Polyphony

Die Handschrift Hs. Mus. 18746 in 5 Stimmbüchern, datiert 1523 und heute in der Österreichischen Nationalbibliothek, ist die früheste aktuell bekannte Sammlung ausschließlich 5 - stimmiger weltlicher Musik, dennoch relativ unbeachtet. Unter den 56 Kompositionen befindet sich eine signifikant große Anzahl an Wiederbearbeitungen ursprünglich 3 - stimmiger Chansons (Art - Song - Reworkings). Wiederum unter diesen fallen die 7 Bearbeitungen von “Fors seullement” am Ende der Handschrift auf. Ziel der Arbeit ist ein tiefer gehendes Verständnis der Kompositionsweise dieser Stücke. Dafür werden Techniken für die Entstehung von Art - Song - Reworkings erklärt und anhand von Gioseffo Zarlinos “Institutii Harmoniche” (1558) Kriterien für die Stücke, insbesondere für Komposition mit 5 und mehr Stimmen, erarbeitet. Darauf basieren die folgenden Analysen der Stücke, hauptsächlich nach Kadenzen, Modi, cantus firmus - Behandlung und Imitation. Die 7 Kompositionen sind sehr vielfältig und befinden sich auch nach der Analyse nicht eindeutig zuzuordnen im Spannungsfeld zwischen der im 15. Jahrhundert aufblühenden Praxis Chansons zu bearbeiten und einer moderneren Kompositionsweise, die in Theorie und Praxis ab der Mitte des 16. Jahrhunderts zu finden ist.
 
(incl. Transkriptionen in Partiturform und korrigierten Facsimiles) 

This article stems from a panel we jointly convened at the i-Docs 2018 Symposium, where we presented a series of provocations with a view to generating a new theoretical framework for i-docs. These provocations were inspired by all aspects of Mikhail Bakthin's concept of polyphony, from both a theoretical and a practical point of view. This article presents these provocations and reflects further on them. A number of key issues are documented, expanded and commented upon, as a potential framework for further research, including multiplicity, the chronotope, dialogism and interaction. We propose that these lead to new ways of approaching complexity. With the aim of using juxtaposition, nonlinearity and layering to break down binaries, the article demonstrates how complexity can be embraced and, crucially, how the simplicity within it can be revealed. In other words, a key proposition here is that we should accept and celebrate complexity as the natural order of things, without needing to deny simplicity. By investigating several theoretical aspects of Bakthin's wider idea of polyphony, this article identifies some areas for potential development and offers input for further research, particularly in relation to the concepts of heteroglossia, carnival and aesthetics. This article is an expanded version of our " provocations " , a series of ideas and stimuli designed to provoke debate and set the scene for a collaborative panel session on " The Poetics and Politics of Polyphony ". We organised and hosted this session at the i-Docs 2018 Symposium held in Bristol, UK on 21–23 March 2018, based on our combined long-term and ongoing research into the subject (Aston and Odorico). 1 In the spirit of the Russian philosopher Mikhail Bakhtin, our provocations were designed to start a dialogue between us, our guests and the audience, through which we endeavoured to create an equal and open platform for the generation and exchange of ideas. A number of key issues came out of this dialogue, which we document and comment upon here as framings for further research. The structure of this article is based on the order in which we presented our provocations, using our set of six slides from the symposium, followed by a list of keywords that emerged from the ensuing discussion. As we use this structure to talk through our ideas, this is not a typical linear essay, but a series of inputs for further analysis, with certain aspects focussed on in more detail. The article also includes a few additional slides, where we have expanded upon points we first made at the symposium. Overall, the aim of the article is to explore areas of synergy with Bakhtin's thinking on polyphony, and to begin to reflect on the theoretical and practical contribution of a dialogic approach to the field of i-docs.

Bu çalışma ile hedeflenen; yöredeki çok seslilik unsurlarını tespit ve analiz etmektir. Özellikle bu çalışmadan elde edilen sonuçların modernite kavramının ülkemizi etkilediği zamanlardan bu yana tartışıla gelen çok seslilik tartışmalarına katkıda bulunması,  konu ile ilgili çalışma yapacak icracı ve araştırmacılara güvenli bir kaynak
oluşturulması çalışmanın temel amaçlarından birisidir. Çalışmanın sonucu olarak Yörük Türkmen müziğinin çok sesli olduğu tespiti yapılmıştır. Tespit edilen çok seslilik unsurları tasnif edilmiştir.

Wayne Vucinic Book Prize 2007, "for the most important contribution to Russian, Eurasian, and East European studies in any discipline of the humanities or social sciences." 

Endorsement by Slavoj Zizek:

"Alexei Yurchak's Everything Was Forever, Until It Was No More immediately seduced me by its very title with a profound philosophical implication that eternity is a historical category--things can be eternal for some time. The same spirit of paradox runs through the entire book--it renders in wonderful details the gradual disintegration of the Soviet system from within its ideological and cultural space, making visible all the hypocrisy and misery of this process. I consider Yurchak's book by far the best work about the late epoch of the Soviet Union--it is not just history, but a pleasure to read, a true work of art." (Slavoj Zizek, author of In Defense of Lost Causes)

Abstract:

Soviet socialism was based on paradoxes that were revealed by the peculiar experience of its collapse. To the people who lived in that system the collapse seemed both completely unexpected and completely unsurprising. At the moment of collapse it suddenly became obvious that Soviet life had always seemed simultaneously eternal and stagnating, vigorous and ailing, bleak and full of promise. Although these characteristics may appear mutually exclusive, in fact they were mutually constitutive. This book explores the paradoxes of Soviet life during the period of "late socialism" (1960s-1980s) through the eyes of the last Soviet generation.

