Gabriel Fauré and Théodore Reinach

2018 ◽  
pp. 21-46
Author(s):  
Samuel N. Dorf
Keyword(s):  
Second Century ◽  
Personal Life ◽  
The South ◽  
Ancient Greek ◽  
Gabriel Faure ◽  
French School ◽  
Ancient Music ◽  
Instrumental Accompaniment ◽  
School Of Athens

This chapter focuses on archaeologist and music scholar Théodore Reinach’s collaboration with composer Gabriel Fauré. In 1894 Reinach asked the composer to create an instrumental accompaniment to a recently discovered second-century BCE hymn dedicated to Apollo in Delphi. Reinach, along with other scholars from the French school of Athens, deciphered the Greek notation from the marble tablets, and Fauré wrote a modern accompaniment to the original melody. For Reinach, the need to re-enact antiquity transcended scholarly interest in his personal life. Reinach not only reconstructed ancient Greek music, but also built a replica ancient Greek villa in the south of France (with a modern piano hidden behind an ancient cabinet) in order to live out his ancient Greek fantasies. This chapter uses the metaphor of the modern piano hidden behind the ancient veneer of the cabinet to explore the ways modern aesthetics lurk underneath the scientific reconstructions of ancient music carried out by Reinach in the 1890s and 1910s.

The ancient Greek Oneirology and the Muslim Interpretation Historical Survey of Two Different Interpretations of Dreams (Oneirologi Purba Yunani dan Interpretasi Islam Dua Kajian Sejarah Interpretasi Mimpi Yang Berbeza Menerokai)

1970 ◽  
Vol 13 (2) ◽  
pp. 208-222
Author(s):  
Ataullah Bogdan Kopanski
Keyword(s):  
Human Brain ◽  
Historical Perspective ◽  
Second Century ◽  
Primary Sources ◽  
Collective Unconscious ◽  
Historical Survey ◽  
Ancient Greek ◽  
The Future ◽  
Magnum Opus ◽  
Islamic Civilization

Abstract There is no agreement among psychologists on sources and outcomes of the dreams in human brain during sleep. Secularist scholars of Freudian school of psychoanalysis claim that human dreams reflect their highly subconscious libido. Jungian school of kollective Unbewessustes   disputes such extreme sexualized opinions and highlights the fact that rather large “collective unconscious” than sexuality is shared by representatives of all human cultures. But even without advanced studies, we can risk to believe that our dreams often predict coming events. Artemidoros Daldianus from Ephesus, the second century CE Hellenistic author of Oneirokritikon believed that dreams are human mind’s mirrors of the future. His magnum opus on the art of interpretation of dreams was translated into Arabic by famous Nestorian ophthalmologist Hunayn ibn Ishaq (Iohannitus) of Bayt al-Hikmah during the reign of Abbasid caliphs Maymun and Mutawakkil. The Prophet Muhammad (s.a.w.) often interpreted his own and Sahabah’s dreams with perfect accuracy. In the Qur’an, especially in Surah 12: Yusuf, 36-37, 99-101, the dreams are vehicles of foretelling the future not only of individuals but also of whole nations and states. The paper is written from historical perspective of the Muslim interpretation of dreams which emphasizes the Islamic examination of human dreams in context of the primary sources to the ancient Greek oneiromancy, studied by the Muslim scholars in the early centuries of Islamic Civilization, and their contribution to development of modern oneirology. Keywords: Oneirology, Interpretation of Dreams, Artemidoros’ Oneirocritica, Islamic Ta‘bÊr. Abstrak Tidak ada sebarang persetujuan di kalangan ahli psikologi terhadap sumber dan hasil daripada mimpi di dalam otak manusia semasa tidur. Para sekular Sekolah Psikoanalisis Freud mendakwa bahawa mimpi manusia mencerminkan kesedaran libido. Sekolah Unbewessustes kollective Jungian pertikaikan pendapat seksual melampau tersebut dan menyerlahkan bahawa kebanyakkan kesedaran bukan daripada kesedaran libido dan didapati dalam semua budaya manusia. Tetapi walaupun tanpa kajian yang canggih, kita boleh mengambil risiko untuk mempercayai bahawa mimpi kita sering meramalkan peristiwa yang akan datang. Artemidoros Daldianus dari Efesus, pengarang Hellenistik Oneirokritikon abad kedua CE percaya bahawa mimpi mencerminkan masa depan manusia. Seni interpretasi mimpi beliau telah diterjemahkan ke dalam Bahasa Arab oleh pakar mata Nestorian terkenal Hunayn ibn Ishaq (Iohannitus) dari Bayt al-Hikmah pada zaman pemerintahan khalifah Abbasiyah Maymun dan Mutawakkil. Nabi Muhammad (s.a.w.) sering mentafsirkan mimpi sendiri dan sahabat secara tepat. Dalam Al-Qur'an, terutamanya dalam Surah 12: Yusuf, 36-37, 99-101, mimpi adalah kenderaan untuk meramalkan masa depan bukan sahaja seorang individu tetapi keseluruhan negara dan negeri. Kajian ini ditulis dari perspektif sejarah interpretasi mimpi Islam yang menekankan pemeriksaan mimpi manusia dalam Islam dalam konteks sumber utama oneiromancy purba Yunani yang dikaji oleh para ulama Islam di abad-abad awal tamadun Islam, dan sumbangan mereka kepada pembangunan oneirologi moden. Kata Kunci: Oneirologi, Interpretasi mimpi, Oneirocritica Artemidoros, Ta‘bÊr Islam.

