Musical Iconography

Summary of the online lecture “The edgy transition from medieval to renaissance fiddle”, given in January 2021 at the Schola Cantorum Basiliensis
During the last decade of the 15th century suddenly many new shapes occurred, corners, curves, f-holes and other new elements such as the scroll. In one generation between c.1490 and 1520, the transition from medieval fiddle to embryonal violin and viol was complete. This development right on the transition from the Middle-Ages to the Renaissance offers the opportunity to highlight a number of aspects of the late medieval and early renaissance fiddle, and the origin of the violin.

Nel 1863, avendo riscosso la cospicua somma di 29.260 lire come parte dell'eredità lasciata anni prima dal prozio paterno, Boldini decise di lasciare Ferrara per Firenze, dove, secondo la più recente storiografia, potrebbe essere arrivato nei primi mesi del 1864, in compagnia dell'amico Enea Vedeghini, per compiere il suo viaggio di studi nel centro di maggior fermento artistico e intellettuale della Penisola. Boldini fu raccomandato dal padre, il pittore Antonio, al celebre ritrattista Michele Gordigiani, allora all'apice del successo, essendo le sue opere già contese dai reali di mezza Europa. Secondo la ricostruzione di Gaspare Borsellino, Gordigiani, riconoscendo le notevoli qualità tecniche e artistiche del giovanissimo Boldini, gli avrebbe delegato le commissioni ritenute più noiose. Testimonianze precise della collaborazione fra i due artisti sono rese dai dipinti di Boldini: dall'interno descritto nell'autoritratto giovanile in cui, sullo sfondo, si riconosce il seggiolone di Gordigiani, ancora oggi di proprietà degli eredi, allo sgabello, presente nel dipinto "Giovanni Fattori al cavalletto", fotografato quarant'anni più tardi da Nunes Vais nell'atelier di Gordigiani, fino alla stufa cilindrica dell'appartamento di Gordigiani, chiaramente distinguibile in diversi quadri di Boldini dell'epoca. La tangibile ospitalità offerta da Gordigiani, mettendo a completa disposizione della nuova leva dell'arte fiorentina lo studio di via Nazionale, generò una stretta collaborazione che, come vedremo, produsse esiti artistici apprezzabili per entrambi, non restando circoscritta alla sola assistenza logistica ma "…merita ricordare che l'amicizia con Michele Gordigiani non fu di esclusivo carattere promozionale da parte del fiorentino per il giovane ferrarese, ma soprattutto propedeutico, come se il primo avesse offerto una eccezionale alternativa artistica, più redditizia, al secondo…" Gordigiani presentò a Boldini l'intero parterre delle proprie conoscenze altolocate, fra le quali vi erano l'incisore e drammaturgo francese Marcellin Desboutin e alcune famiglie aristocratiche francesi residenti a Firenze, con le quali egli era entrato in contatto attraverso il padre Luigi e il nonno Antonio, che avevano abitato a Parigi, e anche grazie a Gabrielle Coujère, divenuta sua moglie nel 1862. Fra gli amici di Gordigiani c'era l'agiato pittore santacrocese Cristiano Banti, il cui studio era adiacente al suo e con il quale questi sottoscrisse una lettera indirizzata al pittore Tammar Luxoro in difesa dei principi della Macchia, apparsa sul Corriere Mercantile di Genova nel 1864. In un breve volgere di mesi, Banti, di diciotto anni più grande e in una posizione socio-economica di assoluto privilegio, divenne l'amico più stretto di Boldini, prestandosi, insieme ai figli Leonetto e Alaide, all'epoca adolescente, a posare come modello per gli innovativi ritratti ambientati del ferrarese, poi elogiati in una notissima recensione di Telemaco Signorini sul Gazzettino delle Arti del Disegno nel 1867. La conoscenza e la militanza artistica e intellettuale con Banti, durata fino al 1903, costituì, come vedremo, per Boldini, la chiave di volta per la piena partecipazione alla vita della complessa società civile fiorentina: dalle riunioni al Caffè Michelangelo, dove è ritratto in una poco nota caricatura all'acquerello di Cecioni, fino all'amicizia con Signorini e quindi con i suoi principali mecenati dell'epoca, i nobili inglesi Falconer. Cristiano, di natura riflessiva e nell'arte spesso svogliato, come risulta in primis dal ristretto repertorio di opere, guardava con ammirazione la straordinaria padronanza dei mezzi tecnici sfoggiata dal ferrarese, che riusciva a esprimersi in piena libertà, con immediata capacità di

