
Music and books on Music, Musical instruction and study
J. Jesus De Santiago-Perez, Martin Valtierra-Rodriguez, Juan Pablo Amezquita-Sanchez
et al.
Time-frequency analysis is commonly used for fault detection in induction motors. A variety of signal decomposition techniques have been proposed in the literature, such as Wavelet transform, Empirical Mode Decomposition (EMD), Multiple Signal Classification (MUSIC), among others. They have been successfully used in many works related with the topic. Nevertheless, the studied signals present amplitude changes and chirp-type frequency components that are difficult to track and isolate with the aforementioned techniques. The contribution of this work is the introduction of a novel technique for time-frequency signal decomposition that is based on an adaptive band-pass filter and the Short Time Fourier Transform (STFT), namely Fourier-Based Adaptive Signal Decomposition (FBASD) method. This method is capable of tracking and extracting nonstationary time-frequency components within a user-selected frequency band. With these components, a methodology for detecting and classifying broken rotor bars in induction motors using the startup transient current is also proposed.
Nila nourbalin, Mahmoud Sadeghzadeh, Azizolah Tavakoli Kafiabad
1.Introduction Rabindranath Tagore (1861-1941) was poet, philosopher, musician and portraitist from Bengal, India. He is mostly famous for poetry. He was the first Asian winner of Nobel Prize (Mahvashan, 2018: 144-146). Tagore is known as the Indian Goethe, he is among the most distinguished Indian characters who supported Mahatma Gandhi in Indian Independence Movement (Watt, 2018: 452). He is among the poets who has been influenced by philosophical thoughts and new European literary genres due to India colonization by England, familiarity with English language, education in Europe, reading western authors’ works and also through translating and researching intellectual and literary works. Ahmad Shamlou is Iranian poet, author, lexicographer, scholar and translator who is considered as the main representative of free verse in Iran. He has been influenced by western culture and literature due to travels and translating European works. Shamlou has lectured in countries like Germany and America as committed open-minded poet. Shamlou also won Stig Dagerman Prize at the end of his life. This prize dedicated to Shamlou for defending freedom of speech and discussion (Shahrjerdi, 2003: 25). Tagore and Shamlou are both universal poet and scholar, committed open mind, humanitarian and philosopher who have expressed their emotions and thoughts in their poems well and have influenced by western culture and literature directly or indirectly. Both of them pay attention to poetic beauties. They also were interested in music, theater and drama. Tagore has travelled to Iran tow times and he has spoken about his Iranian origin in both times in his lectures: “I am Iranian and my ancestors migrated to India from this land. I am glad to have come to my ancestors’ homeland.” (Mahvashan, 2018: 146). Shamlou has also read Tagore’s poems and even he has tape recorded Chitra Play in his voice (Pourazimi, 2018: 558-560). Therefore, the evidences show that Shamlou has been indirectly influenced by him. Among literary schools, romanticism components form the most common features between Shamlou and Tagore poems which is analyzed and investigated based on indices mentioned in authentic literary schools books in their poems. According to commentators, romanticism mostly has these indices: freedom, character, emotion and feelings, naturalism, escape and travel, revelation, the magic of speech, returning to Middle Ages and legends, unanimous and lyrical songs and epic poems, reflecting century diseases, paying attention to play, different types of novel and… but romanticism differed in different countries due to social, political and cultural conditions (Seyyed Hosseini, 2016: 183-189). Comparative literature has been changed and progressed many times from the beginning due to its international, cultural and interdisciplinary content. Therefore, various views have been proposed to analyze and investigate nations’ literature works. But two schools are more famous and more popular among other ones: French school of comparative literature, American school of comparative literature. But this study mostly analyzes romanticism parameters in Shamlou and Tagore poems based on comparative literature school. Totally, American school of comparative literature has been mostly based on similarity not difference which is distinguished in French school; American school mostly relies on modern criticism and gives originality to text not to hypertext. Thus, this school also pays attention to literature and other human wisdoms such as beautiful arts and even experimental sciences (Khatib, 2020: 46 narrated by Seyyedi, 2017: 52-53). 