När jag har gjort en fältstudie som handlar om dialog under känslosamma omständigheter där människor har skrattat, gråtit, tänkt och samtalat tillsammans, hur kan jag då skriva om detta utan att texten känns platt, linjär och förutsägbar? Det vill säga, hur kan jag skriva om de levande, trevande och pågående samtal som jag har upplevt? Dessa frågor är utgångspunkten för det här kapitlet. Genom att berätta om min egen skrivresa, från det att jag satt med en hel resväska med ”data” till att jag fick ihop det till ett avhandlingsmanus, hoppas jag kunna väcka frågor och funderingar som rör själva skrivprocessen – vad vi kan kalla skrivandets praktik – kring hur vi skriver våra fältstudietexter.

Complete transcription and reconstruction of the canon a13 for Christ and his Twelve Disciples on the Apostles Creed. This piece is found in both the Eton Choirbook and the Baldwin Manuscript. This edition contained both the fully realized canon as well as a modern reconstruction of the original monophonic version of the canon, as found in the manuscripts.

For a recording with a score animation see the link below:
https://www.youtube.com/watch?v=TBu66rLAv7I

Critical literacy practices have moved their interest from Freirean binary analyses (e.g. oppressor versus oppressed) to more complex perspectives, where in a text the author/speaker is (dis)aligned with different discourse communities. Despite the fact that these teaching practices that are based in multiple discources are gaining attention, little work has been done on the assessment of the teaching practices. During the last decades, the literacy activities researches have focused on the teacher-student interactions and the teacher talks (asking questions, types of questions), neglecting the final text production, which is also a significant factor in the evaluation of literacy practices. In this paper, after the implementation of polyphonic literacy practices in a rural junior high school in Crete, Greece, the teacher-researcher assessed the final student written products using the Appraisal Theory. Further qualitative methodological data gathering sources enhanced the identification of the contextual factors that can explain in depth the discourses the students (re)produced in their texts. These findings suggest that Appraisal Theory combined with such methodological choices, where the context is identified, is more supportive in the evaluation of these complex critical literacy practices and provides the teacher and students fruitful feedback concerning critical literacy awareness.

The goal of this article is a discourse analysis of the architectonic integrity of polyphonic work on the texture and thematic levels, in conditions of imitative and non-imitative types of polyphonic thinking. The discursive approach in the work aimed at disclosing the ratio of total genre principle as a kind of language (with appropriate structural model) and a particular music piece of as givenness music and speech practice. As a result, dual by its nature musical form also serves as discourse and analogy between music semantics and verbal language and speech extends to the level of the mechanism of signification. Contiguous to the concept of "integrity" art form definition of "architectonics" borrowed from the theory of architecture gradually actualized early last century in the works of representatives of the formal German school. In modern literary criticism, the tectonic and architectonic composition levels of artistic work are considered as not identical. In the scientific literature, there is a convergence of concepts of tectonics and a structure, and with focus on the dynamic relationship of carried by and carried composite elements. Drawing the demarcation line between the concepts of tectonics and architectonics, we note that the latter reflects more generalizing, common to many artistic works principles of shaping, operating in a manner, not by the elements but components of the composite structure. In musicology the concepts of tectonics and architectonics are  involved actively in analyzing the form of a musical work as in whole, and from point of view on the constructive bearing function in her individual means of musical expression (rhythm, harmony, texture, etc.) as well as the study of the musical and creative process (including, a performing interpretation). The concept of ”landscape of the texture” (T. Krasnikova) as best as possible corresponds to the specific of exactly the polyphonic piece. Prolonging the phenomenon of architectonics on the musical and creative process, musicologist V. Moskalenko distinguish between these two kinds as architectonic resume and outrunning architectonic representation, linking with the understanding of a musical work as a principle and as a fact [Moskalenko V. H. Theoretical and methodological aspects of musical interpretation, p. 13]. Provided perception of directing function of musical theme the outrunning type of architectonics appears in two its major manifestations - monothematic (so-called "basic") and non-monothematic (ie, "arched") which "understood as dialectically related binarity," which includes himself both as folk, and academic and musical traditions [ibid, p. 17]. The projection of the concept of "arched" architectonics, which reproduces the opposition of the theme and non-theme in a musical piece, to a polyphonic structure, makes it possible to differentiate it into simultaneous (i.e. "contrapuntal" inherently), succession (prolonged in time, the actual "polyphonic") and resultant (synthesizing) varieties, taking into account the multipartite and specific branching of the textured landscape of the polyphonic work – compared with homophonic-harmonic – not only by horizontal but by vertical and diagonal simultaneously. Considering polyphonic genres, organized largely beyond imitative rules as the determining compositional principles, the such as multithematic motet of Ars Antiqua age or isorhythmic motet of Ars Nova, contrapuntal choral treatment on cantus firmus or polyphonic variations on a basso ostinato, observed that it comes to the fore here the aimed by "vertical" – simultaneous arched (on the principle "theme – a non-theme" or "theme – a theme") type of instantaneous perception of architectonic integrity. With the resurgence of composer's sustained interest in non-imitative principles of polyphony in modern musical art, now observed the clear actualization of the inherent specific forms of manifestation and corresponding simultaneous type architectonic integrity.
Elements of the simultaneous arched architectonic do not lose their effectiveness also in the imitative polyphony, but limited, preferably, by more "local" compositional level. However, with considering the critical importance in imitative polyphony - particularly in fugue - of the coordination by "diagonal", the special importance in it firstly takes the resulting type of architectonic thinking of a interpreter and performer or musicologist and researcher, which combining in itself both - the simultaneous (contrapuntal) and the succession (polyphonic) - principles simultaneously. Without interludes, particularly in the so-called "scientists" or stretto's fugues, which saturated with various methods of structural transformation of themes (inversion, retroversion, rhythm, scale conversion strettos as one of the varieties of multiplication etc.), aimed by "diagonal" – the resulting – approach to the interpretation of the work's architectonic integrity is most updated.