Nel 1979 l'ing. Vincenzo Gianferrari per espresso desiderio della zia, prof. Luisa Gianferrari, ha donato alla Società Filarmonica tre grandi quadri ad olio rappresentanti paesaggi e cinque medaglioni, attribuiti da alcuni esperti ad Antonio Fontanesi e da altri al Casali Bassi.

In the light of the archival and, above all, the iconographic data, one must conclude that the share of "archaic", non Cremonese violin making must have been significant and widespread throughout Western Europe. This is a first attempt to give an overview of this relatively unknown but important episode in the history of violin making, concentrating on what the instruments looked like. The focus so far has always been on Brescia and, above all, on Cremona. The mythologizing that has accompanied this narrow approach has led to an inability to see the broader picture, in which both Italian classical violin making and traditional lutherie would be given their rightful places.

Repertorium iconographicum morphologiae violini. Iconographic repertoire of the morphology of the violin. 1550-1650. by Wim RAYMAEKERS, Louvain 2024. This alphabetic repertoire is composed of details from visual sources-works of art-etcetera, containing information about the early history of the violin family, specifically its constructional and stylistic aspects. It is intended as a reference tool for anyone studying the early history of the violin family or any other related subject. You are free to use it. However, if you refer to this repertoire in a publication, be it printed or online, please mention the title and the author (Wim RAYMAEKERS, Repertorium iconographicum morphologiae violini. Iconographic repertoire of the morphology of the violin. 1550-1650, https://www.academia.edu/144218291/Repertorium_iconographicum_morphologiae_violini_1550_1650). This overview is extensive, and some items contain information beyound the century between 1550 and 1650, but it doesn’t pretend to be complete. There are still many works of art hidden in private, maybe even in public collections that contain relevant information about the topic. Anyone who has information in that sense is invited to contact me through email: wimray@telenet.be. Compiling this repertory was a lengthy and laborious process, with the sole purpose of supporting and stimulating scholarly research. The intention was therefore not commercial in any way, and copyright claims will therefore be rejected. The use of images as intended here actually benefits the "owner" of this material, especially because they provide details that illuminate the works in question and may encourage viewing or consulting the complete work.

Ancient Gandhāra remained a vibrant center of culture, religion, education, trade and commerce. The people of Gandhāra were passionate about art, music, and dance, which is reflected in the intricate carvings and sculptures from that period. These artworks often depict scenes of merry-making and dancing, showcasing the region's lively cultural atmosphere. Particularly notable is the depiction of the musical instruments in Gandhāra art, which highlights the refined aesthetic sense of the people. The skillful portrayal of these instruments further emphasizes the region's deep appreciation for music and arts of their time. In this article which is a part of M.Phil. dissertation titled, 'Continuation of Cultural Traditions in Peshawar valley as revealed in Gandhāra art', I will highlight the well-known representations of the musical instruments in this art.

This paper examines the challenges and prospects of political liberalism within polarized religious and democratic contexts. It argues that religious pluralism and democratic participation often generate tensions that test the limits of liberal tolerance, neutrality, and justice. Using theoretical and contextual analysis, the study explores how liberal democratic principles can coexist with deeply entrenched religious ideologies without eroding civic unity. It concludes that a redefinition of liberalism rooted in mutual respect, dialogue, and moral responsibility is essential for sustaining democracy in religiously divided societies.

