Fragment of an unknown manuscript of theSaddharmapu $${\underset{\raise0.3em\hbox{$\smash{\scriptscriptstyle\cdot}$}}{n} }$$ $${\underset{\raise0.3em\hbox{$\smash{\scriptscriptstyle\cdot}$}}{d} }$$ ar?ka from the N. F. Petrovsky collection

1965 ◽  
Vol 8 (4) ◽  
pp. 268-274
Author(s):  
G. M. Bongard-Levin ◽  
E. N. Tyomkin
Keyword(s):  
Unknown Manuscript

A previously unknown manuscript of the Gesta Henrici Quinti

1985 ◽  
Vol 12 (1982) ◽  
pp. 401-405
Author(s):  
Marvin L. Colker
Keyword(s):  
Unknown Manuscript

An unknown manuscript of the Navigatio Sancti Brendani in USA

Scriptorium ◽  
1951 ◽  
Vol 5 (1) ◽  
pp. 100-103 ◽  
Author(s):  
Carl Selmer
Keyword(s):  
Unknown Manuscript

A Newly Discovered Annotated Partimento Manuscript : "Rudimenti di Musica per Accompagnare del Sig. r Maestro Vignali" (1789)

2021 ◽  
Vol 8 (1) ◽  
pp. 60-88
Author(s):  
Sean Curtice ◽  
Lydia Carlisi
Keyword(s):  
Eighteenth Century ◽  
Real Time ◽  
Present Article ◽  
Teaching Methods ◽  
Oral Tradition ◽  
English Language ◽  
Musical Culture ◽  
First Time ◽  
Unknown Manuscript

The partimento tradition of eighteenth-century Italy developed within a musical culture that prioritized oral pedagogy. While these teaching methods were successful in producing generations of great composers, they have left scholars with vexing questions concerning the precise manner in which partimenti should be realized. The recent appearance of a remarkable and previously unknown manuscript—"Rudimenti di Musica per Accompagnare del Sig. Maestro Vignali," dated 1789—promises to shed invaluable new light on the oral tradition of partimento instruction. The manuscript's likely author is Gabriele Vignali (c. 1736– 1799), a maestro di cappella active in Bologna; it is unique in the presently known canon owing to the detailed footnotes that accompany each of its twenty-four Bassi (one in each major and minor key). Vignali's annotations provide precisely the sort of commentary that was ordinarily restricted to real-time explanation, teaching the student to recognize keys, scale degrees, modulations, cadences, typical bass progressions, and significant motives. The present article and accompanying English-language edition examine this exceptional partimento collection in detail, offering modern partimentisti the opportunity for the first time to listen in, as it were, on a series of lessons between an eighteenth-century maestro and his student.

Introduction to Garfinkel’s ‘Notes on Language Games’: Language events as cultural events in ‘systems of interaction’

2019 ◽  
Vol 22 (2) ◽  
pp. 133-147 ◽  
Author(s):  
Anne Warfield Rawls
Keyword(s):  
Cultural Anthropology ◽  
Language Games ◽  
Sociology Of Culture ◽  
Harold Garfinkel ◽  
Cultural Events ◽  
Social Events ◽  
Unknown Manuscript

This article discusses ‘Notes on Language Games’, written by Harold Garfinkel in 1960 and never before published, one of three distinct versions of his famous ‘Trust’ argument, i.e., that constitutive criteria define shared events, objects, and meanings. The argument stands in contrast to an approach to cultural anthropology that was becoming popular in 1960 called ‘ethnoscience’. In this previously unknown manuscript, Garfinkel proposes that cultural events and language events are the same, in that both are created through constitutive commitments to interactional systems. The best-known version of the Trust argument (Garfinkel, 1963) emphasizes Schutz, while other versions build on Parsons (Garfinkel 2019). In this third version, the Trust conditions are elaborated in terms of Wittgenstein’s language games. Various strands of Garfinkel’s thinking about culture, language and interaction are interwoven. That Garfinkel was working with Parsons in 1960 to document a contractual basis for social events and their assembly practices in ‘systems of interaction’, a constitutive practice argument with roots in Durkheim’s work, is yet another strand. The article highlights how the Trust argument is the key to everything, not only ethnomethodology, but also Garfinkel’s attempt to develop a general sociology of culture, language and interaction.