scholarly journals Urbanisme régulier, occupation des campagnes et rapports interethniques en Grande-Grèce

2018 ◽  
Vol 15 (29) ◽  
pp. 199
Author(s):  
Airton Pollini
Keyword(s):  
The South ◽  
Ancient Greek ◽  
South Italy ◽  
Native Populations ◽  
Long Time ◽  
Archaeological Work ◽  
Greek Colonization ◽  
Greek World ◽  
Written Sources

L’Italie du Sud est probablement la région la mieux connue du monde grec antique. Quelques sources écrites mais surtout des études archéologiques menées depuis longtemps ont permis le développement des recherches sur plusieurs aspects au cœur de la thématique de la colonisation grecque. Ce travail se concentre sur trois aspects essentiels : l’appropriation de l’espace colonial, l’interaction avec les populations indigènes et l’urbanisation des nouvelles installations. The South Italy is probably the best known region of the ancient Greek world. Some written sources but especially archaeological work undertaken for a long time allowed the development of research on several aspects at the heart of the issues of Greek colonization. This paper concentrates on three essential aspects: the appropriation of colonial space, the interaction with the native populations, and the urbanization of new establishments.

Epilogue

2020 ◽  
pp. 321-324
Author(s):  
Federico De Romanis
Keyword(s):  
Red Sea ◽  
South India ◽  
Second Century ◽  
The South ◽  
South Indian ◽  
Import And Export ◽  
Complex Relationships ◽  
The Ganges ◽  
Precious Stones

The epilogue summarizes what the two texts of the Muziris papyrus tell us about the pepper and ivory production of the ancient Cēra kingdom, South Indian commercial connections with the Ganges Valley, the logistics of the Red Sea–Alexandria transports, the complex relationships between the South India traders and the contractors of the Red Sea tax, and the assessment and payment of the import and export customs duties. It also looks at what the two texts do not mention—the part of pearls and precious stones in the South India trade of the mid-second century ad. Furthermore, a speculative estimate of the commercial venture final balance is attempted.

Caesar: De Bello Gallico, Book I, cc. 1–41

1935 ◽  
Vol 5 (13) ◽  
pp. 12-21
Author(s):  
A. G. Russell
Keyword(s):  
Military Intervention ◽  
Fourth Century ◽  
Second Century ◽  
Lake Geneva ◽  
The South ◽  
Jura Mountains ◽  
Maritime Alps ◽  
South West ◽  
The Mediterranean

From about the fourth century b.c. Rome had a long-standing alliance with the Greek colony of Massilia (Marseilles) whose territory was constantly raided by southern Gallic tribes; these incursions called for military intervention from the Romans from the middle of the second century, culminating in a series of successful campaigns, the enlargement of Massilia's territory, the founding of the colony of Aquae Sextiae (Aix, 30 miles north of Marseilles), and the annexation of southern Gaul in 121 b.c. after the defeat of the Allobroges and Arverni. The province stretched from the Pyrenees up to Tolosa (Toulouse), then the frontier skirted the Cevennes to the Jura Mountains and the south-west corner of Lacus Lemannus (Lake Geneva); then it came in a south-south-easterly line to the Mediterranean coasts, by the Maritime Alps. It formed a very valuable corridor from Italy to Spain, and through it ran the Via Domitia beyond the Rhone; in 118 b.c. Narbo Martius (Narbonne) was founded, and so flourishing a Roman civilization grew up that Pliny later described it as ‘Italia verius quam provincia’.