This article focuses the Dutch artist Johannes Vermeer’s life, as well as the interpretation of some of his paintings: Girl Interrupted in Her Music (c. 1660-1661), The Concert (c. 1662-1665). The Music Lesson (c. 1662-1665), Lady Standing at a Virginal (c. 1673-1675), Lady Seated at a Virginal (c. 1673-1675), Woman with a Lute (1664) e The Guitar Player (c. 1672). The iconography of the paintings in which appear musician women will be the main analysis focus to understand the relation of the music with the woman and the society during the Dutch Baroque era. For this, two of the main searchers about the seventeenth-century Dutch art were studied: Eddy de Jongh and Svetlana Alpers.

We consider archaeological evidence of four ancient performances during which humans danced with non-human partners including trees, rocks, water, and clouds. Two of our cases are drawn from the eastern Mediterranean during the Hellenistic and Roman periods (ca. third century BC to second century CE), and two from the heyday of Chaco Canyon in the U.S. Southwest (ca. 850-1150 CE). The juxtaposition of examples is the result of our conviction that archaeological challenges and possibilities in the study of ancient dance transcend historical and societal specifics-many of those challenges have to do with the biases of archaeology as a discipline, rather than with the traces of dance as archaeological evidence. Dances involving non-human participants trouble traditional notions concerning the purported ephemerality of dance, and, more importantly, expand the kinds of past actors and traces that are accessible archaeologically.

The Peruvian clavichord MIM 3385, housed in the Brussels Musical Instruments Museum, shares many features with the Lima clavichord, suggesting a common European origin. Despite its archaic design, carbon-14 dating of the wood places its construction between 1660 and 1820, raising questions about its age and suggesting it may be a reconstruction of an earlier model. The instrument’s construction shows a mix of expertise and deficiencies, particularly in its musical aspects.

O Grupo MUDA!-Música da Atualidade, criado em 2020, analisa no presente artigo a presença de compositoras em concertos de música moderna e contemporânea em São Paulo, destacando que, apesar de uma tentativa de incluir suas obras, a representatividade feminina ainda é minoritária em comparação aos compositores homens. Questionando essa realidade, procura-se entender o contexto atual e os desafios a serem enfrentados para que seja possível modificar essa situação e aproximar-se da equidade de gênero. Para tal, pretende-se citar os obstáculos encontrados que limitam a presença de mulheres como intérpretes, gestoras, regentes, compositoras e, como consequência, nos livros didáticos de música. Palavras-chave. Música de concerto contemporânea. Representatividade feminina. Compositoras. Conjuntos de música contemporânea.

FEDERICA NURCHIS, Sette secoli di Dante negli anni del boom. divulgazione e nuovi media nella «Commedia» di Rino Ferrari ..... » 77 LORENZA MAFFIOLETTI -ELISABETTA MANCA, Per la stanza delle meraviglie: manoscritti ed edizioni rare della Commedia nella Biblioteca Mai ... » 121 ROBERTA FRIGENI, "Per me reges regnant" (Prov. 8,15). La Monarchia nel contesto del pensiero politico medievale .

