Complete Motets from Florilegium Portense

10.31022/b218 ◽  
2021 ◽  
Author(s):  
Martin Roth
Keyword(s):  
Seventeenth Century ◽  
Performance Practice ◽  
Weekly Basis ◽  
Central Germany ◽  
Late Renaissance

Martin Roth was a student and later cantor at the Pforta school near Leipzig. His sixteen surviving motets are contained in the anthology Florilegium Portense, issued in two volumes in 1618 and 1621. Consisting largely of double-choir motets, this collection is a retrospective of late Renaissance style, intersecting with seventeenth-century usage in Lutheran churches. The collection consists of 165 pieces by about ninety composers and was used widely in schools and churches throughout central Germany. These motets were performed on a weekly basis as late as 1770 for services at the main churches in Leipzig; J. S. Bach purchased new copies in use at the St. Thomas School in 1729, mentioning that the old copies had been sung to pieces (zersungen). The fact that such late-Renaissance motets were performed in rotation for some 150 years in Leipzig lends depth to our understanding of baroque performance practice.

The politic history of early Stuart parliaments

2018 ◽  
pp. 172-193
Author(s):  
Noah Millstone
Keyword(s):  
Seventeenth Century ◽  
Recent Past ◽  
Divine Intervention ◽  
Institutional Settings ◽  
Human Intentionality ◽  
History Of ◽  
Late Renaissance ◽  
Church Councils

This essay traces the development of a particular way of writing the history of parliament: the politic history. A creation of the late Renaissance, politic histories preferred to explain events neither through divine intervention, nor through imperceptible forces and contingency, but rather through human intentionality. Following classical and contemporary models such as Tacitus, Commynes and Guicciardini, English politic historians wove narratives of vice, secrecy and dissimulation. The essay explores how, in the early seventeenth century, historians appropriated the modes of politic composition and applied them to new institutional settings: university elections, church councils and especially parliaments. It concludes with an analysis of the most impressive politic history of the early Stuart parliament, Sir John Eliot’s Negotium posterorum. Composed during Eliot’s imprisonment after 1629, the Negotium posterorurm is clearly the first part of a formal, politic history of Charles I’s reign, heavily modelled on Tacitus and with parliament as its central stage. Eliot’s project suggests how politic narration could be applied to the recent past, helping to produce historicised accounts of the present.

Early oligochaete science, from Aristotle to Francesco Redi

2011 ◽  
Vol 38 (1) ◽  
pp. 136-163 ◽  
Author(s):  
Emilia Rota
Keyword(s):  
Eighteenth Century ◽  
Seventeenth Century ◽  
Laboratory Tests ◽  
Habitat Requirements ◽  
Field Observations ◽  
Internal Anatomy ◽  
Internal Organs ◽  
Late Renaissance ◽  
Parasitic Worms

The paper reviews knowledge on earthworms from early classical times to the end of the seventeenth century. The Aristotelian view that these “imperfect” animals developed spontaneously from mud and lacked internal organs except the gut was not challenged until the late Renaissance but, by the end of the 1600s, it was overthrown. Aldrovandi and Mouffet presented field observations of sexual reproduction and specific habitat requirements. Willis demonstrated the complex internal anatomy of an earthworm. Finally Redi, based on numberless dissections, showed the existence of variations on that basic anatomical plan, which anyway remained distinct from that of parasitic worms. Through a series of controlled laboratory tests, Redi also proved that earthworms have a physiology of their own and are most sensible to water loss. In those same years, Swammerdam investigated earthworm cocoons nursing them in his room, and Tyson discovered earthworms’ hermaphroditism. Two significant interpretations of earthworm's locomotion, by Fabrici ab Aquapendente and Borelli, also belong to this period, but were both short-lived in their influence. An awareness of the ecological role of earthworms in pedogenesis and soil fertility did not emerge until the late eighteenth century.

Displacing China: The Martini-Blaeu Novus Atlas Sinensis and the Late Renaissance Shift in Representations of East Asia

2020 ◽  
Vol 73 (3) ◽  
pp. 953-990
Author(s):  
Mario Cams
Keyword(s):  
Seventeenth Century ◽  
East Asia ◽  
Far East ◽  
Visual Representations ◽  
Book Market ◽  
The Far East ◽  
Publishing Houses ◽  
Jesuit Missionary ◽  
Dramatic Shift ◽  
Late Renaissance

In the mid-seventeenth century, as the first full atlas of East Asia became available on the European book market, a dramatic shift took place in textual and visual representations of the Far East. The atlas, titled “Novus Atlas Sinensis” (1655), was the product of a cooperation between Joan Blaeu, who headed one of Europe's foremost commercial publishing houses, and Martino Martini, a prominent Jesuit missionary to China. This study shows how the Martini-Blaeu atlas thoroughly challenged the worldview of late Renaissance audiences by tracing and reconstructing a series of displacements that facilitated its production process.