Архітектонічна цілісність поліфонічного твору в аспекті дискурс-аналізу
Розглянуто архітектонічну цілісність поліфонічного твору в аспекті дискурс-аналізу. Виявлено, що специфіка поліфонічного твору, на відміну від гармонічної за своїм складом багатоголосної музики, відтворюється насамперед у його «фактурному ландшафті». Встановлено, що у неімітаційних поліфонічних жанрах та формах, внаслідок їх багатоярусності і тяжіння до композиційної сегментації, спостерігається переважальна дія симультанного типу архітектонічної цілісності, натомість в імітаційній поліфонії координація «за діагоналлю» зумовлює результуючий тип архітектонічного мислення інтерпретатора.
Ключові слова: архітектоніка, цілісність, неімітаційна поліфонія, імітаційна поліфонія, дискурс-аналіз.

Актуальность исследования. Применение понятий архитектоники и тектоники к полифоническому произведению с целью выявить базовые различия в логической структуре имитационной и неимитационной полифонии предпринимается впервые. Цель исследования – дискурс-анализ архитектонической целостности полифонического произведения на фактурно-тематическом уровне в условиях имитационной и неимитационной полифонии.
Методология исследования. Применение дискурсивного подхода позволило исследовать соотношение общих тектонических архетипов музыкального произведения (как своеобразных «языковых» принципов со своей типичной моделью) и полифонического музыкального произведения в его хронотипологически определенной жанрово-композиционной дискурсивной практике (как данности музыкальной речи). Проекция понятия «арочной» архитектоники (В. Москаленко) на полифонический склад сделало возможной ее дифференциацию на симультанную («контрапунктическую»), сукцессионную («полифоническую») и результирующую (синтезирующую) разновидности, учитывая многосоставность и специфическую разветвленность фактурного ландшафта полифонического произведения по горизонтали, вертикали и диагонали одновременно.
Основные результаты и выводы исследования. Рассмотрена архитектоническая целостность полифонического произведения. Выявлено, что специфика полифонического произведения, в отличие от гармонической по своему складу многоголосной музыки, отображается прежде всего в его «фактурном ландшафте». Установлено, что в неимитационных полифонических жанрах и формах (полимелодический и изоритмический мотеты эпох Ars Antiqua и Ars Nova, контрапунктическая или политематическая хоральная обработка на cantus firmus, остинатные полифонические вариации и т.д.), вследствие их многоярусности и тяготения к композиционной сегментации, наблюдается преобладающее действие симультанного типа архитектонической целостности. В имитационной полифонии (в частности, ричеркаре или фуге) координация «по диагонали» приводит к результирующему типу архитектонического мышления интерпретатора.
Ключевые слова: архитектоника, целостность, неимитационная полифония, имитационная полифония, дискурс-анализ.

URL : http://revueties.org/document/index.php?/ties/la-voix-dans-tous-ses-etats/660-polyphonie-litteraire-et-imaginaires-de-la-voix-spectrale-chez-fedor-dostoievski

Cet article a pour but de replacer la poétique de la polyphonie, propre à l'oeuvre de Fédor Dostoïevski, dans une histoire culturelle du XIX e siècle. Il s'agit donc de considérer dans cette oeuvre la superposition de plusieurs imaginaires de la voix. Chez l'écrivain russe contemporain de l'invention du phonographe, les voix présentent souvent un aspect fantomatique et spectral que met particulièrement en évidence l'étude du récit Bobok (1873). Publié en amont des théories de Mikhaïl Bakhtine sur la pluralité des voix, ce texte permet de souligner la transversalité du motif des hallucinations auditives chez Dostoïevski. La reprise des théories spirites dans le récit peut nous apparaître enfin comme une réponse ironique aux accusations de folie dont Dostoïevski lui-même commence à faire les frais dès les années 1870. Cette réponse fictionnelle aux attaques du journal La Voix se double d'une critique des nouvelles conditions médiatiques dans lesquelles Dostoïevski produit son oeuvre en général. Avant même l'invention du phonographe, la voix spectrale devient une allégorie du mot imprimé et le signe d'une entrée définitive de la littérature russe dans l'ère médiatique. ABSTRACT. This article aims to situate Fyodor Dostoevsky's poetics of polyphony in the historical perspective of cultural evolutions during the nineteenth century. It is therefore necessary to consider the coexistence of different "imaginations of voice" in Dostoevsky's work. Like his contemporary Thomas Edison, the inventor of the phonograph, Dostoevsky creates voices that are endowed with a ghostly and spectral aspect, which is particularly highlighted in the study of his short story entitled Bobok (1873). Published before Mikhail Bakhtin had considered the plurality of voices in Dostoyevsky's work, this text emphasizes the transversality of auditory hallucinations in his novels. The fictionalization of spiritualist theories in the narrative can therefore appear as an ironic answer to the accusations of madness that the author was the victim of in the early 1870s. His fictional response to the attacks of the liberal newspaper "The Voice" came along with a critique of the new conditions in which Dostoevsky had to produce his work at the age of media. Even before the invention of the phonograph, the spectral voice thus had become an allegory of the printed word and the sign of the definitive entry of Russian literature into the era of the media.. MOTS-CLÉS : Dostoïevski, polyphonie, hallucination auditive, voix spectrale, spiritisme, média