Özet
Bu araştırma, dijital kültürün genç bireylerin kimlik inşa süreçleri üzerindeki etkisini Sembolik Etkileşimcilik ve Sosyal Kimlik Kuramı çerçevesinde incelemektedir. Çalışmada, İstanbul Ortaköy Zübeyde Hanım Mesleki ve Teknik Anadolu Lisesi’nde öğrenim gören 20 öğrenciden elde edilen nitel ve nicel veriler analiz edilmiştir. Veri toplama araçları arasında derinlemesine mülakat, mikrojest gözlemleri ve sınıf düzeyi analizleri yer almıştır.
Araştırmada öğrencilerin dijital temsiller aracılığıyla kimlik performansı sergilediği, estetik normlara yatırım yaptığı ve sosyal medya platformlarında aidiyet stratejileri geliştirdiği saptanmıştır. Ayrıca, fiziksel ve dijital mekân deneyimlerinin kimlik anlatılarını etkilediği, sınıfsal ve kültürel sermaye farklarının ise dijital katılım ve görünürlük biçimlerini biçimlendirdiği gözlemlenmiştir. Dijital etkileşimlerin öğrenciler arasında hem grup içi aidiyeti pekiştirdiği hem de sembolik dışlanma örüntülerini ortaya çıkardığı görülmüştür.
Çalışma, genç bireylerin dijital platformlarda sürdürdükleri kimlik anlatılarının yalnızca bireysel tercihlerle değil; aynı zamanda mekânsal, sınıfsal ve kültürel etmenlerle şekillendiğini göstermektedir. Araştırma sonucunda, eğitim ortamlarının dijital kimlik oluşum süreçlerini bütüncül bir yaklaşımla ele alması ve dijital eşitsizlikleri gözeten katılımcı pedagojik modeller geliştirmesi gerektiği sonucuna ulaşılmıştır.
Anahtar Kelimeler: dijital kültür, kimlik inşası, sembolik etkileşimcilik, sosyal kimlik kuramı, gençlik alt kültürleri

Abstract
This study examines the impact of digital culture on the identity construction processes of young individuals within the framework of Symbolic Interactionism and Social Identity Theory. The research analyzes qualitative and quantitative data obtained from 20 students studying at Istanbul Ortaköy Zübeyde Hanım Vocational and Technical Anatolian High School. Data collection tools included surveys, semi-structured interviews, micro-gesture observations, and grade-level analyses.
The study found that students perform identity through digital representations, invest in aesthetic norms, and develop strategies of belonging on social media platforms. Moreover, it was observed that both physical and digital spatial experiences influence identity narratives, and differences in social and cultural capital shape the forms of digital participation and visibility. Digital interactions were seen to both reinforce in-group belonging among students and generate patterns of symbolic exclusion.
The findings indicate that the identity narratives sustained by young individuals on digital platforms are shaped not only by personal choices but also by spatial, social class, and cultural factors. The study concludes that educational environments should approach digital identity formation processes through a holistic perspective and develop participatory pedagogical models that consider digital inequalities.
Keywords: digital culture, identity construction, symbolic interactionism, social identity theory, youth subcultures

This article examines the creative legacy of Zinaida Alexandrovna Volkonskaya (1789-1862), a distinguished figure in early 19th-century Russian culture, known as a singer, composer, and literary patroness. Despite her significant impact on the cultural milieu, scholarly attention to her musical contributions have been limited and often overshadowed by her literary and musical associations with eminent contemporaries. This study aims to address this oversight by conducting a detailed analysis of Volkonskaya's compositions, particularly her romances, to explore her unique musical language. This study assesses the stylistic influences that shaped her oeuvre, emphasizing the synthesis of French and Italian musical elements within the development of a Russian identity. Utilizing archival materials, this study illuminates her multifaceted role as a cultural intermediary who bridges Russian and European artistic traditions. The findings of this research position Volkonskaya as a pivotal figure in the evolution of Russian music, highlighting her transitional style, which anticipated later developments in the field. By providing a comprehensive musical evaluation of her works, this study contributes to a deeper understanding of her influence on the Russian musical heritage.

