A comparative Anthropology and traditional music of the Berber and galician-portuguese peoples. A cultural approach between the West, PreIslam and north African Islam
José Carlos Rios CAMACHO
Original title: Antropologia comparada e música tradicional dos povos berbere e galego-português. Um achegamento cultural entre o Ocidente, o Pré- Islão e o Islão norteafricano
Published in Relations between History and Literature in Ancient and Medieval World
Keywords: Anthropology, Berber, Galician-Portuguese, Music, Myths.
The intentions and the short account of this anthropologic preliminary essay are the result of our work about some directs observations of the social and cultural-musical realities at the Moroccan Rif in the second semester of the 1990 year. At the same time, we attempt to give some general notes about the Ancient-Medieval History, literature (the legends and myths) and the cultures of the Berber and Galician-Portuguese peoples, based in a vast Atlantic culture which will spread out the entire quadrant from Galicia-Ireland-Britain to the north-African Rif.
Angelus or The touch of the Virgin: the Music in the Cantigas de Santa Maria (13th century) by King Alfonso X
Bárbara Dantas
Original title: Angelus ou O toque da Virgem: a Música nas Cantigas de Santa Maria (séc. XIII) do rei Afonso X
Published in Music in Middle Ages and Early Modernity
Keywords: Alfonso X, Architecture, Art, Cantigas de Santa María, Middle Ages, Music, Poetry.
Harmonious as a song, the Galician-Portuguese poetry, systematized by the zéjel metric, was the basis of the poetry of Cantigas de Santa Maria, a compilation that contains reports of miracles and praises to the Virgin performed in the second half of the 13th century at the request of the castilian king Alfonso X (1221-1284), creator, sponsor and supervisor of the work. In Cantigas, reality is overcome by imagination without limits and the relation of poetry with two other artistic forms (Music and image) makes it literary support in which the themes of the songs to the Virgin were formed. Music and image share with the poetry a sensitivity capable of expressing in different ways certain reports of miracles or praise. For this article, I present to you the Cantiga 276 of the Cantigas de Santa Maria. From iconographic and architectural analyzes, I realized the association between church bells, the architecture of the sanctuary towers where they are housed and the melody of the Angelus (The Virgin's Touch).
Clement of Alexandria (c. 150-215) and the use of musical metaphors and musical myths in his texts
Eirini ARTEMI
Published in The Medieval Aesthetics
Keywords: Clement of Alexandria, Hymns, Music, Musical metaphors, Musical myths, New Song, Protrepticus.
Clement of Alexandria or Titus Flavius Clemens was familiar with classical Greek philosophy and literature. When he converted to Christianity, he tried to draw some clear distinctions against the paganism. Many things from paganism were interpreted by a way that serve Christian theology. In Clement of Alexandria’s Protrepticus, the church father tries to explain how the well-known classical music-myths can be used to create the knowledge of a Superior “New Song”. Instead of that, Christians serve the New Song – Jesus in Church and outside the Church, they continue to “amuse themselves with impious playing, and amatory quavering, occupied with flute-playing, and dancing, and intoxication, and all kinds of trash. They who sing thus, and sing in response, are those who before hymned immortality, –found at last wicked and wickedly singing this most pernicious palinode, “Let us eat and drink, for tomorrow we die”. Clement explains that by this way christians remain christians in name so they are dead in God not tomorrow. But not tomorrow in truth, but already, are these dead to God. In this paper, we are going to show that the polemic of Clement Alexandria was not against ancient music and musical instruments, but against the way that they were used by Christians. Also, we will analyse the method that Clement employs the musical metaphors and musical myths in his texts in order to educate Christians and to manage to earn the salvation.
Dante (c. 1265-1321) and the Musical Aesthetics of the Divine Comedy
Gustavo Cambraia FRANCO
Original title: Dante (c. 1265-1321) e a Estética Musical da Divina Comédia
Published in The Medieval Aesthetics
Keywords: Dante Alighieri, Divine Comedy, Medieval Aesthetics, Music, Poliphony.
The present article aims to analyze the figurative-musical aesthetics elaborated by the poet Dante Alighieri in the Divine Comedy, through the use of musical concepts, contemporary to the author, of monodia gregoriana and choral polyphony. The aim is to demonstrate how Dantian musical theory is applied in the Commedia using an imagetic and instrumental musical repertoire and a specific set of lexical and poetic expressions, whose function is to express, in a comprehensible way to the reader and interpreter, the sonorous dissonance, disharmony and the antimusical cacophony of Hell, the nature of the sacred, monodic Gregorian chant of Purgatory, and the symphonic and polyphonic musical nature of Paradise.
Discursive-musical Polyphony in the Cantigas de Santa Maria by Alfonso X, el Sabio
Antonio Celso RIBEIRO
Original title: A Polifonia discursivo-musical nas Cantigas de Santa Maria de Alfonso X, o Sábio
Published in Medieval and Early Modern Iberian Peninsula Cultural History
Keywords: Bakhtin, Cantigas, Dialogism, Discursive-musical polyphony, Jewish, Middle Ages, Music.