This work's aim is to analyze polyphony in The Brothers Karamazov, a novel written by Fyodor Dostoevsky, focusing on ideological confrontations that take place between characters, especially between the Karamazov's family. More specifically, I try to understand how Alexei Fyodorovich Karamazov interacts in a dialogical way with his family and friends, and how Alexei's interventions – marked by a religious ethical behavior – contribute to the conflicting discourses. To do so, the main concept on which this paper is relied is the polyphony, developed by Bakhtin in order to understand that each character in the book has a strong and distinct ideology, which helps creating tensions of immense proportions. Finally, this study is also based on Nietzsche's theories about religion, because it is argued that some characters are guided by a Christian ethical thinking, which is – although shown as good most of the times – surrounded by an oppressive fundamentalism.

The goal of this work was the study of structural aspects in polyphonic pieces by Adrian Willaert, aiming to identify a possible relationship between his vocal and instrumental works, namely the moteto and ricercare genres. Among the various structural aspects that served as a basis for comparison, cadence was chosen as a measurable and predominant common element, by patterns of occurrence and typology associated with a relatively well-established classification by Bernhard Meier. Some unusual cadential species were identified in Willaert’s pieces, specially the melodic clausula cantizans fuggita, which however could not be attributed to the composer without an investigation on its possible occurrence in works by influential composers such as Josquin. This observation implied in the study of primary sources previous to Willaert, in order to identify, on the one hand, aspects that corroborated the development of the instrumental music from vocal models during the fifteenth- and sixteenth-centuries and, on the other hand, possible influences related to the use of these unusual cadential species. An expanded cadential plan model was developed as the pieces were being analyzed, including a method of motivic analysis that prompted the scope examination of this converging analytical method in a piece by Clemens non Papa, a contemporary but unrelated composer to Willaert’s circle. As a consequence of this research, it was possible to identify a cadential structure nominated ‘staggered cadence’ as an ultimate means of potential articulation, besides some structural groupings in coupling with the basic cadential pattern cantizans-tenorizans, here nominated as ‘C/T-cadence’.

""Counterpoint is a structural form in music which, in the high modernist era was mapped onto literature with differing degrees of success. It has also been the basis for a model of theoretical criticism, as critics such as Bakhtin and Said have sought to read literature and culture in a polyphonic or polyvocal manner. Both attempts to transpose contrapuntalism are problematised by the difficulty of reconstructing the experience of simultaneity in forms that are encountered serially.
James Joyce, who was a talented amateur singer with a significant interest in music, attempted to incorporate contrapuntal methodology in The Sirens episode of Ulysses, and revisited the experiment in Finnegans Wake. Anthony Burgess, a late Modernist and an accomplished composer, was heavily influenced by Joyce in his fiction-writing, and has repeatedly sought to transpose musical forms into his novels.
Burgess's earliest fiction draws extensively from musical form, and in his novels he developed literary structures that seek to emulate the passacaglia, the suite and the symphony. However, the challenge of constructing a literary counterpoint was one that he repeatedly revisited, exploring ways to create the form verbally, linguistically, typographically and even televisually.
In this paper, I intend to examine the extent to which Burgess's contrapuntal experiments in fiction draw upon and extend beyond those of Joyce. I also hope to explore whether the form of counterpoint can be considered beyond the level of mere metaphor in literature or in criticism, and what, if anything contrapuntal criticism and contrapuntal literature have to say to each other.""

A transcription of Leonin's "Viderunt Omnes" (c. mid to late 12th century), showing excerpts of the original two sources with comparative variations and a modern transcription.

For a recording and score-video see the link below:
https://www.youtube.com/watch?v=_p9WQlyVPrA

The article analyzes the media logic of urban acts of communication in early modern German cities. As is demonstrated by Cologne and Hamburg in the late seventeenth and early eighteenth centuries, the growing use of print (particularly pamphlets) moved local conflict away from face-to-face confrontation into progressively more multifaceted modes of communication, increasingly expressed in both manuscript and print. In highlighting the mediality of early modern urban culture, the changing relationship between the urban community, public opinion, and forms of communication is addressed. The resulting effect from the interplay and complementation of oral, written, and printed means of communication is described as echoes that formed an urban resonating box—a constant polyphonic state including both the literate and illiterate.

