The framework time of music is almost defined in each century of our history. Conversely, this situation is not the same between the first medieval period and late antiquity. The vision of music...s history has not provided an evident understanding of these differences, which includes several centuries from the start: a condition melted in a sort of accepted reality, even if there are impediments about the layout of this subject. Augustine's writings about time and liturgy was an influential model on how to represent history: a referral point for our comprehension. However, the peculiar…mehr
The framework time of music is almost defined in each century of our history. Conversely, this situation is not the same between the first medieval period and late antiquity. The vision of music...s history has not provided an evident understanding of these differences, which includes several centuries from the start: a condition melted in a sort of accepted reality, even if there are impediments about the layout of this subject. Augustine's writings about time and liturgy was an influential model on how to represent history: a referral point for our comprehension. However, the peculiar approach in which Augustine's model grows out of liturgical practice mixes the dimensions of time. Two clashing approaches on how medieval people and moderns perceived history are represented. The complexity was contemplated but never finalized inside Gregorian chant. This publication focuses on the characteristics of the passages specific for the earliest medieval period, with the topic of that time: the word. Words established a powerful generative aid, and the chant was the exegesis of the text.
Anthea Grasselli, organist and harpsichordist who obtained the Organ Diploma at the Conservatorium G. Rossini of Pesaro in Italy, had an intense activity, both as a soloist and in chamber formations in different European countries. Anthea attended master courses with important European organists, such as T. Koopman, H. Vogel, M. Chapuis, L.F. Tagliavini, M. Torrent, M. Radulescu, and B. Leighton. In several places, such as the Academy of Organ Music at Pistoia in Italy, she was chosen in 1988 to represent the Academy in a performance at Uppsala inside the sister Swedish Academy, and also the Norddeutsche Orgelakademie at Bremen in Germany. Her works of historic organ-building were published, together with conferences of similar subjects, but she also gave conferences with a special care to notation consolidation of musicological interest. In regard to Gregorian chant, Anthea Grasselli was firstly trained privately at a young age by Fr. Umberto Franca, particularly for Gregorian Semiology. Franca was the substitute of Eugene Cardine at the PIMS (Pontifical Institute of Sacred Music) in Rome. The improvement and the interest of the chant went further, together with the knowledge of the organ. After successfully attending the exam for teaching organ and Gregorian chant at the Conservatorium of 'Cesare Pollini' at Padua in 2000 (Italy), her name was inserted in the permanent list of graduated Personnel for Gregorian chant and complementary organ inside all the conservatoriums.
Es gelten unsere Allgemeinen Geschäftsbedingungen: www.buecher.de/agb
Impressum
www.buecher.de ist ein Shop der buecher.de GmbH & Co. KG Bürgermeister-Wegele-Str. 12, 86167 Augsburg Amtsgericht Augsburg HRA 13309
