1.
Galician-Portuguese language
–
Galician-Portuguese, also known as Old Portuguese or Medieval Galician, was a West Iberian Romance language spoken in the Middle Ages, in the northwest area of the Iberian Peninsula. Alternatively, it can be considered a period of the Galician. It is the ancestor of modern Portuguese, Galician, Eonavian. The term Galician-Portuguese also designates the subdivision of the modern West Iberian group of Romance languages, in general, the more cultivated variety of Latin spoken by the Hispano-Roman elites in Roman Hispania had a peculiar regional accent, referred to as Hispano ore and agrestius pronuntians. The more cultivated variety of Latin coexisted with the popular variety and it is believed that by 600, Vulgar Latin was no longer spoken in the Iberian Peninsula. An early form of Galician-Portuguese was already spoken in the Kingdom of the Suebi, the first known phonetic changes in Vulgar Latin, which began the evolution to Galician-Portuguese, took place during the rule of the Germanic groups, the Suebi and Visigoths. And the Galician-Portuguese inflected infinitive and the vowels may have evolved under the influence of local Celtic languages. The nasal vowels would thus be a characteristic of the Vulgar Latin spoken in Roman Gallaecia. The oldest known document to contain Galician-Portuguese words, found in northern Portugal, is called the Doação à Igreja de Sozello and dated to 870 but otherwise composed in Late/Middle Latin. Another document, from 882, also containing some Galician-Portuguese words is the Carta de dotação e fundação da Igreja de S. Miguel de Lardosa, in fact, many Latin documents written in Portuguese territory contain Romance forms. The Notícia de fiadores, written in 1175, is thought by some to be the oldest known document written in Galician-Portuguese, the Noticia de Torto, of uncertain date, and the Testamento de D. Afonso II are most certainly Galician-Portuguese. The earliest poetic texts date from c.1195 to c, thus, by the end of the 12th century and the beginning of the 13th there are documents in prose and verse written in the local Romance vernacular. Over 160 poets are recorded, among them Bernal de Bonaval, Pero da Ponte, Johan Garcia de Guilhade, Johan Airas de Santiago, the main secular poetic genres were the cantigas damor, the cantigas damigo and the cantigas descarnho e de mal dizer. All told, nearly 1,700 poems survive in three genres, and there is a corpus of over 400 cantigas de Santa Maria. The Castilian king Alfonso X composed his cantigas de Santa Maria and his cantigas de escárnio e maldizer in Galician-Portuguese, King Dinis of Portugal, who also contributed to the secular poetic genres, made the language official in Portugal in 1290. Until then, Latin had been the language for royal documents. Galician-Portuguese and português arcaico are modern terms for the ancestor of modern Portuguese. Compared to the differences in Ancient Greek dialects, the differences between 13th-century Portuguese and Galician are trivial
Galician-Portuguese language
–
Galician-Portuguese
2.
Alfonso X of Castile
–
Alfonso X, called the Wise, was the King of Castile, León and Galicia from 30 May 1252 until his death. During the Imperial election of 1257, a dissident faction chose him to be King of the Romans on 1 April and he renounced his imperial claim in 1275, and in creating an alliance with England in 1254, his claim on Gascony as well. Alfonso X fostered the development of a court that encouraged learning. Jews, Muslims, and Christians had prominent roles in his court, Alfonso was a prolific author of Galician poetry, such as the Cantigas de Santa Maria, which are equally notable for their musical notation as for their literary merit. Alfonsos scientific interests—he is sometimes nicknamed the Astrologer —led him to sponsor the creation of the Alfonsine tables, as a legislator he introduced the first vernacular law code in Spain, the Siete Partidas. He created the Mesta, an association of farmers in the central plain. He fought a war with Portugal, but a less successful one with Granada. The end of his reign was marred by a war with his eldest surviving son, the future Sancho IV. Born in Toledo, Kingdom of Castile, Alfonso was the eldest son of Ferdinand III of Castile and his mother was the paternal cousin of Holy Roman Emperor Frederick II, to whom Alfonso is often compared. His maternal grandparents were Philip of Swabia and Irene Angelina, little is known about his upbringing, but he was most likely raised in Toledo. For the first nine years of his life Alfonso was only heir to Castile until his paternal grandfather king Alfonso IX of Leon died and his father united the kingdoms of Castile and Leon. He began his career as a soldier, under the command of his father, after the election of Theobald I as king of Navarre, his father tried to arrange a marriage for Alfonso with Theobalds daughter, Blanche of Navarre, but the move was unsuccessful. At the same time, he had a relationship with Mayor Guillén de Guzmán. In 1240, he married Mayor Guillén de Guzmán, but the marriage was later annulled, in the same period he conquered several Muslim strongholds in Al-Andalus alongside his father, such as Murcia, Alicante and Cadiz. In 1249, Alfonso married Violante of Aragon, the daughter of King James I of Aragon and Yolande of Hungary, Alfonso succeeded his father as King of Castile and León in 1252. The following year he invaded Portugal, capturing the region of the Algarve, King Afonso III of Portugal had to surrender, but he gained an agreement by which, after he consented to marry Alfonso Xs daughter Beatrice of Castile, the land would be returned to their heirs. In 1263 he returned Algarve to the King of Portugal and signed the Treaty of Badajoz, in 1254 Alfonso X signed a treaty of alliance with the King of England and Duke of Aquitaine, Henry III, supporting him in the war against Louis IX of France. In 1256, at the death of William II of Holland, Alfonsos descent from the Hohenstaufen through his mother, Alfonsos election as King of the Romans by the imperial prince-electors misled him into complicated schemes that involved excessive expense but never succeeded
Alfonso X of Castile
–
Comtemporary portrait of Alfonso X.