A Prolation Canon for three voices by Johannes Ciconia (c. 1370 – 1412). this piece is a unique example of irregular prolation from the French Ars Subtilior. Utilizing a 4:3:1 proportion, this piece creates an interesting rhythmic phasing effect between the triplum and the cantus (top two voices) nearly 600  years before the 20th century composer Steve Reich popularized such musical textures. Check out the score in motion at https://www.youtube.com/watch?v=YrOEOuwYy3M

This brief summary updates the definition of 3 main types of musical texture: heterophony, polyphony, and homophony - and explains why they are all unsuitable for the earliest phylogenetic forms of musicking, as described by the theory of musilanguage by Steven Brown. This theory, adopted by many scholars of the origins of music, models the evolution of human proto-music and proto-language from animal calls. I introduce a new term, “isophony,” specifically tailored to the sonic texture of musilanguage, and distinguish its texture from heterophony, polyphony, and homophony. Audio examples are provided for reference.

A transcription of Machaut's Rondeau 14, "Ma fin est ma commencement" ("my end is my beginning"). The score is rendered to be read both forwards and backwards as necessitated by the music. For an animated video of the score with a performance visit https://www.youtube.com/watch?v=dcfPr4IN2MM

A critical and performance edition of Alexander Agricola's chanson "De tous biens plaine" for three voices. The cantus firmus of the tenor is extracted from Hayne Van Ghizeghem's (c. 1445 – 1476 to 1497) eponymous chanson.

The text of the first verse is underlaid in this edition, though only the first few words actually appear in the manuscript. The complete text as found in a number of Ghizeghem's sources with a complete translation is given at the end.

It seems unlikely that the outer voices should be sung, given their continual motion, frequent awkward leaps, and extreme ambitus.  However, the inner voice certainly could be sung.

Background. As is known, the content of the traditional systematic polyphony course, based on its dichotomous division into strict and free writing, mainly relies on the musical styles of Renaissance, Baroque and the classical-romantic era. In this regard, it is not surprising that the primary place in it is the doctrine of imitation, as well as forms of motet, ricercar, invention, fugato, fughetta, fugue, which inextricably are associated with the latter. Meanwhile, the student, starting work on two or three completely different voices, is forced to weave these continuous horizontal-vertical-diagonal connections in "real time", facing the need to solve the problem with many unknowns at the same time. He does not have, in that matter, in its arsenal a set of specific recommendations, such as rules for constructing of the imitation.
Objectives. The purpose of the article is to summarize the trends associated with the current state of affairs in the study of non-imitative (multi-subject, contrast) polyphony in the educational courses of the university as a historically developed situation. The actual tasks of the work also include determining the possibilities of filling the existing gaps in this direction and further promising development of polyphony as a discipline in its theoretical and practical aspects.
Methods. The methodology of work combines comparative, structurally-analytical, deductive and systemic approaches, which allowed to cover a wide range of heterogeneous phenomena and simultaneously highlight the specificity of the chosen subject.
Results. We propose to pay special attention to the voluminous note appendix to S. I. Taneyev's "Convertible counterpoint in the strict style," with systematically ordered examples that consistently (if not to say, pedantically) reflect the practical applications of the theoretical propositions previously expounded by the researcher [27, p. 330-375]. Our special interest in this material is because by the type of polyphonic texture it is largely the non-imitative, as the most suitable for illustrating the corresponding essence of the three main varieties of the convertible counterpoint - vertical, horizontal and double-shifting counterpoint.
Active implementation in the twentieth century the "historical" vector in the traditional theoretical course of polyphony led to a revision all of its "practical" methodology: written works, the polyphonic analysis, tasks for playing the piano. As the most effective in writing practical exercises, according to Yu. Evdokimova, "a method of modeling the style of the historical epoch (or that outstanding artist) is chosen, which is mentioned in lecture classes" [5, p. 22]. Let us dwell in more detail on the methodological aspect of the Yu. Evdokimova's manual, which is the first textbook of the polyphony of a new type [6]. The manual is fully dedicated to a medieval polyphony and a strict style of Renaissance. In addition, all material is grouped according to the number of semester classes, which greatly simplifies the problem of practical integration of this radically updated course in the content of the traditional academic discipline. Attention is drawn to the fact that a large part of the material (10 lectures of 17) covers a range of issues related specifically to non-imitative varieties of compositional techniques and genres.
Yu. Evdokimova put forward the so-called identifying (attributive) method, which assumes, based on the acquired knowledge, the ability to determine the belonging of the proposed multi-voice musical work of the X-XV centuries to a certain historical time, genre or style of the school or author, to stable principles of writing (technique). As a final written examination paper, it is proposed to create a polyphonic play in any of the past styles for some Gregorian monody with the text [6, p. 125].
The textbooks on polyphony of I. P. Pyaskovsky – "Polyphony" (2003) and "Polyphony in Ukrainian Music" (2012) [18, 19] – undoubtedly combine the capacious historical base of concrete theoretical knowledge with the powerful generalizing potential of the theory of systems of I. A. Kotlyarevsky. This allows the author to freely project compositional methods, techniques, genre-style patterns of a medieval polyphony on the present, thanks to which in the work of many composers of the twentieth and twenty-first centuries I. Pyaskovsky distinguishes typical neo-Gothic features of modern polyphony, mostly non-imitative by its very nature.
Conclusions. Now the process of the formation of polyphony as a discipline continues. Therefore the actual problems remain to create modern textbooks and, especially, practical manuals on the subject that would have the goal of fully equipping our future domestic composers and musicologists with a balanced set of theoretical knowledge and practical skills, not only in sphere of an imitative, but also much wider in historical and stylistic terms, a non-imitative polyphony.
Keywords: Non-imitative counterpoint, polimelodic polyphony, stylistic modeling, identifying (attributive) method.