Collaboration and Content in the Symphonie fantastique Transcription

2007 ◽  
Vol 24 (2) ◽  
pp. 195-236
Author(s):  
JONATHAN KREGOR
Keyword(s):  
Public Perception ◽  
Visual Cues ◽  
Innovative Approach ◽  
Professional Collaboration ◽  
Orchestral Works ◽  
Gestural Analysis ◽  
Unknown Manuscript

Franz Liszt's transcription of Hector Berlioz's Symphonie fantastique has long been recognized for its innovative approach to musical reproduction——that is, its remarkable ability to recreate the sonic nuances of its model. However, the 1830s were a period of intense artistic and professional collaboration with Berlioz, and the genesis of the Symphonie fantastique transcription can thus also be interpreted as emblematic of this developing relationship. In particular, a gestural analysis of the work's content, as it can be recreated in part through Liszt's meticulous performance notation, indicates that the transcription served to reinforce a public perception of Berlioz as composer and Liszt as performer, whereby Liszt guides his audiences through Berlioz's enigmatic compositions by means of kinesic visual cues. Investigation of heretofore unknown manuscript materials suggests that this dynamic was further emphasized in Liszt's other renderings of Berlioz's orchestral works from the period. For various reasons, the transcription's inherently collaborative nature failed to impress audiences outside of Paris. As Liszt embarked in earnest upon a solo career toward the end of the decade and his concert appearances with Berlioz became less frequent, interest in the work waned on the part of both arranger and audience. Moreover, it was in the late 1830s that Liszt began adding several new works to his public repertory, especially opera fantasies, Schubert song arrangements, and weighty compositions by German composers. This decision effectively removed his earlier material——including the all-too-French Symphonie fantastique——from on-stage circulation. Indeed, when Liszt revised the transcription in the 1870s, he eliminated many of extraordinary collaborative elements found in the 1834 version, thereby disassociating it from the arena for which it was created.

scholarly journals TO THE HISTORY OF THE TRANSLATION OF CHRISTIAN TEXTS INTO THE UDMURT LANGUAGE IN THE GLAZOV СOUNTY OF THE VYATKA GOVERNORATE IN 1803

2021 ◽  
Vol 15 (1) ◽  
pp. 102-115
Author(s):  
Andrey Alekseevich Turanov
Keyword(s):  
The Other ◽  
Religious Texts ◽  
Coercive Measures ◽  
Initial Stage ◽  
Archival Documents ◽  
History Of ◽  
The Creation ◽  
Unknown Manuscript

The article deals with the history of the first translations of Christian religious texts and prayers into the Udmurt language in Glazovsky Uyezd of Vyatka Governorate. Involvement in the study of archival documents from the funds of the Vyatka spiritual Consistory and Glazovsky spiritual Board allowed the author to describe in detail - chronologically accurately and thoroughly - the process of creating translations, to identify the authors of the translation of specific texts. In particular, it was established that at the initial stage there were no volunteers among the clergy of Glazovsky uyezd willing to engage in the compilation of translations. The spiritual Board turned to coercive measures and itself appointed translators from among the clergy who knew the Udmurt language, ordering them to appear for translation in Glazov. The first translation was performed jointly by priests N. Nevostruev, Z. Krotov, S. Anisimov and A. Babaylov ahead of events - even before receiving the list of texts assigned for translation. After receiving the list, the translation of the missing texts was carried out by the same persons individually, but only one of the translators sent his translation to the Glazov Board in time. In early July, translations from Glazov were sent to Vyatka. In the ecclesiastical Consistory the translations were checked and rewritten. As a result, the Synod was presented with a translation composed of two parts, one of which was performed by 4 priests together, and the other-alone by A. Babaylov. The study of the circumstances of the creation of the translation allowed to give answers to questions that remained unexplained for more than a hundred years, and to reveal new, previously unknown facts, including the previously unknown manuscript of the translation by N. Nevostruev and Z. Krotov.

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