The aim of the present work is to analyse the interrelationship between the text and the musical tessitura in one of the pieces from the Cantigas de Santa Maria, by Alfonso X, el Sabio (13th Cent.). The chosen work is extracted among those which deal with the presence of the Jewish people in a Christian realm, where I look for to recover in the melodies, marks that reinforce or denigrate their image, comparing them with Christian presence as well the Virgen Mary. Thus, I take in assumption that music is a language, and I will support the analysis in taking into account the concept of “discursive-musical polyphony” created by Lanna using the theoretical framework of the Russian philosopher Mikhail Bakhtin.
El canto que encanta. Las sirenas en la tradición hispana antigua y medieval
Josemi Lorenzo Arribas
Published in The Philosophical Tradition in the Ancient and Medieval World
Keywords: Music, fantastic animals, misogeny, musical iconography.
Flexibility of musical hearing
Gaspar PAZ
Original title: A flexibilidade da escuta musical
Published in Art, Criticism and Mysticism
Keywords: Aesthetic experience, Artistic criticis, Artistic languages, Flexible listening, Music.
Herein we analyze some aspects of the artistic criticism and aesthetic experience, which stand out in Gerd Bornheim’s interpretations. For him, the critical disposal should follow the creative process and the expressive praxis. In this way, we will assume musical language as an inflexion point highlighting the contrast between two forms of perception: the intellectualist listening and flexible listening to the music. Such instances symbolize the buildup of an interpretative and practical boldness in which the role of sound is stressed. There are at least two plausible hypotheses in bornheimnian approach. The first one, phenomenological, handles the music as language towards a dialectic of social relations and it takes into account the historical alternations of subjectivity. The second trends to a broader analysis of artistic expressions, in which the dialogue between music, theater, poetry, cinema and art is emphasized. It is therefore important to appreciate the critical relevance of Bornheim’s work and the special place he assigns to the relationship between arts, philosophy and politics.
Forms of defence of the social body before criminal agency, in 16th-century imagery creations
Maria Leonor García da CRUZ
Original title: Formas de defesa do corpo social perante arbítrios criminosos em criações imagéticas quinhentistas
Published in Music in Antiquity, Middle Ages & Renaissance
Keywords: Andrea Alciato, Crime, Emblem, Music, Social order.
A very fashionable creation in modern Europe since the first edition of Andrea Alciato, the book of emblems, has been chosen as a historical source. The selection of the socio-political message and socio-economic discourse was made in emblems of different editions and spatial and time contexts that bring together inscriptio, pictura and subscriptio. It is valued a deepening of the explicit meanings in the motto and in the picture, when they exist, and we seek to unravel the hidden, not always completely decoded in the comments of the different editions. Hence, we choose to compare several versions of the same emblem, built in different contexts. Alciato’s political discourse necessarily reveals on many occasions social concerns, and they are the ones that lead us to clues about a discourse after all interdisciplinary, leading us to considerations sometimes of artistic nature or economic and financial management. Music and musical instruments become vehicles of concord and social concert, solidarity, resistance to crime and dissent that call into question social peace. The action of the prince or ruler, on the other hand, is considered in several perspectives: from a firm-hand ruler in defence of the common good to a tyrant, and to a defender of the good of the State not benefiting the victims of tax crimes. Alciato thus reveals strong controversies in the Renaissance.
From Aristotle to Castel: Intertextual Relationships between the color of the sound and the sound of the color – affections and synesthesia
Antonio Celso RIBEIRO
Original title: De Aristóteles a Castel: relações intertextuais entre a cor do som e o som da cor – afetos e sinestesia
Published in Mirabilia Journal 31 (2020/2)
Keywords: Aristotle, Castel, Color, Music, Semiotics, Synesthesia.
The aim of the present work is to analyse the intertextual relationships between musical notes and colours and its ramifications under the point of view of emotions, humors, and science. The research will comprise the historical period starting in ancient Greece with Aristotle, ending in Baroque with French mathematician Louis Bertrand-Castel (1688-1757). Thus, it will take in assumption that music and colors are correlate languages, and we will support the analysis in considering scientific concepts and semiotic approachs and the concept of migration of meanings (synesthesias).
Itaque sine musica nulla disciplina potest esse perfecta: musical iconography in hispanic romanic sculpture
Alicia MANSO SAN ISIDRO
Original title: Itaque sine musica nulla disciplina potest esse perfecta: la iconografía musical en la escultura románica hispana
Published in Music in Antiquity, Middle Ages & Renaissance
Keywords: Instruments, King David, Last Judgement, Middle Ages, Minstrels, Music, Romanesque sculpture.
The presence of musical iconography in medieval art, particularly in Romanesque sculpture, is enormous. Thus, in this article we will focus on the chronology from the 11th to the 13th century, analyzing the most important examples on the most representented topics: the Final Judgement, King David, and profane scenes. Musical instruments are represented in both non-religious and religious scenes, included as a reflection of biblical texts with a profound theological content. Analyzing the representation of instruments gives us information about iconographic influences, that begin with the miniatures in the Beatos. Moreover, this analysis is useful regarding organology and musicology, assessing the verisimilitude of these representations with a multidisciplinar methology.