Неімітаційне письмо у системі навчального курсу поліфонії: актуальні завдання сучасної теорії та практики. Проблеми взаємодії мистецтва, педагогіки та теорії і практики. 2018. Вип.48.
Розглянуто загальний зміст традиційного вітчизняного курсу поліфонії у динаміці його складників. Досліджено низку найбільш вагомих навчальних посібників і програм з предмету. Узагальнено тенденції, пов’язані із сучасним станом вивчення неімітаційної (різнотемної, контрастної) поліфонії в навчальних курсах вишу як ситуацією, що історично склалася. Виявлено, що першорядне місце у зазначених курсах посідає вчення про імітацію. Простежено послідовну перебудову теоретичного та практичного змісту вишівського курсу поліфонії, що супроводжувалася появою низки підручників принципово нового типу. Висвітлено стимулюючу роль у цьому процесі української  музикознавчої наукової школи (І. Котляревський, І. Пясковський, Л. Грабовський та ін.).  Відзначено особливий внесок харківської поліфонічної школи (М. Тіц, Д. Клебанов, Л.  Решетніков, Г. Цицалюк, Т. Кравцов, Л. Трубнікова та ін.) Зроблено висновок щодо тенденції до застосування діахронного підходу в переосмисленій концепції сучасного курсу поліфонії. Визначено можливості подальшого перспективного розвитку поліфонії як навчальної дисципліни в її теоретичних та практичних аспектах.
Ключові слова: неімітаційна поліфонія, полімелодичне багатоголосся, стильове моделювання, ідентифікуючий метод.
Рассмотрено общее содержание традиционного отечественного курса полифонии в динамике его составляющих. Исследован ряд наиболее значительных учебных пособий и программ по предмету. Обобщены тенденции, связанные с современным состоянием изучения неимитационной (разнотемной, контрастной) полифонии в учебных курсах вуза как исторически сложившейся ситуацией. Выявлено, что первостепенное место в указанных курсах занимает учение об имитации. Прослежена последовательная перестройка теоретического и практического содержания вузовского курса полифонии, сопровождающаяся появлением круга учебников принципиально нового типа. Освещена стимулирующая роль в этом процессе украинской музыковедческой научной школы (И. Котляревский, И. Пясковский, Л. Грабовский и др.). Отмечен особый вклад харьковской полифонической школы (М. Тиц, Д. Клебанов, Л. Решетников, Г. Цицалюк, Т. Кравцов, Л. Трубникова и др.) Сделан вывод о тенденции к использованию диахронного подхода в переосмысленной концепции современного курса полифонии. Определены возможности дальнейшего перспективного развития полифонии как учебной дисциплины в ее теоретических и практических аспектах.
Ключевые слова: неимитационная полифония, полимелодическое многоголосие, стилевое моделирование, идентифицирующий метод.

Dans le chapitre « Les relations de temps dans le verbe français », Benveniste organise les temps verbaux de la langue française en deux systèmes distincts auxquels il fait correspondre deux plans différents d'énonciation: celui de l'histoire et celui du discours. L'opposition entre formes énonciatives de l'histoire et du discours se réfère à l'emploi des formes verbales françaises : le parfait (le passé composé) entretient une double relation avec le passé simple (l'aoriste) et avec le présent. La forme verbale il a fait, par exemple, entretient avec il fit un lien diffèrent de celui qu'elle entretient avec le présent il fait. Cette distinction crée un problème théorique qu'il faut résoudre. C'est à ce propos que Benveniste nous indique l'existence des deux formes énonciatives : « Les temps d'un verbe français ne s'emploient pas comme les membres d'un système unique, ils se distribuent en deux systèmes distincts et complémentaires. […] tous les deux sont en usage concurrent et demeurent disponibles pour chaque locuteur. Ces deux systèmes manifestent deux plans d'énonciation différents, que nous distinguerons comme celui de l'histoire et celui du discours ». 1 Benveniste, en décrivant les deux plans d'énonciation du discours et de l'histoire, semble nous indiquer un schéma théorique précis où à chaque plan d'énonciation correspond un engagement différent de la voix du locuteur. Dans la forme énonciative de l'histoire, « il faut et il suffit que l'auteur reste fidèle à son propos d'historien et qu'il proscrive tout ce qui est étranger au récit des événements (discours, réflexions, comparaisons). A vrai dire, il n'y a même plus alors de narrateur. Les événements sont posés comme ils se sont produits à mesure qu'ils apparaissent à l'horizon de l'histoire » 2. La théorie benvenistienne semble admettre la correspondance entre auteur et locuteur et, par conséquent, la totale disparition du locuteur dans les récits historiques : le locuteur n'existe pas, il devient un narrateur des événements factuels. Pour Benveniste, il n'y a pas un « je » qui implique une prise de parole, une comparaison, un dialogue entre un locuteur et un auditeur. Au contraire, le plan énonciatif du discours suppose l'existence d'un locuteur qui doit chercher à influencer celui qui l'écoute.

