Although it is not expressed in the title, this new book by professor Matjaž Barbo deals with the aesthetics of music; its chapters discuss classical topics of musical aesthetics, emphasizing to some ...extent issues that have dominated recent philosophical discourse on music.
V svojem vplivnem delu O glasbeno lepem je Eduard Hanslick prišel do zaključka, da antični svet ni poznal glasbe v pravem pomenu besede. V Hanslickovi misli so bile za vsako glasbeno delo bistvene ...njegove »s tonskim gibanjem nastale oblike«. Analiza ustreznih mest v korpusu Platonovih del kaže, da antična filozofija glasbe ni poznala nič ustreznega navedenemu Hanslickovemu pojmu, pač pa je sodila primerke glasbe po povsem drugih kvalitetah.
Fragments of music manuscripts are some of the commonest finds inside bindings of later volumes, or unlabeled boxes tucked away in libraries and archives. Their surviving radically shaped our modern ...understanding of early European music. This volume looks at ‘disiecta membra’ not as relics of a lost whole, but as principal objects of study, illuminating societal, material, and cultural contexts, and requiring specific approaches and methodologies.
V poglavju, ki je v Heglovih Predavanjih o estetiki namenjeno glasbi, se je filozof ukvarjal tudi z vprašanjem glasbene vsebine. Po njegovem mnenju glasba sicer lahko izraža različna človeška ...razpoloženja, vendar to ni njeno bistvo. Pomembneje je, da se človek, subjekt v njej srečuje sam s sabo. Kot taka je glasba neodvisna od zunanje vsebine. S tem je Hegel v svojo estetiko sicer vgradil staro teorijo afektov, a jo je tudi presegel.
This book ('The art of music in the period from Monteverdi to Bach')is an introduction to the history of Baroque music. It starts by describing seminal innovations in Italian music of the last ...decades of the 16th century, and terminates by presenting new trends in the music of the first half of the 18th century. The text is divided into twenty chronologically arranged chapters that discuss the most important issues in the development of Baroque music in Italy, Germany, France and England. Each chapter consists of several subchapters that focus on particular topics, such as musical life in specific historical environments, important musical institutions, typical music genres, their origin and development, composers' oeuvres, their biographies, and typical musical forms. Musical genres and composers are illustrated by several dozens of original analytical descriptions of particular musical works. Special chapters are devoted to broader theoretical issues of Baroque music. At the end of the monograph there is a substantial name- and subject index.
In Slovenian libraries and archives there are ca. 25 medieval music manuscripts~besides, several hundreds of fragments of destroyed medieval music codices have been preserved. With few exceptions all ...these sources contain Gregorian chant: the common medieval music culture that was known everywhere in the West and may be regarded as the starting point of European music history. The monograph contains a series of essays discussing various aspects of these variegated sources: their contents as well as their historical, paleographic, codicological and musical features. A special attention is paid to those segments that appear idiosyncratic or even unique, as is e.g. the versified office for the feast of the patron saints of the parish church of Kranj. The monograph is rounded off by a detailed/descriptive catalogue of all hitherto known medieval music sources, be it complete or incomplete, to be found in Slovenian locations.
In Ms 29 of the National and University Library in Ljubljana (Slovenia) — an early 13ᵗʰ-century copy of Dialogorum libri IV by Gregory the Great — there are two musical insertions: the sequence Celi ...solem imitantes and the hymn Jam lucis orto sidere. Written in Hungarian notation they were inserted onto blank pages in the completed manuscript in the span of time from the late 13ᵗʰ to the mid-14ᵗʰ century. Ms 29 bears a marginal inscription referring to Augustinus Cazottus (Kažotić), Bishop of Zagreb in the early 14ᵗʰ century. It was obviously in his possession. Presumably, the sequence and the hymn were inserted into Ms 29 somewhere in the Diocese of Zagreb, by someone skilled in Hungarian notation.
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