Alfonso X of Castile
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Alfonso X as a judge, from his Libro de los Dados, completed ca. 1280.
Alfonso X of Castile
–
Statue of Alfonso X in
Madrid by
José Alcoverro (1892).
Alfonso X of Castile
–
Alfonso X of Castile
3.
Middle Ages
–
In the history of Europe, the Middle Ages or Medieval Period lasted from the 5th to the 15th century. It began with the fall of the Western Roman Empire and merged into the Renaissance, the Middle Ages is the middle period of the three traditional divisions of Western history, classical antiquity, the medieval period, and the modern period. The medieval period is subdivided into the Early, High. Population decline, counterurbanisation, invasion, and movement of peoples, the large-scale movements of the Migration Period, including various Germanic peoples, formed new kingdoms in what remained of the Western Roman Empire. In the seventh century, North Africa and the Middle East—once part of the Byzantine Empire—came under the rule of the Umayyad Caliphate, although there were substantial changes in society and political structures, the break with classical antiquity was not complete. The still-sizeable Byzantine Empire survived in the east and remained a major power, the empires law code, the Corpus Juris Civilis or Code of Justinian, was rediscovered in Northern Italy in 1070 and became widely admired later in the Middle Ages. In the West, most kingdoms incorporated the few extant Roman institutions, monasteries were founded as campaigns to Christianise pagan Europe continued. The Franks, under the Carolingian dynasty, briefly established the Carolingian Empire during the later 8th, the Crusades, first preached in 1095, were military attempts by Western European Christians to regain control of the Holy Land from Muslims. Kings became the heads of centralised nation states, reducing crime and violence, intellectual life was marked by scholasticism, a philosophy that emphasised joining faith to reason, and by the founding of universities. Controversy, heresy, and the Western Schism within the Catholic Church paralleled the conflict, civil strife. Cultural and technological developments transformed European society, concluding the Late Middle Ages, the Middle Ages is one of the three major periods in the most enduring scheme for analysing European history, classical civilisation, or Antiquity, the Middle Ages, and the Modern Period. Medieval writers divided history into periods such as the Six Ages or the Four Empires, when referring to their own times, they spoke of them as being modern. In the 1330s, the humanist and poet Petrarch referred to pre-Christian times as antiqua, leonardo Bruni was the first historian to use tripartite periodisation in his History of the Florentine People. Bruni and later argued that Italy had recovered since Petrarchs time. The Middle Ages first appears in Latin in 1469 as media tempestas or middle season, in early usage, there were many variants, including medium aevum, or middle age, first recorded in 1604, and media saecula, or middle ages, first recorded in 1625. The alternative term medieval derives from medium aevum, tripartite periodisation became standard after the German 17th-century historian Christoph Cellarius divided history into three periods, Ancient, Medieval, and Modern. The most commonly given starting point for the Middle Ages is 476, for Europe as a whole,1500 is often considered to be the end of the Middle Ages, but there is no universally agreed upon end date. English historians often use the Battle of Bosworth Field in 1485 to mark the end of the period
Middle Ages
–
The
Cross of Mathilde, a
crux gemmata made for
Mathilde, Abbess of Essen (973–1011), who is shown kneeling before the Virgin and Child in the
enamel plaque. The body of Christ is slightly later. Probably made in
Cologne or
Essen, the cross demonstrates several medieval techniques:
cast figurative sculpture,
filigree, enamelling, gem polishing and setting, and the reuse of Classical
cameos and
engraved gems.