The characteristic properties of the non-imitative polyphony are compared with the imitative one in the aspect of musical logic. It is established that imitative polyphony in its main historical genre-compositional manifestations as a whole tends to reproduce the principles of dialogue (polylogue), with the linear narrative logic of prose inherent in it. In non-imitative polyphony, the logic of poetry with its methods has the leading role as well as the logic of song syntax.

Magnus, a novel from Sylvie Germain published in 2005, is a narration made up of several marks of hybridity – structural, generic and discursive hybridity. Those marks are not simply formal but emphasize the necessity of a true presence towards the world and others. The itinerary of the character is a spiritual one, and the novel reveals the part played by reading and writing in the reconsideration of our relationship towards the world and the other people.

The Varthamanappusthakam is the description of the travel to Rome performed by Paremmackal Thoma Kathanar and Kariyattil Joseph Malpan both of whom were members of the Kerala Nazrani Church. This is one of the early travelogues in the Indian languages and the first one in Malayalam. This book is considered from different angles in the history of literature. This work is not to be confined to the limits of the literary branch of travelogue; instead, it is a work that embraces literature, language, history and religion with its emphasis on difference of opinions. In other words, it is a narration that extends to different spheres of knowledge. It represents an important stage in the standardization of language. The basis of the historical importance of the Varthamanappusthakam is that it is the first Malayalam work in which the national feeling of India and the Indians was manifested. For the appreciators of travelogue, it is a historical document that gives in a picturesque manner the life styles and particulars of Europe and America which two Malayalis visited at a time when distant lands were a nightmare.

A non-barred critical transcription of Alexander Agricola's motet-chanson "Belles sur toutes - Tota pulchra es" from Florence, Bibliotea del Conservatorio Luigi Cherubini,  MS 2439 ff. 63v-64r.

For a recording of the music with a score-video see link below:
https://www.youtube.com/watch?v=r2N_Ru9xjuA

Performance score of Francesco Landini's madrigal, " Musica Son - Già Furon - Ciascun Vuol" transcribed from the Squarcialupi Codex (121v-122r). For a video of the score with a performance see the link below.

https://www.youtube.com/watch?v=YNcfZSBF9ow

Se aborda el estudio y edición crítica de una extensa Salve Regina a cuatro voces conservada en la Catedral de Puebla, que ha sido atribuida a Tomás Luis de Victoria (1548-1611), pero que no  coincide con ninguna de las versiones publicadas de este autor. El autor considera que decir esto es posible porque el estudio de la circulación de la obra del compositor abulense, en fuentes manuscritas, ha permitido la identificación de nuevas piezas, nunca publicadas, que se añaden al catálogo de ese autor. Tras analizar distintas evidencias litúrgicas, estilísticas y contextuales, se cuestiona la atribución de esa Salve Regina a Tomás Luis de Victoria, dada por auténtica hasta ahora, y propone una nueva hipótesis que llevaría a considerar a Juan de Victoria, maestro de capilla de la Catedral de Puebla entre 1566 y 1569-1570, el verdadero autor de la obra.

Edizione critica dei 16 Balletti a tre voci (trascritti dall'edizione a stampa di Anversa, 1631).
Raffinate e giocose miniature sonore dedicate all’intrattenimento di corte, i balletti di Gastoldi erano pensati “per cantare, sonare et ballare”, così come si può leggere nei frontespizi delle edizioni originali a stampa. I testi sono per lo più di intonazione amorosa: il compositore tratteggia con piglio divertito e con felice mano contrappuntistica diverse tipologie di carattere (Il felice, Il risentito, Il curioso, Il passionato...), donando a ognuna di esse una sapida atmosfera, nel costante rispetto metrico della versificazione e dei cadenzati passi della danza.

This is a threefold transcription of Baude Cordier's "circle canon," two versions in rondeau form and one in perpetual canon. Included with the music transcriptions are full translations from Medieval French to English of all the accompanying texts as well as an English text underlay for the music.

Also included is a full explanation of the various mensurations and colorations that appear in the piece.

The design of the scores attempts to illustrate the rondeau form overlaying the canonic conceit.

For a score animation with the transcription and original manuscript, see this link:
https://www.youtube.com/watch?v=iaeOWdXM4Pg

En términos generales, los estudios teatrales tradicionales afirman que una de las características distintivas del género texto dramático es que se trata de un "discurso sin sujeto" (cf. entre otros, De Toro, 2008; Helbo, 2012; Ubersfeld, 1989). Sin embargo, existen una serie de trabajos que establecen un diálogo polémico con esta tradición y sugieren que, en efecto, todo texto de teatro posee una voz que es mostrada como a cargo de la enunciación global y que puede ser identificada, por ejemplo, en el discurso didascálico (cf. entre otros, De Marinis, 2005; Veltrusky, 1997; Villegas, 1991). De hecho, desde nuestra perspectiva, el modo en que se configura esta voz, que queda asociada convencionalmente con la figura del dramaturgo en tanto ethos autoral (Maingeneau, 2002), define la perspectiva enunciativa de todo el texto dramático (i.e. el lugar desde el cual se presentan los hechos). En ese sentido, en este trabajo, que forma parte de una investigación de doctorado en curso, nos proponemos analizar la manera específica en que queda construido el responsable de la enunciación global en La inapetencia [1996] (2000), pieza teatral de Rafael Spregelburd. En particular, observaremos que el texto pone en escena una imagen del dramaturgo como la de alguien que adopta una posición de distancia crítica frente a los personajes del drama. Para dar cuenta de esta dimensión, estudiaremos el modo en que estos últimos queda representados en tanto Locutores en sus propios discursos, lo que nos permitirá evaluar la actitud con la que el "Locutor-Dramaturgo" aparece mostrado frente a ellos. Finalmente, en cuanto a nuestra perspectiva de trabajo, nos enmarcaremos en el Enfoque dialógico de la argumentación y la polifonía enunciativa (García Negroni, 2009; 2016a; 2016b; 2018), teoría no veritativista de la significación y no unicista del sujeto.

