Arts and Humanities Commons^™

The Ascetic Impulse In Ancient Christianity, Vincent L. Wimbush

CGU Faculty Publications and Research

"It is important to understand ... that the difference between the non-elites (the weak) and the elites in Corinth is not that between a world-rejecting ethic (the 'weak') on the one hand and a world-embracing ethic (the pneumatic elites) on the other. Clearly, both groups shared the imperative to renounce the world; the fact of membership in this new social group, the Jesus movement at Corinth, suggests as much,"

In spite of the long and impressive legacy of scholarship in New Testament and Christian origins and the exacting critical attention to the texts of the earliest Christians, it remains unclear …

Like Poetry, Mathematics Is Beautiful, Joanne Growney

Humanistic Mathematics Network Journal

No abstract provided.

Toward A Philosophy Of Humanistic Mathematics, Bill Rosenthal

Humanistic Mathematics Network Journal

No abstract provided.

Letter About Philosophia Mathematica, Robert Thomas

Humanistic Mathematics Network Journal

No abstract provided.

Canadian Society For History And Philosophy Mathematics Speaker List

Humanistic Mathematics Network Journal

No abstract provided.

The Role Of Faith In Mathematics, Dick Wood

Humanistic Mathematics Network Journal

No abstract provided.

Math Nonsence Verse, Helen Lewy

Humanistic Mathematics Network Journal

No abstract provided.

Mathematics And The Arts — A Bibliography, Joanne S. Growney

Humanistic Mathematics Network Journal

No abstract provided.

Poems, Lee Goldstein

Humanistic Mathematics Network Journal

No abstract provided.

In Fin Ity, Bonnie Shulman

Humanistic Mathematics Network Journal

No abstract provided.

Are There Revolutions In Mathematics, Paul Ernest

Humanistic Mathematics Network Journal

No abstract provided.

Complete Issue 8, 1993

Humanistic Mathematics Network Journal

No abstract provided.

Review: Naomi Miller, Renaissance Bologna: A Study In Architectural Form And Content, George Gorse

Pomona Faculty Publications and Research

Bologna is a uniquely beautiful Italian city with broad, arcaded streets, richly textured brick and sandstone facades, majestic piazzas, public sculpture, high towers, and a cuisine to take time over. However, the previous historiographic emphasis upon Florence, Rome, and Venice has diverted attention from more fully preserved medieval and Renaissance cities such as Bologna, where urbanism—the urban fabric—takes precedence over individual buildings and architects, and where the urban context defines the architectural monument. Bologna is the work of art. And for this reason, one welcomes the fine book on this major, yet understudied, urban center by Naomi Miller, a distinguished …

Front Matter/Table Of Contents

Performance Practice Review

Front matter to the Spring 1993 (6/1) of Performance Practice Review.

"Continuo Realization In Handel's Vocal Music." By Patrick J. Rogers, David Ledbetter

Performance Practice Review

Ledbetter discusses and reviews Rogeres' 1989 book.

Enrique Granados And Modern Piano Technique, Carol A. Hess

Performance Practice Review

Discusses parallels between Granados's approach to piano technique and that of Ludwig Deppe and Tobias Matthay, two pioneers in the reshaping of pianistic principles that took place at the turn of the century. Despite his relative isolation in Barcelona, Granados pursued strikingly modern ideas in piano playing, including principles of weight and relaxation, avoidance of finger-lifting, and preoccupation with fine gradations of tone. Primary sources include the composer's diary, treatise on pedaling, and the detailed memoirs of one of his students.

The Cimbalo Cromatico And Other Italian Keyboard Instruments With Ninteen Or More Division To The Octave (Surviving Specimens And Documentary Evidence), Christopher Stembridge

Performance Practice Review

An earlier article (abstracted as RILM 9191) established that the cimbalo cromatico had 19 keys per octave. No such instrument survives, but two show traces of having been such (including a harpsichord by Franciscus Faber, 1631). Luython's clavicymbalum universale described by Michael Praetorius, and other documented instruments in Graz and in Ferrara, Rome, and elsewhere in Italy, are discussed. Harpsichords and organs with more than 19 keys per octave clearly related in design to the cimbalo cromatico include instruments made by Domenico da Pesaro, Vincenzo Colombo, Vido Trasuntino, and designed by Gioseffo Zarlino, Nicola Vicentino, Francisco de Salinas, Fabio Colonna, …

Vocal Ornaments In Durante's "Arie Devote" (1608), Donald Clyde Sanders

Performance Practice Review

Ottavio Durante's Arie devote (Rome, 1608) is a collection of sacred monody in the style of Caccini's Le nuove musiche. The preface strongly affirms the use of the stile nuovo in church music in terms that reflect the spirit of the Counter-Reformation. Durante's preface also contains significant information on performance practice in early monody. Although most of his ideas are borrowed directly from Caccini, some points relate specifically to the application of the new style to liturgical music. Besides the ornaments found in Le nuove musiche, Durante describes the combination of a crescendo and a portamento on certain ascending semitones …

Mendelssohn, Berlioz, And Wagner As Conductors: The Origins Of The Ideal Of "Fidelity To The Composer", Jose Antonio Bowen

Performance Practice Review

As conductors of other composers' music, Mendelssohn, Berlioz, and Wagner professed the desire to be faithful in some sense to the conducted work, but each understood this fidelity differently. Mendelssohn and Berlioz saw performance as recreative, while Wagner was the first to regard it as a creative or interpretive act.

