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This article reflects on the epitaph as literary form by looking at the main textual and paratextual differences between Miguel-Anxo Murado's Lapidario and its predecessor Lapidario dos heterodoxos. It also examines the book's complex uses of polyphony and genre hybridism as postmodern strategies which problematize the reading of this text as merely a poetry collection.

In modern musicology, which studies various polyphonic traditions intensively, it would appear that there are no longer any unknown types of polyphony and undiscovered forms of notating music. The most exotic musical phenomena have been researched and transcribed, and a good many of them have been digitized. Still, one must recognize that the focus of these studies up until now has been predominantly on Western and Central European polyphonic schools, while one significant polyphonic tradition, namely, early Russian polyphony, which, moreover, occupied a fairly extensive historical period, is only now beginning to be investigated systematically. The purpose of this article is to introduce my project involving a critical edition of Russian neumatic polyphony. This edition is the culmination of my work on deciphering neumatic scores of the most festive type of early Russian polyphony—four-part Demestvenny singing (or Demestvo). The object of the present study is the Demestvenny All-Night Vigil recorded in a unique source—a ceremonial illuminated codex belonging to the 17th-century Choir of the Tsar’s and Patriarchal Singing Clerics, which is now kept in the British Library—Add. MS 30063. The edition is planned as part of the dissertation project “The All-Night Vigil in early Russian polyphony,” which I am preparing under the guidance of Professor Dr Christoph Flamm at the Musicology Seminar of the University of Heidelberg. Within its scope, the dissertation examines three types of early Russian polyphony using examples from the All-Night Vigil office. A comprehensive analysis of the hymns themselves will be included in the dissertation but remains outside the scope of this publication.

When approaches to the notion of the ‘self’ as it exists in the game have been discussed in game studies – for instance, through work in existential ludology or through discussions of agency – the ‘self’ in question, explicitly or implicitly, has tended to be the rational, stable, unified and coherent self of the humanist tradition. By fracturing the ludic subject into a set of contrasting and conflicting voices, each with their own apparent motivations and goals, presents a challenge to this singular and unified understanding of selfhood. That this challenge is situated within the representation of a figure who, at face value, seems to represent the very locus of the authoritative, self-possessed subjectivity of humanism – not only a straight, middle-aged white man, but also a figure of police and colonial authority – strengthens the game’s critical slant. Drawing on theories of ludic and virtual subjectivity, this paper will approach with a focus on this undermining of stable and unitary understanding of subjectivity. First, the game will be considered in relation to the tradition of and the way the genre both established and subverted the figure of the detective as the avatar of stable, rational, authoritative masculine selfhood. Next, its treatment of the theme of amnesia will be considered, drawing a parallel to Jayemanne’s (2017) reading of to examine how the loss of memory creates structures of discontinuity and rupture in the represented ludic self. Finally, Bakhtinian notions of polyphony will be invoked to address the game’s plurality of different voices not (as it is usually present) in a dialogue between individual subjects but within a single, fragmented subjectivity.

(2024) conduct a comprehensive corpus analysis examining the relationship between musical texture and large-scale form in classical string quartets by Joseph Haydn, Wolfgang Amadeus Mozart, and Ludwig van Beethoven. [...]polyphonic textures in the development section may heighten the listener's yearning for the return of the more homophonic primary theme. [...]although both transitions and development sections aim to build anticipation for upcoming themes, they differ significantly in how they handle tension and explore musical ideas. Similar slopes would indicate aligned pitch movements, typically corresponding to parallel motion, whereas significant differences in slope values may reflect contrary motion or the use of other contrapuntal techniques. [...]integrating expert evaluations into the analysis could enhance the validity of the findings. Oxford University Press. https://doi.Org/10.1093/acprof:oso/9780195146400.001.0001 Hills, T. T, Todd, P. M, Lazer, D., Redish, A. D., Couzin, I. D., & Cognitive Search Research Group.

In my study I will be focusing on the text transformation technique in the tragedy by Nicodemus Frischlin (1547–1590) German Neo-Latin poet, this author’s first imitational drama was published in 1581 in Tübingen. In the first half of my work, I summarize Frischlin’s basic rhetorical principles, including his most significant ideas around imitation based on his 1587 oration in Wittenberg. Instead of precepts and definitions, the poet’s rhetorical concept operates with concrete examples, written passages, authoral texts by which he aims to educate the reader. In the second portion of my study, I aim to answer the question of how polyphonic imitation works in the play, and how this creative method makes it more difficult to identify the imitative techniques in the text, such as paraphrase, cento and parody. As I delve into my topic, I wish to point to examples of the switch of rhetorical theory, that is, a divergence from the tradition of Melanchton’s rhetoric textbooks, the connections between the different varieties of imitation techniques, genre transformation, the reinterpretation of the Virgilian epic into a tragedy.

It is common for most people to think of science and art as disparate, or at most only vaguely related fields. In physics, one of the biggest successes of thermodynamics is its explanation of order arising from disordered phases of matter through the minimization of free energy; In 2019, Berezovsky showed [1] that the mechanism describing emergent order from disorder in matter can be used to explain how ordered sets of pitches can arise out of disordered sound, thus bridging the gap between science and the arts in a powerful way. In this paper we analyze his method in detail, generalizing it beyond the 12 tone system of intonation of Western music by explicitly considering Gamelan instruments and clarifying some details in the hope of strengthening it and making it better known and recognized.

This paper presents and discusses various metrics proposed for evaluation of polyphonic sound event detection systems used in realistic situations where there are typically multiple sound sources active simultaneously. The system output in this case contains overlapping events, marked as multiple sounds detected as being active at the same time. The polyphonic system output requires a suitable procedure for evaluation against a reference. Metrics from neighboring fields such as speech recognition and speaker diarization can be used, but they need to be partially redefined to deal with the overlapping events. We present a review of the most common metrics in the field and the way they are adapted and interpreted in the polyphonic case. We discuss segment-based and event-based definitions of each metric and explain the consequences of instance-based and class-based averaging using a case study. In parallel, we provide a toolbox containing implementations of presented metrics.