Komeniáni v Karteziánském Zrcadle

2019 ◽  
Vol 16 (4) ◽  
pp. 41-77
Author(s):  
Petr Pavlas ◽  
Keyword(s):  
Seventeenth Century ◽  
The Other ◽  
Late Renaissance

The article picks up the threads of especially Martin Muslow’s 1990s research and describes the distinctiveness of the “relational metaphysics of resemblance” in the middle of the seventeenth century. The late Renaissance metaphysical outlines, carried out in the Comenius circle, are characteristic for their relationality, accent on universal resemblance, providentialism, pansensism, sensualism, triadism – and also for their effort to define metaphysical terms properly. While Comenians share the last – and only the last – feature with Cartesians, they differ in the other features. Therefore, Cartesians and Comenians cannot come to terms in the issue of the proper definitions either. Quite on the contrary, they oppose each other on this issue. By means of Johann Clauberg’s criticism of Georg Ritschel and René Descartes’s only supposedly “mysterious” and “solipsist” second meditation, the article turns a Cartesian mirror to the Comenian metaphysical project. In its light, the definitions of Georg Ritschel, Johann Heinrich Bisterfeld and Jan Amos Comenius turn out to be unacceptable for Cartesians (and also for Thomists and, in part, for Baconians). Despite their superficially Aristotelian-scholastic appearance, their content is notably Paracelsian-Campanellian (with a Timplerian foundation). Even though Comenian definitions of metaphysical terms had been refused and refuted by Cartesians, they experienced a second lifespan in their robust influence on Leibniz and Newton.

scholarly journals Performance Practice of Early American Hymnody: Tempo and the “Moods of Time”

2013 ◽  
Vol 6 (1) ◽  
Author(s):  
Erin Fulton
Keyword(s):  
Seventeenth Century ◽  
Performance Practice ◽  
Art Music ◽  
Pedagogical Practices ◽  
Modern Time ◽  
Early Nineteenth Century ◽  
Early American ◽  
Modern Notation ◽  
Time Signature ◽  
Notational Practice

Modern time signatures indicate metrical organization in notated music. However, in most American hymnals and psalters published between 1721 and 1809, time signatures also signify very specific tempi. This notational practice, further removed from modern usage than any other element of this music, derives from proportional notations abandoned in art music in the seventeenth century. As technically complex music was published using this notation in the 1760s, these time signatures began to be used more subtly. In combination, they provide metrical effects unlike those possible with modern time signatures: doubling or halving tempo, or maintaining the pulse while altering its division or larger metric organization. Viewed from the perspective of modern notation, these functions diverge from their appearance. This article clarifies the correlation between time signature and tempo indicated in eighteenth- and early nineteenth-century American tunebooks (hymnals), arguing for its inclusion in modern performances of this repertoire. Internal evidence and related pedagogical practices suggest these tempi were intended to be observed; most early American theorists, composers, and compilers advocated adherence. Any revival of repertoire first published in this notation, including the works of such composers as William Billings, Daniel Read, and Supply Belcher, would profit by observing these tempi. In a repertoire frequently devoid of interpretive markings, time signatures provide invaluable clues to performers.

Helmont, Franciscus Mercurius van (1614–98)

2018 ◽  
Author(s):  
Stuart Brown
Keyword(s):  
Seventeenth Century ◽  
Intellectual Culture ◽  
International Reputation ◽  
Late Renaissance ◽  
Henry More

Although he lived in the seventeenth century, van Helmont belongs more to late Renaissance than to modern intellectual culture. He was a larger-than-life figure who, in his prime, had an international reputation as an alchemist and a physician. His metaphysical interests came increasingly to the fore, however, and he became particularly associated with Kabbalistic doctrines. A friend of Locke and Henry More, he was also closely connected with Anne Conway and Leibniz, with whom he shared many intellectual affinities. It is these connections that make his philosophy – in particular, his theodicy and his monadology – of enduring interest.