Full title: 'A Little Known Part-Book from Toledo. Music by Morales, Guerrero, Jorge de Santa María, Alonso Lobo and Others in Barcelona, Instituto Espanõl de Musicología, Fondo Reserva, Ms. 1'. 
Published in: Anuario Musical 65 (2010), pp. 25-56. || ABSTRACT. A part-book preserved in the Instituto Español de Musicología, Barcelona, contains over fifty items of sacred music by composers associated with both the Cathedral and the Colegio de los Infantes in Toledo during the sixteenth and early seventeenth centuries. These composers range from Morales and Guerrero, to Francisco de Tapia and Jorge de Santa María—both Masters at the Colegio in the later sixteenth century—and Alonso Lobo, chapelmaster at the cathedral, 1593 to 1603. The majority of the music is unique to this source, and it also includes works by Morales that were revised for publication when he was in Italy. The part-book is very largely copied for second or first superius, and there are indications that much of the repertory was intended for high voices; but there is also the occasional piece for a lower voice part. The manuscript contains a wide range of Latin-texted sacred music that includes mass settings, Magnificats, motets and psalms. In addition to about a dozen items by Morales, the part- book includes rare settings of calendas by Santa Maria, examples of mass propers in contrapunto style by Francisco de Tapia, and a sequence of music for the Christmas Misa del gallo (midnight mass).

This is a comparative manuscript edition of Gherardello da Firenze's (c. 1350) caccia "Tosto che l'alba". Herein you can see the difference between the piece's three available sources listed below. For a performable realization of this piece taken from these three sources, see the related title under "performance edition".

Biblioteca Medicea-Laurenziana [I-Fl], MS Mediceo Palatino 87 “Codex Squarcialupi”, no. 40 fol 25v-26r
Bibliothèque Nationale [F-PN], MS fonds italien 568 “Pit”, no. 40 fol. 25v-26r
British Library [GB-Lbl], Add. MS 29987, no 31 fol. 25r

For a recording and video of the score see
https://www.youtube.com/watch?v=ok4VOFvLE2Y

Caryl Phillips' multi-voiced texts have often been studied through the lens of Bakhtinian polyphony. In this essay I focus on the volume of fictionalized biographies Foreigners: Three English Lives (2007) to demonstrate that polyphony in Phillips' work resides not only in the structural confrontation of characters' and narrators' voices but also in the subtle inscription of the implied author's subjectivity within his texts. Borrowing methods from the discipline of stylistics, I first establish through a focus on the use of adjectives and modality (that is, grammatical means indicating how speakers position themselves in relation to propositions) in the opening section of Foreigners, "Dr Johnson's Watch," how the first-person narrator gradually transitions from tentativeness to self-confidence. This change enables the implied author, on the one hand, to expose the thwarted logic of the colonially tinted discourse of his eighteenth-century narrator and, on the other, to reflect on the process of ideological encoding inherent in the writing of historiography. Such an investigation based on modality further allows me to challenge the critical consensus that the second section of the book, "Made in Wales," is a straightforward factual account. I suggest that the story of the rise and fall of mixed-race boxer Randolph Turpin is in fact a highly polyphonic narrative that features increasingly marked clashes in modality and point of view. These clashes, I argue, draw attention to the construction of historiographical discourse deceptively made to appear so commonsense by the narrator of "Dr Johnson's Watch."

With the emergence of the legend of Saint Blaise, who protected the people of Dubrovnik against the Venetian menace, the city of Dubrovnik has been continuously organizing a feast in Saint Blaise's honour on the 3rd of February of each year. In addition to the social importance of this event, it also emphasizes musical activity as the daily Liturgy of the Hour is modified to fit the festivity and enriched with musical instruments which accompany the main services. In this article, we will travel back to the feast of 1588, where Serafi no Razzi, a Dominican friar on a two-year canonical visitation to Dubrovnik, witnessed the festivity. What did Razzi have a possibility of hearing at that time in Dubrovnik, were there performing forces to support the festivity, and what did the liturgy look like on the 2nd and 3rd of February 1588 are the main questions this paper will address through a thorough analysis of Razzi's account, its comparison with other performances in European city-states, and extensive use of available sources.

A pedagogical transcription of Richard Sampson's (attr.) motet in double canon, "Salve radix," written to celebrate the union of Henry VIII to Catherine of Aragon and the birth of their daughter, Mary.

For a video with recording accompanying the modern transcription with side-by-side animated original notated music see the link below:
https://www.youtube.com/watch?v=R9wl1XqV6Nk