Organizzata nel 100° anniversario della nascita, la mostra rende omaggio alla figura e all'opera di Erminio Maffioletti (Bergamo 1913 -2009). Figura carismatica della cultura artistica bergamasca, pittore di notevole vena sperimentale, Maffioletti, per molti anni Docente di Pittura al Liceo Artistico e all'Accademia Carrara di Bergamo (di cui è stato anche Direttore) ha indagato le problematiche dello spazio pittorico coniugando la ricerca sul linguaggio con quella sui materiali e le tecniche, segnalandosi per l'originalità delle invenzioni nei diversi ambiti della pittura, dell'incisione, dell'affresco, del mosaico, della modellazione. Artista colto e pienamente inserito nel dibattito artistico contemporaneo, Maffioletti ha interpretato con personalità le diverse stagioni del Post-cubismo, dell'Espressionismo, della Nuova Figurazione, dell'Informale e della Post-astrazione, partecipando a numerose rassegne a livello nazionale e realizzando molti interventi di arte applicata in edifici pubblici a Bergamo (tra cui le Piscine Italcementi, La Borsa Merci, la Banca Popolare di Bergamo, il Credito Bergamasco, la Chiesa ipogea del Seminario, il Grattacielo Boschetti, i cinema San Marco e Arlecchino, il Palazzo delle Anagrafe) e in varie città d'Italia. In un allestimento concepito per sequenze cronologiche e per nuclei tematici la mostra allinea circa quaranta opere -la maggior parte delle quali inedite o mai esposte-provenienti esclusivamente dall'archivio dell'artista. L'esposizione seriatese, che si svolge contemporaneamente ad altra analoga e complementare presso la Sede Centrale del Credito Bergamasco, giunge a sedici anni di distanza dalla grande e sinora unica mostra antologica dell'artista (1997) ordinata presso la GAMeC di Bergamo da Enrico De Pascale e Vittorio Fagone. L'Amministrazione Comunale esprime gratitudine all'A.S.A.V. per la proposta culturale, al curatore Enrico De Pascale per la competenza e il rigore scientifico con cui ha operato, alla famiglia e ai parenti dell'artista -in particolare alle figlie Anna ed Elena-per avere fattivamente collaborato e messo a disposizione le opere. Si ringrazia altresì la Fondazione Credito Bergamasco per la generosità e la sensibilità con cui ha inteso sostenere questa importante iniziativa culturale.

In late 1765, Joseph Haydn received an official reprimand from his employer, Prince Nikolaus Esterházy (likely penned by Kapellmeister Gregor Werner) for negligence in carrying out his musical duties, including his neglect in composing for the prince’s favorite instrument, the baryton, a viola da gamba with extra, sympathetic strings that can be plucked. The relevant passage reads as follows:

“Finally, said Kapellmeister Haydn is urgently enjoined to apply himself to compositions more diligently than heretofore, and especially to write such pieces as can be played on the gamba [baryton], of which pieces we have seen very few up to now; and to be able to judge his diligence, he shall at times send us the first copy, cleanly and carefully written, of each and every composition” (cited in Landon 1980, 420).

Haydn immediately acted upon this admonishment, composing the bulk of his 126 baryton trios between 1766 and 1771. The trios (per Sisman 1993, 129) were copied by Johann Elssler and bound in four volumes of 24 works upon completion (Hob XI: 1-24, 25-48, 49-72, and 73-96), dating from 1766, 1767, 1768, and 1771, respectively. A fifth volume, compiled in 1778, collected Haydn’s final 30 trios (Hob. XI: 97-126), composed somewhat more sporadically during an extended period where the musical focus of Prince Esterházy shifted from the baryton to opera.

This volume, transcribed from Elssler's parts, collects Hob. XI: 49-72, written in 1768 during Haydn’s most intense exploration of the genre. The trios feature the baryton as primary melodic instrument—the ornate adagios and variation sets in particular, usually the opening movements of the works, gave Haydn’s employer plenty of space to display his artistry, including opportunities for cadenzas. The viola and cello parts (the former likely performed by Haydn himself) have a supporting role, though they occasionally dialogue with the baryton as near-equals.