The Nature and Care of the Whole Man: Francis Bacon and Some Late Renaissance Contexts

2017 ◽  
Vol 22 (2-3) ◽  
pp. 130-156 ◽  
Author(s):  
Keyword(s):  
Seventeenth Century ◽  
Practical Knowledge ◽  
The Body ◽  
Francis Bacon ◽  
General Science ◽  
Religious Texts ◽  
Mind And Body ◽  
Late Renaissance ◽  
The Mind ◽  
Distinct Field

In the early seventeenth century Francis Bacon called for the institution of a distinct field of theoretical and practical knowledge that would deal with the tight interrelationship between the mind and the body of man, which he dubbed “the inquirie tovching hvmane natvre entyre” (Advancement of Learning, Book II). According to Bacon, such knowledge was already in existence, but unfortunately scattered in medical and religious texts. As a remedy, he proposed an integrated and autonomous account that would constitute “one general science concerning the Nature and State of Man” (De augmentis scientiarum, Book IV). Such an account would concern itself with both the nature of the bond (vinculum) between mind and body (ibid.) and with the medical-religious care of man in his entirety. My purpose here is to identify a number of late Renaissance contexts that flagged a comparable type of preoccupation with the nature and care of the ‘whole man’ from a perspective that similarly strove to combine philosophy, medicine and theology.


scholarly journals The Saint in the Woods: Semi-Domestic Shrines in Rural Sweden, c. 1500–1800

Religions ◽  
2019 ◽  
Vol 10 (6) ◽  
pp. 386 ◽  
Author(s):  
Terese Zachrisson
Keyword(s):  
Seventeenth Century ◽  
Public Space ◽  
Weekly Basis ◽  
The Public ◽  
Parish Churches ◽  
Church Service ◽  
The Church

In the seventeenth century, a common saying in parts of rural Sweden when discussing someone lacking in piety was that they went to neither church nor cross. This reflects the practice of placing shrines in the fields, along the roads and in the woods as a communal semi-domestic complement to official church space. In the remote woodland areas of Sweden, the distance between parish churches could be considerable, and many parishioners were not able to attend church on a regular, weekly basis. At these sites, parishioners could kneel and make their prayers as a complement to church service. However, they could also be used as points of contact in communicating domestic issues with the divine, with votives being left at the shrines by those hoping for deliverance from disease and difficult childbirths. In the post-reformation period, such sites were regarded with suspicion by the higher ranks of the clergy, and were often considered “idolatrous” and “superstitious”. Yet, they seem to have filled an important religious need among their laity that made it possible to interact with the divine on sites bordering the domestic and the public space of the church.

Critical Gestures: Writings on Dance and Culture. By Ann Daly. Middletown, CT: Wesleyan University Press, 2002; pp. 320. $19.95 paper.

2004 ◽  
Vol 45 (1) ◽  
pp. 137-139
Author(s):  
André Torres Lepecki
Keyword(s):  
Eighteenth Century ◽  
Seventeenth Century ◽  
Modern Art ◽  
Art Form ◽  
Self Sufficiency ◽  
Aesthetic Autonomy ◽  
Late Renaissance ◽  
And Function ◽  
Role And Function ◽  
The Ideal

Western theatrical dance emerges in the late Renaissance as an increasingly autonomous art form. However, as theatrical dance strove toward the ideal of its own aesthetic self-sufficiency, toward an autonomy that would eventually confer it its place as a truly modern art form, dance developed a paradoxically intimate, intricate, and convoluted relationship with its other—writing. The historical persistence of a continuous dialoguing between dancing and writing indicates how dance's aspirations for aesthetic autonomy were precisely that: an impossible (modern) wishing. Historically, the role and function of writing in regards to dance has been one of partnering. This partnering has oscillated among three foundational modes of writings on dance: the archival (writing as the guarantor of dance's historical survival, as seen already in the late 1500s, in Arbeau's Orcheseography), the choreographic (writing as mode of composing dances directly on paper, as seen in the exams for the Académie Royale in late seventeenth-century France), and the writing of criticism. Of these three modes, criticism—understood as writing aimed at explaining or translating to an audience the opacity of dance's appearing—won't emerge in its incipient form until the late eighteenth century. This mode is today the most prominent role writing takes in relation to dance, in which the function of the critic is simultaneously to preserve and explain the dances she witnesses.

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