2. Methodology This study has investigated the most important components of romanticism mostly based on the principles of American comparative school in Shamlou and Tagore poems through descriptive-analytical method and quantitative evaluation. Shamlou poems which are studied are: Poems of Irons and Feelings, The Verdict, Fresh Air, The Mirror Orchard, Moments and Forever, Ayda in the Mirror, Ayda: Tree, Dagger, Remembrance, Phoenix in the Rain, The Eulogies of Soil, Blossoming in the Moist, Abraham in the Fire, Poniard in the Plate, Little Rhapsodizes of Exile, Unrewarded Eulogies, On the Threshold, The Tale of Mahan’s Restlessness, these poems have been collected during 1945-2000 and have been published in a book titled: Ahmad Shamlou, the Works Collection of First Book, Poems (2016). Tagore’s poems which have been analyzed mentioned in the literature review. Thus, Tagore’s poems translated and Shamlou’s poems reread and according to the most important sources of recognizing literary schools, comparative literature and criticism, the most principal indicators of romanticism have been identified and classified in the poems of Shamlou and Tagore which compared and analyzed by mentioning examples and the frequency of most components have been quantitatively evaluated. 3. Discussion Poems of Tagore and Shamlou are analyzable in different literary dimensions, especially components and features of romanticism. Although they are different in worldview, spatial, temporal and lingual conditions, they have similarities considering some intellectual and literary attitudes and lyrical concepts. This essay has comparatively investigated the most important components of romanticism such as: nature, imagination, individuality, freedom, travel, nostalgia and love in their poems. Totally, they have equally used three components of nature, human behavior, nature and individuality in their poems. Both of them love nature and have used natural elements to create imaginary pictures; but Shamlou has used imagination elements more than Tagore. Shamlou has symbolically used nature to develop political and social concepts and Tagore has used it to develop the meaning of mysticism and personal feeling. Both of them expressed their feelings. Emotions and thoughts using nature and they have not only aimed at describing the appearance of nature in their poems and they used nature symbolically. Individuality also plays an expansive role in the poems of both poets. Both of them try to express their personal thoughts and feelings. When Shamlou talks about myself, the reader approximates to his real and true character in his life, but reader faces with poet’s momentary feeling and emotion in Tagore’s poems and as Shamlou does not page his personal and real life book, individuality associates with social and human self in Shamlou’s poems and this is less in Tagore’s poems. Both of them believe in love and except sweetheart’s physical aspects they considered her soul and clarity. The identity of sweetheart is clear in romantic poems that Shamlou has composed for Ayda. Tagore does not mention his sweetheart in is romantic poems but is some poems is concluded that he meant his wife from woman. Both of them challenged for human freedom, made corrections in society, both of them considered life and death as a journey. 4. Conclusion Considering romanticism components in the poems of Shamlou and Tagore it is concluded that: both poets are similar to each other considering the frequency of using three nature, human behavior and individuality components in their poems. Both of them love nature and have used nature elements to create imaginary picture, expressing feelings and thoughts and have attributed human behaviors to nature to approximate more to nature. Individuality appears more in their poems: Shamlou used individuality sometimes in collective concept. Except poetry, both of them tried to make corrections in the society as an open mind. Releasing people from captivity and corrupted thoughts were their intellectual challenge. Travel is also a component which is used equally in their poems. Both of the considered life and death as a journey. Shamlou has used imagination element more than Tagore. Despite the lack of happy childhood, childhood nostalgia is obvious in their poems. Nostalgia and loneliness have been considered by both of them. Tagore and Shamlou believed in love and except the physical beauties of sweetheart, they considered her soul and clarity. But Tagore explained mystical sweetheart than earthly sweetheart in his poems.