Contributors/End Matter

Performance Practice Review

List of contributors to the Spring 1993 (6/1) issue of Performance Practice Review.

End matter and advertisements from the Spring 1993 (6/1) issue of Performance Practice Review.

Howard Mayer Brown: A Personal Rememberance, Mark Lindley

Performance Practice Review

Lindley discusses Brown's work and life.

Singing Without Text, Timothy J. Mcgee

Performance Practice Review

A close look at texting practices in several 15th-c. MSS supports recent scholarship concerning the performance practice of textless lines in polyphonic music. I-Fn, MSS Banco Rari 230 and 337 supply partial text for lower voices in a manner that suggests that textless vocalization of much or all of the lower parts was a common practice in Northern Italy. Similar texting practices in E-E, MS V.III.24 and GB-Ob, MS Canonici misc.213 indicate a similar practice in Venice and Burgundy.

Pathfinder In Performance Practice: Howard Mayer Brown, 1930-1993, Roland Jackson

Performance Practice Review

Jackson discusses Brown's contributions to the field of Performance Practice in Musicology.

The Performance Of Fifteenth Century Italian Balli: Evidence From The Pythagorean Ratios, Jennifer Nevile

Performance Practice Review

The 15th-c. dance treatises of Domenico da Piacenza, Antonio Cornazano, and Guglielmo Ebreo da Pesaro contain a theoretical section in which the ratios of the tempi between the four misure of the balli are discussed. This information allows us to work out metronome markings for the four misure. When proportion signs (or mensuration signs used as proportion signs) appear in the ballo melodies, the ratio represented by these signs relates to the preceding misura.

Mersenne On Vocal Diminutions, Margaret Seares

Performance Practice Review

Marin Mersenne's Harmonie universelle (Paris, 1636-37) provides a rare insight into French vocal practice of the early 17th c. Although he approaches singing as a teacher or composer, his comments also provide the performer with clues about ornamentation in early-17th-c. French vocal music. His examples of diminutions and explanations of individual ornaments reveal that the practice was significantly different from that of the later part of the century, with which most modern singers are more familiar.

"Perspectives On Mozart Performance." By R. Larry Todd And Peter Williams, Malcolm S. Cole

Performance Practice Review

Cole discusses and reviews Todd and Williams' 1991 book.

Interpretive Left-Hand Fingerings For Lute In Nicholas Vallet's "Le Secret Des Muses" (1615), Susan G. Sandman

Performance Practice Review

Lute fingerings for the left hand are a valuable source of information about the Articulation of Baroque music. Vallet's fingerings are given for 49 pieces in Le secret des muses. They affect linear Articulation, often indicating a preference for breaks before strong beats, before an anacrusis, and prior to ornaments, as well as articulating dance rhythms and sequential passages. His fingerings contribute to our understanding of some of the many performance details of early 17th-c. French music that may be mined for artistic guidance today.

"The Lauds Of Saint Ursula: Hildegard Of Bingen (1098-1179)." Thomas Binkley, Dir., Early Music Institute, Indiana University School Of Music., Marianne Richert Pfau

Performance Practice Review

Pfau reviews the Early Music Institute's recording of Bingen's music.

Pedaling The Piano: A Brief Survey From The Eighteenth Century To The Present, Sandra P. Rosenblum

Performance Practice Review

Before World War II, most composers notated relatively few pedal indications, usually to create unsuspected effects. Mutations (Veranderungen) on the early pianos and the uses of hand stops, knee levers, and pedals are discussed based on information from extant instruments, composers' autographs, and comments in tutors by such teachers as Johann Milchmeyer and Louis Adam. Pedaling techniques and uses of the damper, una corda, and sostenuto pedals on the changing instruments of the 19th and 20th c. are described, with particular attention to compositions of Beethoven, Schumann, Chopin, Brahms, Debussy, Villa-Lobos, Boulez, Cage, and Stockhausen.

The Role Of Diction And Gesture In Italian Baroque Opera, Olga Termini

Performance Practice Review

Early Italian Baroque opera (ca. 1600-ca. 1770) was drama-oriented; Monteverdi and the composers of the Camerata emphasized diction and gesture or acting in the portrayal of characters. Singers such as Anna Renzi were praised for their interpretive skills as much as for their singing. The anonymous treatise Il corago (ca. 1630) gives detailed instructions on acting in opera. Although later Italian opera moved toward the concert on stage, writers and critics remained enthusiastic in their emphasis on dramatic interpretation and became ever more critical in their assessment of current performance practices (Francesco Algarotti, Giovanni Antonio Bianchi, Pier Francesco Tosi, and …