scholarly journals Choral with Variations by Vincent Dandy - The Problem of Building a ХХ Century Viola`s Repertoire

2019 ◽  
pp. 211-223
Author(s):  
Yaryna Horbachevska
Keyword(s):  
Instrumental Music ◽  
Semantic Content ◽  
Vertical Line ◽  
Personal Interest ◽  
Choral Singing ◽  
Compositional Model ◽  
French School ◽  
Ancient Music ◽  
Different Sources ◽  
Free Variation

The article explores the Choral with Variations by Vincent d`Endy, a little-known work for the viola by the founder of the French School of Ancient Music neoclassical tendencies, that consisted in a revival and adaptation of wide palette of old polyphony genres that brightly showed up in work of this composer, the viola "Choral with Variations" op. 55. On verge of ХІХ-ХХ a century is observed the personal interest of composers by the genres of chaconne, passacalia, choral,by the baroque types of variations of soprano and basso - ostinato, fugues and others like that. As a follower of Cesar Frank and the founder of Schola Cantorum, Vincent d'Endy actively revives ancient genres, especially in instrumental music, completing his viola repertoire. Summarizing the observations regarding the form, the intonation-semantic content of the music, the timbre properties of the viola, aimed to embodiment of the tragical idea of this work, it should be noted that the composer builds a synthetic dramaturgical-compositional model that detects an alloy of different sources. With the prevalence of the choir basis (choir semantics appeals to choral singing in the spirit of majestic psalms, glorious hymns) there are signs of minor lullabies, monologues, elegies, nocturnes, etc., united under the denominator of baroque-type variations of passacalia. The individualized form of the work combines within the framework of a detailed one-piece composition the principles of strict and free variation, the sign of double variations, solved by late-romantic "characteristic" signs, and even the sonata structure with delineated zones exposition, development, and recapitulation. Difficult, semantically saturated canvas gravitates to the choral organ's timbral of C. Frank and the ancient masters; the psychologically-strained Tristan beginning, incarnate facilities of difficult harmonic vertical line finds out influence R. Wagner, symbolic-landscape soundtracks bring V.d`Endy closer to K. Debussy, which not sounds eclectic . The integrity and dramatic perfection of the composition, the depth of philosophical ideas embodied through the prism of the Chorale genre with variations, make it possible to define this work as one of the vivid examples of alt's polyphonic repertoire.

scholarly journals Colonización y emigración en el Alto Guadalquivir (siglos I a.C.- II d.C.) = Colonization and Emigration in the Alto Guadalquivir (Centuries I BC - II AC)

2017 ◽  
pp. 271
Author(s):  
José Ortiz Córdoba
Keyword(s):  
Iberian Peninsula ◽  
Historical Context ◽  
Geographic Region ◽  
Second Century ◽  
First Century ◽  
Current Paper ◽  
The South ◽  
El Alto

El presente trabajo pretende realizar una aproximación a los procesos de colonización y emigración presentes en las colonias romanas deducidas en la región geográfica del Alto Guadalquivir en el periodo comprendido entre los siglos I a.C. y II d.C. Partiendo de un estudio del contexto histórico que nos aporta la colonización desarrollada por César y Augusto en el sur hispano y basándonos fundamentalmente en la documentación epigráfica disponible, trataremos de abordar el estudio del momento fundacional de las colonias de Tucci, Salaria e Iliturgi, los contingentes de población que participaron en sus respectivas deductiones, así como detallar la emigración posterior que sobre ellas se proyecta; igualmente abordaremos el estudio de los individuos que, habiendo nacido en estas colonias, deciden trasladarse a otros lugares de la geografía peninsular o imperial.The current paper tries to make an approximation to the processes of colonization and emigration in the Roman colonies settled in the geographic region of Alto Guadalquivir from the first century BC. to the second century AD. Thanks to the study of the historical context of the colonization carried out by Caesar and Augustus in the south of the Iberian Peninsula and the available epigraphic documentation, we will try to approach the study of the foundation of the colonies of Tucci, Salaria and Iliturgi, the groups of population that participated in their respective settlement, as well as to detail the subsequent emigration projected on them; we will also study the individuals born in these colonies that decided to move to other places of the peninsular or imperial geography.

