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AUTHOR
Vasco Zara
Renaissance Music and the Slavic World
Daniele Barbaro 1514-1570. Vénitien, patricien, humaniste
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MOOC " La Renaissance en Val de Loire" - Épisode 7 « Musique »
Il suono del Medio Evo al cinema. Un itinerario, pp. 385-434 (ns. IX/2)
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Signatura rerum : le langage symbolique et musical dans l'architecture de Castel del Monte
Architettuta e musica : analohie fra processi compositivi e architettura
Avant-propos
: De l'Hypnerotomachia Poliphili au Temple de Salomon. Modèles architecturaux-musicaux dans l'Architecture Harmonique de René Ouvrard, 1679
‘Elementari’ e ‘diverse’ istruzioni musicali. Note sulla musica nei trattati di Bernardo Antonio Vittone
On Historical, Musicological, and Cultural Borders in Renaissance Central Europe
Architettuta e musica : ordo, pondus et mensura
Experiencing sound : Historical performance and digital technology in French royal residences
Le chant des oiseaux : un passé. Variation sur une mélodie secrète
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'Udire secondo le Idee'. Daniele Barbaro e la musica degli affetti
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Music, Architecture, Proportion and the Renaissance Way of Thinking
During the Renaissance, the language of proportion became a unified theory capable of encompassing the understanding of the world within a coherent theological, philosophical and artistic framework. Music, with its harmonic paradigm, plays a key role in this construction. From the fifteenth century through to the end of the sixteenth century, architects and architectural theorists made reference, both in new treatises and commentaries to Vitruvius, to musical matters, transforming architecture into the summa of knowledge. The affinity to music was grounded on both a common mathematical and rhetoric gnosiology. Formerly conceived of as ideal, numbers became eloquent, reinforcing the quantita…
Sounding the Middle Ages : A Cinematic Chronotope
Abstract This article explores the strategies used in movies to recreate the sound of the Middle Ages. The musical elements that our culture chooses for identifying the past and their reasons for those choices are an interesting point to start this investigation. Bakhtin's notion of “chronotope” is useful for discovering the musical signs of “medievalness”; indeed, the sources for authenticity are not the “historical” sources but the musical paradigm defined before the Second World War.
Ricercar's digital projects: from MEI to the musical heritageVincent Besson, Hyacinthe Belliot, Camilla Cavicchi, Vasco Zara45th medieval and renaissance music conference 2017, july 2017prague, czech republic.
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Historical Musicology in Virtual Context. Approaches, , Methods, Perspectives
Proportions. Science, Musique, Peinture et Architecture
Le langage des proportions est un langage de comparaison. Outil scientifique, il met en relation grandeurs mathématiques ou physiques (deux cercles, deux mouvements, deux sons, etc.). Pour autant, son application ne se restreint pas au seul champ des mathématiques. Erigé en principe philosophique par le principe de comparaison qui le sous-tend, il déploie tout son potentiel analogique en devenant langage constructeur d'harmonie. La théorie des proportions s'ouvre ainsi sur un vaste champ de relations qui définissent canons et règles de beauté dans les diverses disciplines artistiques. S'intéresser aux proportions signifie donc s'intéresser à tous les domaines du savoir. Mais comment aborder…
Du faux-bourdon aux 'tabulae compositoriae': René Ouvrard et le secret pour composer en musique, pp. 689-713
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