This paper presents a two-voice hymn to St. Bernard, found by the author in the Arouca Monastery. This hitherto unpublished hymn, which can be dated around 1225, is the most ancient polyphonic work found so far in Portugal, and one of the oldest examples of polyphony copied in Cistercian manuscripts. To explain its presence in Arouca, the author examines both the local and the international context; the problem of polyphonic practice in the Cistercian Order receives special attention, and several related compositions are transcribed. The musical style of the hymn is then discussed and its peculiar, conservative character put into relief against the background of European polyphonic practice. The interpretative transcription offered is then justified at length.

dos Santos Rainha e Wendell dos Reis Veloso, e com a colaboração externa da pesquisadora Rosiane Rigas Martins (MEC). O intuito do evento é reunir participantes em diversos estágios de formação acadêmica para divulgar os resultados das suas pesquisas. Pesquisas estas caracterizadas por uma ampla diversidade temática, mas que podem ser organizadas em torno de três eixos principais: os estudos medievais, os (neo)medievalismos e o ensino da História Medieval. Esse caderno, portanto, reflete não só a vitalidade dos estudos relativos à Idade Média no Brasil, mas também as possibilidades futuras que a eles se apresentam. Desta forma, agradecemos a todos os participantes do evento que se dispuseram a estar conosco nesta ocasião e a partilhar os resultados, ainda que parciais, das suas reflexões acadêmicas.

During almost a century of life, Corneliu Baba has traveled a long way in his career as a painter, learning and helping others to learn. Baba maintained throughout his life that painting or artistic creation is conditioned by a craft, and every centimeter of a painting must be painted. If "Fear" or "Pieta" represented disorder and melancholy, Baba's peasants are archetypal characters, the master giving them their own conscience and true emotions in a social and political plan. Corneliu Baba has always considered that the emphasis is the most important, regardless of the realization of any painting, and the painter must understand the phenomenon of his creation and especially the point where he finds his inspiration. Each painting of the master represents a story. Baba's journey began in 1906, but it never ended. He continues to live on through his paintings, leaving behind an artistic treasure that has "crossed" three regimes: the monarchical, the communist, and the democratic.

A Paródia, jornal humorístico ilustrado, foi publicado em Lisboa por Rafael
Bordalo Pinheiro (1846-1905), entre 1900 e 1907. Define-se, em editorial assinado por Bordalo e pelo seu filho, Manuel Gustavo Bordalo Pinheiro (1867-1920) , como “a caricatura ao serviço da grande tristeza pública”, “a dança da Bica no cemitério dos prazeres”. (...) A Paródia, diziam, “somos nós todos”, numa provocadora generalidade do retrato social português. A par da “inofensiva graça”, propunham caricaturas e sátira política, num jornal que se pretendia popular e imparcial - verbete publicado originalmente na Hemeroteca Digital da Hemeroteca Municipal de Lisboa.

Journal of Epigraphy, Translation and Review is open to users and it is an 'open access' journal. Users are able to read the full texts, to download, to copy, print and distribute without obtaining the permission of the editor and author(s). However, all references to the articles published in the e-journal Libri are to indicate through reference the source of the citation from this journal. Libri, is a peer-reviewed journal and the articles which have had their peer reviewing process completed will be published on the web-site (journal.phaselis.org) in the year of the journal's issue (e.g. Issue X: January-December 2024). At the end of December 2024 the year's issue is completed.

Nizami Gəncəvinin qırx yaşlarında, yaradıcılığının ilkin dövrlərində qələmə aldığı “Məxzənül-əsrar”
poeması şairin yaradıcılığı, sənəti, həyat tərzi, görüşləri haqqında zəngin məlumat verir. Məsnəvinin bu baxımdan daha
geniş tədqiqata ehtiyac vardır

Il «ballare lombardo» nel corteo danzante dell’affresco di palazzo Cilichini già Quadrio di Chiuro (sec. XV seconda metà)
Letizia Dradi
A Chiuro, presso palazzo Cilichini già Quadrio a Chiuro, è conservato un affresco che raffigura
un corteo danzante. La presenza dei musicisti raffigurati nell’atto di suonare, la disposizione
delle coppie composte da donne e uomini che si tengono per mano, la loro postura in movimen
to, i gesti e gli atteggiamenti, corrispondono alla prassi coreica in voga a partire dalla metà del
Quattrocento tipica del «ballare lombardo»