A new method for musical steganography for the MIDI format is presented. The MIDI standard is a user-friendly music technology protocol that is frequently deployed by composers of different levels of ambition. There is to the author’s knowledge no fully implemented and rigorously specified, publicly available method for MIDI steganography. The goal of this study, however, is to investigate how a novel MIDI steganography algorithm can be implemented by manipulation of the velocity attribute subject to restrictions of capacity and security. Many of today’s MIDI steganography methods—less rigorously described in the literature—fail to be resilient to steganalysis. Traces (such as artefacts in the MIDI code which would not occur by the mere generation of MIDI music: MIDI file size inflation, radical changes in mean absolute error or peak signal-to-noise ratio of certain kinds of MIDI events or even audible effects in the stego MIDI file) that could catch the eye of a scrutinizing steganalyst are side-effects of many current methods described in the literature. This steganalysis resilience is an imperative property of the steganography method. However, by restricting the carrier MIDI files to classical organ and harpsichord pieces, the problem of velocities following the mood of the music can be avoided. The proposed method, called Velody 2, is found to be on par with or better than the cutting edge alternative methods regarding capacity and inflation while still possessing a better resilience against steganalysis. An audibility test was conducted to check that there are no signs of audible traces in the stego MIDI files.
The purpose of this paper is to acquaint the reader with the personage of an outstanding Russian composer and bayanist Vladislav Zolotaryov. Tragically deceased at the age of only 33, the artist was an exceptional figure. He was a great innovator who changed the face of the accordion, using this instrument to the limit of its technical and sound possibilities. The novel and almost orchestral method of treating the accordion, which he initiated in the 1970s, not only had a tremendous impact on the work of the young generation of composers, such as: Aleksander Nagayev, Vladimir Zubicki and Viacheslav Siemionov, but was also noticed and appreciated by the eminent and already recognized composer Zofia Gubaydulina. Yet, while Zolotaryov’s output is widely known and appre- ciated by the present-day accordionists, his life still hides many unresolved secrets and doubts about the causes of his death. In the absence of any Polish language studies on the subject, the composer's biography is well worth a closer look. The information collected about the details of the composer's life, as well as the opinions of people connected with him, may help to understand the composer's complicated personality. Zolotaryov’s innovative oeuvre, despite innumerable interpretations, is invariably interesting not only for the performers. It is still an important determinant for other com- posers of accordion music. Zolotaryov’s compositions, such as: Suita kameralna (en. Chamber Suite) Partita No. 1, Sonata No. 2, or collections of miniatures included in Suity dziecięce (en. Children’s Suites) have permanently entered the repertoire of contemporary performers. His magnum opus – Sonata No. 3 – is still one of the most important musical pieces in accordion literature. The source of this article are the letters and diaries written by V.Zolotaryov and the composer's biography by Inna Klause , as well as memoirs by Nikolai Liesnoy , Vitaly Szentalinsky and Fridrich Lips .
This essay examines the design by French architect Simon-Claude Constant-Dufeux of a tomb of the maritime explorer Jules Dumont d’Urville, erected in the 'cimetière du Sud' in Paris (today, Montparnasse cemetery) in 1844. Its unusual parabolic profile and the vivid polychromy of its surface made it something of an archetype for architects in Paris in the 1840s, who saw it as an assault on the neoclassical ideals promoted by the French Academy. In the world of the visual arts, music, and literature, Romanticism is among the most fundamental movements, a watershed moment in which art was rethought in light of the exigencies of the modern world. Romanticism in architecture, however, is more difficult to describe. Drawing on French Romantic philosophy, particularly the works of Pierre Leroux and Victor Cousin, and from archeologists, especially the work of Charles Lenormant, this essay interprets the tomb of Dumont d’Urville within the Romantic discourses of the early 19th century. It argues that the tomb’s Romanticism lay in its ability to enact a totalizing ideology, one which fused form and content, communication, and expression.
The study deals with a thus far little considered compilation of rituals. It emerged in a corner of southern Hungary saved from the Ottoman occupation where no liturgical chant book sources from the Middle Ages survive. The clerical copyist must have been familiar not only with Péter Pázmány’s Rituale Strigoniense of 1625, which came into being after the Council of Trent, but also with some of the ritual editions printed after 1500 that preserved the old Gregorian liturgical usage. The musical examples of the tonary, chosen in an unusual manner, point to the fact that for this scribe the local, ingrained medieval Gregorian tradition was a living treasury as late as around 1650.
This study deals with the methods of derivation of the Greek Systema Teleion in Boethius' influential treatise De Institutione Musica. Boethius applied two basic methods of division: geometrical and arithmetical. The geometrical one is related to diatonic division of a string of the monochord, the arithmetical one is related to detailed description of tetrachord species.