description whether the adyton was part of the temple or a different structure altogether. Near where the temple of Palaimon should have been according to Pausanias, excavators found the foundations of an earlier stadium, as well as the concrete foundation of a Roman building. An earlier cult place for Melikertes was probably located somewhere in this area, but all remains were obliterated during the destruction of Corinth by Mummius (146 BC). Elizabeth Gebhard has tentatively identified an area located immediately to the south of the temple of Poseidon as a temenos for Melikertes, dating from the classical period.3 The earliest remains, however, that can be directly linked with Melikertes are from two sacrificial pits from the 1st century AD filled with animal bones, pottery, and lamps of a unique shape unknown anywhere else in Greece. The Palaimonion was rebuilt in the Roman period, and the temple as it stood in the second century AD has been reconstructed from the few remains found and from representations on coins from the Isthmus and Corinth. The reconstructed temple has eleven columns, with an opening leading to a passageway under the temple. From the foundations, the height of the passage can be estimated at about 1 m 90, high enough to allow a person to stand upright. The passage was completely underground, and a bend in the tunnel would have prevented light to penetrate inside the underground chamber. What about the cult, then, and the lament that is both “initiatory and inspired?” Philostratos is not our only source for this aspect of the ritual. Plutarch also mentions the cult in his life of Theseus:

2014 ◽  
pp. 396-398
Keyword(s):  
Roman Period ◽  
Second Century ◽  
Classical Period ◽  
The South ◽  
Concrete Foundation ◽  
Animal Bones ◽  
Unique Shape ◽  
The Temple ◽  
Underground Chamber

Reinventing the Past: Mendelssohn's Antigone and the Creation of an Ancient Greek Musical Language

2006 ◽  
Vol 23 (2) ◽  
pp. 187-226 ◽  
Author(s):  
JASON GEARY
Keyword(s):  
Original Poetry ◽  
Wind Band ◽  
Greek Tragedy ◽  
Musical Language ◽  
Ancient Greek ◽  
Ludwig Tieck ◽  
Male Chorus ◽  
The Past ◽  
Ancient Music ◽  
Felix Mendelssohn

ABSTRACT In 1841, Sophocles's Antigone was performed at the Prussian court theater with staging by Ludwig Tieck and music by Felix Mendelssohn. Commissioned by King Friedrich Wilhelm IV, this production aimed to re-create aspects of Greek tragedy by, among other things, using J. J. Donner's 1839 metrical translation and having an all-male chorus sing the odes. Mendelssohn initially experimented with imitating the purported sound of ancient music by composing primarily unison choral recitative and limiting the accompaniment to flutes, tubas, and harps; but he quickly abandoned this approach in favor of a more traditional one. Yet despite his overall adherence to modern convention, he did employ several strategies to evoke ancient Greek practice and thus to meet the unique demands of the Prussian court production. Highlighting important distinctions between verse-types in the original poetry, Mendelssohn retained a vestige of his initial approach by composing unison choral recitative to indicate the presence of anapestic verse while turning to melodrama for the lyric verse of the play's two main characters. In addition, he reproduced the poetic meter by shaping the rhythm of the vocal line to reflect both the accentual pattern of Donner's translation and, in some cases, the long and short syllables of Sophocles's Greek verse. Owing largely to the irregular line lengths characteristic of Donner's text, the music is marked by conspicuously asymmetrical phrases, which serve to defamiliarize the otherwise straightforward choral styles being employed to convey the various moods of Sophocles's choruses. In the opening chorus, Mendelssohn alludes to the familiar sound of a Mäännerchor accompanied by a wind band, thereby suggesting the ode's celebratory and martial associations while recalling his own Festgesang written for the 1840 Leipzig festival commemorating the 400th anniversary of Gutenberg's printing press. The listener is thus presented with a thoroughly recognizable musical idiom and yet simultaneously distanced from it in a way that underscores the historical remoteness of ancient Greek tragedy.

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