We introduce the M/OTHERING dataset, an open-access resource for researchers exploring the social and religious dimensions of ancient Italy and beyond. This dataset lists metadata for 2,725 terracotta votive figurines depicting adults with subadults, dating from 625 to 27 BCE, and originating from the historical regions of Etruria, Latium, Magna Graecia, and Sicilia. The upper limit of 27 BCE was chosen to coincide with the end of the Roman Republic and the establishment of the Principate, a major political and cultural transition. While dating remains imprecise for many objects, this boundary provides a meaningful terminus for the dataset's scope. The dataset includes comprehensive iconographic data along with historical, archaeological, chronological, and spatial metadata, making it a foundational archive for comparative analysis and a crucial tool for large scale meta-analyses. By overcoming language barriers and the inaccessibility of scientific publications or reports that are often only available at local museums and libraries, this dataset facilitates a holistic understanding of maternal imagery, votive practices, and socio-religious dynamics in pre-Roman and Roman Republican Italy at multiple scales.

Ao longo dos anos de trabalho que resultaram nesta tese, muitas pessoas me ajudaram, ensinando e apoiando. Assim, gostaria de demonstrar minha gratidão e reconhecimento. Começo por agradecer meus queridos pais por todo seus esforços para minha formação pessoal e profissional. À minha mãe pelo exemplo de persistência, pelo amor incondicional à minha vida. Ao meu pai (in memorian) pelo esforço imensurável para moldar meu caráter e educar a mim e meu irmão com valores morais e retidão. A meu irmão, pelo incentivo nascido de nossas semelhanças e diferenças. Eu o admiro! Agradeço, de maneira especial, à minha filha Nicole pela imensa paciência, compreensão e colaboração nos momentos em que precisei me dedicar a este estudo e nos privei de nossa deliciosa convivência. Você me inspira a cada dia com sua sabedoria e alegria. À minha querida orientadora, Prof. Dra. Elizabeth Quagliato, mestra paciente e generosa que em todos os momentos me apoiou e sempre me incentivou, e por ter me confiado uma missão tão especial e gratificante. Um exemplo e inspiração profissional, não somente como um cientista extremamente competente, mas, também, pela maneira competente e leve com que exerce a medicina. Agradeço, de maneira especial, à minha querida amiga, mestra Profa. Dra. Mônica Yassuda que, com sua generosidade, enorme conhecimento e competência, contribuiu de forma essencial para realização deste estudo. Obrigada pelo suporte e esforço descomunal durante a execução deste projeto. Você é um exemplo de amor à ciência. x xi Agradeço especialmente aos colegas radiologistas Dr. Marcos Marins e Dra. Beatriz Costallat, e aos demais colegas do Centro Radiológico de Campinas, que, com competência e entusiasmo, compartilharam seu tempo e conhecimento, me ensinado e auxiliando, desde o projeto até a confecção final desta tese. Sem vocês este projeto não existiria. Ao Prof. Dr. Lineu Fonseca, que foi o responsável pela minha opção em realizar residência em neurologia, escolha esta que foi uma das mais sábias da minha vida. Meu agradecimento a todos os meus professores que me ensinaram a amar a ciência e encontrar luz na busca pelo conhecimento. Em especial ao

ars nova, older examples of the genre could be satirical too, and an early thirteenth-century motet such as "Alpha, bovi et leoni / Domino" shares a significant number of its characteristics with the case studies in The Monstrous New Art. Listing various animals and strange creatures (including a "double-headed giant"-"giganti gemineo"), "Alpha, bovi et leoni / Domino" includes two moments of extended and striking hockets, the first of which corresponds to the repetition of a tenor color. Arguably, therefore, Zayaruznaya's methods and findings have an even broader chronological reach than she seems to realize. Zayaruznaya's chatty and eminently readable style is the perfect antidote to conventional views of the repertory she discusses as difficult and esoteric. The book is remarkably friendly to nonspecialists-those who are neither musicologists nor medievalists-without sacrificing analytical depth and scholarly rigor. This is achieved chiefly through the ingenious use of appendices, diagrams, and musical examples, which render complicated formal structures and relationships evident at a glance. The Monstrous New Art represents an important and highly original contribution to studies of medieval music, literature, and culture. CATHERINE A. BRADLEY

