Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

Music theory --- Spahlinger, Mathias --- Criticism and interpretation.

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

Musici scriptores Graeci: Supplementum melodiarum reliquiae (Bibliotheca Teubneriana)

Music, Greek and Roman. --- Music theory --- Music --- Greek music --- Music, Greek (Ancient) --- Music, Roman --- Roman music --- History --- Theory --- Music theory - Early works to 1800.

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

La Musica disciplina d’Aurélien de Réome est le plus ancien traité de musique de l’Occident médiéval. Sa rédaction, vers 849/850, survient au cours des années qui suivent le partage de l’Empire carolingien entre les fils de Louis le Pieux et s’inscrit dans un temps de consolidation de la réforme de la liturgie et du chant romano-franc. Le traité a pour objet principal la description des catégories tonales du chant liturgique de la messe et de l’office, des principes de la psalmodie et surtout de l’articulation des tons, en particulier ceux des versets des répons. Il témoigne enfin d’une réception précoce de la Musique de Boèce. Si le traité semble avoir connu une certaine fortune au cours du dernier tiers du ixe siècle, comme en témoigne le manuscrit de Valenciennes (Valenciennes, Bibl. Mun., Ms. 148), l’évolution de la théorie musicale et des modes de représentation graphique des mélodies autour de 900 par les auteurs de l’Alia musica, de la Musica Enchiriadis, ou par Hucbald de Saint-Amand, enfin l’essor des notations musicales ont progressivement plongé le traité d’Aurélien et ses diverses recensions dans l’oubli. Édition du texte d’après l’ensemble de la tradition manuscrite (Shin Nishimagi). Traduction en français. Introduction et notes critiques et explicatives (Christian Meyer). Index des chants cités.

Music theory --- Gregorian chants --- History --- Instruction and study --- Early works to 1800. --- Musique --- Théorie musicale --- Liturgie

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

"Stitched together over five years of journaling, Obiter Dicta is a commonplace book of freewheeling explorations representing the transcription of a dozen notebooks, since painstakingly reimagined for publication. Organized after Theodor Adorno’s Minima Moralia, this unschooled exercise in aesthetic thought—gleefully dilettantish, oftentimes dangerously close to the epigrammatic—interrogates an array of subject matter (although inescapably circling back to the curiously resemblant histories of Western visual art and instrumental music) through the lens of drive-by speculation. Erick Verran’s approach to philosophical inquiry follows the brute-force literary technique of Jacques Derrida to exhaustively favor the material grammar of a signifier over hand-me-down meaning, juxtaposing outer semblances with their buried systems and our etched-in-stone intuitions about color and illusion, shape and value, with lessons stolen from seemingly unrelatable disciplines.Interlarded with extracts of Ludwig Wittgenstein but also Wallace Stevens, Cormac McCarthy as well as Roland Barthes, this cache of incidental remarks eschews what’s granular for the biggest picture available, leaving below the hyper-specialized fields of academia for a bird’s-eye view of their crop circles. Obiter Dicta is an unapologetic experiment in intellectual dot-connecting that challenges much long-standing wisdom about everything from illuminated manuscripts to Minecraft and the evolution of European music with lyrical brevity; that is, before jumping to the next topic."

Literary studies: general --- aphorisms;literary theory;music theory;philosophy;poetry;Theodor Adorno --- Verran, Erick

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

"Stitched together over five years of journaling, Obiter Dicta is a commonplace book of freewheeling explorations representing the transcription of a dozen notebooks, since painstakingly reimagined for publication. Organized after Theodor Adorno’s Minima Moralia, this unschooled exercise in aesthetic thought—gleefully dilettantish, oftentimes dangerously close to the epigrammatic—interrogates an array of subject matter (although inescapably circling back to the curiously resemblant histories of Western visual art and instrumental music) through the lens of drive-by speculation. Erick Verran’s approach to philosophical inquiry follows the brute-force literary technique of Jacques Derrida to exhaustively favor the material grammar of a signifier over hand-me-down meaning, juxtaposing outer semblances with their buried systems and our etched-in-stone intuitions about color and illusion, shape and value, with lessons stolen from seemingly unrelatable disciplines.Interlarded with extracts of Ludwig Wittgenstein but also Wallace Stevens, Cormac McCarthy as well as Roland Barthes, this cache of incidental remarks eschews what’s granular for the biggest picture available, leaving below the hyper-specialized fields of academia for a bird’s-eye view of their crop circles. Obiter Dicta is an unapologetic experiment in intellectual dot-connecting that challenges much long-standing wisdom about everything from illuminated manuscripts to Minecraft and the evolution of European music with lyrical brevity; that is, before jumping to the next topic."

Literary studies: general --- aphorisms;literary theory;music theory;philosophy;poetry;Theodor Adorno --- Verran, Erick