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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.

La alteridad se constituye como un factor fundamental para la construcción de las identidades de todos en un mismo contexto. A thematic analysis of the movie Encanto was conducted, relating the language of cinema to the themes presents, to observe the struggle of the protagonist Mirabel, to effectively feel part of the Madrigal family, as well as to identify either her giftor her role in a family with extraordinary abilities. Not only the so-called marginalized individuals seek their affirmation in front of a group, but also those whose giftis not enough, and who must assert themselves in its system of meanings. The self-constitution does not present itself as a challenge only to individuals who are not fully integrated, and otherness is not only perceived by individuals who feel excluded. Otherness is constituted as a fundamental factor for the construction of all identities within the same group or context. Para responder lo anterior, es necesario entender que la psicología histórico-cultural percibe de forma dialéctica el contexto sociohistórico y cultural en transformación e interacción con los seres humanos, y comprende el desarrollo humano por medio de la interacción entre el individuo y el medio social, en una ubicación espacio-temporal dinámica (Leontiev, 2021; Valsiner, 2012, 2014; Vigotski, 2008, 2009; Wertsch et al., 1998; Zittoun, 2007, Zittoun et al., 2007).

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.

the piece by composer Viorel Munteanu reveals the symbiosis between past musical ages and modernity, between established compositional techniques (of the string orchestra) and contemporary sound emission processes (the solo flute). The syntaxes of past trends in music, polyphony and homophony, as well as modern treatments of rhythm, such as polyrhythm, coexist felicitously and result in a type of musical thought that, although anchored in the past, looks forward to the future. Rhythm can be considered from various metric perspectives, especially in the faster parts of the concerto. Rhythmic layers are present both vertically (polyrhythms) and horizontally (polyphons of rhythms); the cross of the two variants is of particular interest. The rhythm, characteristic of the Balkan area, may come as a surprise as it briefly occurs in Part III; this unexpected element brings an inspired change of horizon, followed by a return to the previous expression. The form of the last part, , can also be discussed from a modern perspective, rooted in the past; it could actually be placed within in the Rondo-Sonata pattern; however, its sound contour does not belong to the tonal sphere, but rather to a form of extended modalism. The soloist instrument merges with the string orchestra and emerges from it, in a discourse that clearly bears the mark of the composer’s creative personality. The most successful element of the work is its expressiveness, the way in which the compositional and technical means are subordinated to the aesthetic message that Viorel Munteanu intends to transmit to the public.