Building upon recent developments in digital music scholarship, Citations: The Renaissance Imitation Mass investigates similarity and borrowing in music on a massive but detailed scale, using digital tools that only a few years ago were beyond our grasp. Our work focuses on the craft of musical counterpoint, and how musicians of the sixteenth century transformed pre-existing pieces to make intricate cyclic compositions from familiar sounds. The CRIM team, an accomplished group of scholars and data scientists active in Europe, North America, and Australia, will assemble a diverse collaborative network of music scholars and students at colleges, music schools and university graduate programs, extending the reach of digital scholarship to new users, and building new communities.

Referido sempre como Monsieur Lannoy, a identidade do negociante de arte parisiense, que prestou serviços a membros da elite portuguesa, permaneceu uma incógnita até hoje. Na sua carteira de clientes nacionais encontramos Pedro Daupias (1818-1900), 1.º Visconde e Conde de Daupias; Henry Burnay (1838-1909), 1.º Conde de Burnay; ou a rainha D. Maria Pia de Saboia (1847-1911), rainha consorte de Portugal.

Assinalam-se em 2025 os 150 anos da criação, por Rafael Bordalo Pinheiro, da figura do Zé Povinho, publicada pela primeira vez na folha humorística A Lanterna Mágica, no seu número 5, de 12 de junho de 1875, numa dupla página central. Através deste verbete editado originalmente na Hemeroteca Digital de Lisboa, juntamente com a respetiva coleção online d’A Lanterna Mágica, podemos revisitar a importância que o Zé Povinho teve na obra do caricaturista e no imaginário nacional, como imagem e símbolo do povo português.

The literary legacy of the Oxford Dominican and theologian Nicholas Trevet (c. 1258-after 1334) is remarkable for its diversity and breadth. His writings include university quaestiones, Biblical commentaries, chronicles, and expositions on the Church Fathers and classical authors. They address topics spanning the liberal arts, theology, and canon law. The three speakers in this session seek to examine the nature and extent of Trevet’s interdisciplinary knowledge. Jakub Kujawiński provides a contextualized overview of Trevet’s literary corpus and stresses the uneven interest of existing scholarship on his body of works. He argues for a comprehensive approach by calling attention to recurrent topics across Trevet’s works. With respect to the trivium, Sofia Brusa revisits Beryl Smalley’s categorization of Trevet as a forerunner of classicizing friars by investigating ‘humanistic’ elements in his commentary on Seneca’s Tragedies. Although commenting on this work was a novelty, the result remained indebted to scholastic tradition. Jason Stoessel asks what Trevet’s writings reveal about his knowledge of music, musical discourse and the quadrivium more broadly. An analysis of the friar’s discourses about music scattered across his writings shows that his conservative views on speculative music theory were paired with a vivid interest in contemporary musical practices.

En: https://aacadigital.com/contenido.php?idarticulo=2266
Se parte de la representación de la música en el arte visual para reflexionar sobre la expresión musical, especialmente la instrumental, a través de la mímesis. De hecho, el estímulo visual a través de imágenes que representan escenas musicales (iconografía musical) puede ser capaz de impulsar un discurso a través de la interpretación musical. La mímesis como fenómeno puede estar presente en la performance musical durante la contemplación de cualquier obra artística, si bien en este caso se propone que la propia imagen visual tenga un contenido musical figurativo (representación de instrumentos musicales, de música escrita, de escenas de interpretación musical, etcétera). Esta cuestión puede abordarse, no sólo desde el estudio de las obras artísticas, su contenido y la interpretación musical, sino también desde la filosofía, la teoría de la imagen y la neurociencia. De esta forma, partiendo de la revisión de los conceptos de iconografía musical y mímesis, se reflexiona sobre la expresión instrumental como final de un complejo proceso en el que ambos interactúan.