Middle Ages
–
A late Roman statue
depicting the four Tetrarchs, now in
Venice
Middle Ages
–
Coin of
Theodoric
Middle Ages
–
Mosaic showing
Justinian with
the bishop of
Ravenna, bodyguards, and courtiers
4.
Mary, the mother of Jesus
–
Mary, also known by various titles, styles and honorifics, was a 1st-century Galilean Jewish woman of Nazareth and the mother of Jesus, according to the New Testament and the Quran. The gospels of Matthew and Luke in the New Testament and the Quran describe Mary as a virgin, the miraculous birth took place when she was already betrothed to Joseph and was awaiting the concluding rite of marriage, the formal home-taking ceremony. She married Joseph and accompanied him to Bethlehem, where Jesus was born, the Gospel of Luke begins its account of Marys life with the Annunciation, when the angel Gabriel appeared to her and announced her divine selection to be the mother of Jesus. According to canonical gospel accounts, Mary was present at the crucifixion and is depicted as a member of the early Christian community in Jerusalem. According to the Catholic and Orthodox teaching, at the end of her life her body was assumed directly into Heaven. Mary has been venerated since Early Christianity, and is considered by millions to be the most meritorious saint of the religion and she is claimed to have miraculously appeared to believers many times over the centuries. The Eastern and Oriental Orthodox, Roman Catholic, Anglican, and Lutheran churches believe that Mary, there is significant diversity in the Marian beliefs and devotional practices of major Christian traditions. The Roman Catholic Church holds distinctive Marian dogmas, namely her status as the Mother of God, her Immaculate Conception, her perpetual virginity, many Protestants minimize Marys role within Christianity, based on the argued brevity of biblical references. Mary also has a position in Islam, where one of the longer chapters of the Quran is devoted to her. Marys name in the manuscripts of the New Testament was based on her original Aramaic name ܡܪܝܡ. The English name Mary comes from the Greek Μαρία, which is a form of Μαριάμ. Both Μαρία and Μαριάμ appear in the New Testament, in Christianity, Mary is commonly referred to as the Virgin Mary, in accordance with the belief that she conceived Jesus miraculously through the Holy Spirit without her husbands involvement. The three main titles for Mary used by the Orthodox are Theotokos, Aeiparthenos as confirmed in the Second Council of Constantinople in 553, Catholics use a wide variety of titles for Mary, and these titles have in turn given rise to many artistic depictions. For example, the title Our Lady of Sorrows has inspired such masterpieces as Michelangelos Pietà, the title Theotokos was recognized at the Council of Ephesus in 431. However, this phrase in Greek, in the abbreviated form ΜΡ ΘΥ, is an indication commonly attached to her image in Byzantine icons. The Council stated that the Church Fathers did not hesitate to speak of the holy Virgin as the Mother of God, some Marian titles have a direct scriptural basis. For instance, the title Queen Mother has been given to Mary since she was the mother of Jesus, the scriptural basis for the term Queen can be seen in Luke 1,32 and the Isaiah 9,6. Queen Mother can be found in 1 Kings 2, 19-20 and Jeremiah 13, other titles have arisen from reported miracles, special appeals or occasions for calling on Mary
Mary, the mother of Jesus
–
Our Lady of Vladimir, one of the medieval representations of the
Theotokos
Mary, the mother of Jesus
–
Virgin and Child with angels and Sts. George and Theodore. Icon from around 600, from
Saint Catherine's Monastery.
Mary, the mother of Jesus
–
The
Annunciation by
Eustache Le Sueur, an example of 17th-century
Marian art. The
Angel Gabriel announces to Mary her pregnancy with Jesus and offers her
White Lilies.
Mary, the mother of Jesus
–
The Virgin's first seven steps, mosaic from
Chora Church, c. 12th century
5.
El Escorial
–
It is one of the Spanish royal sites and functions as a monastery, basilica, royal palace, pantheon, library, museum, university and hospital. It is situated 2.06 km up the valley from the town of El Escorial, El Escorial was, at once, a monastery and a Spanish royal palace. Originally a property of the Hieronymite monks, it is now a monastery of the Order of Saint Augustine and it is also a boarding school. Philip engaged the Spanish architect, Juan Bautista de Toledo, to be his collaborator in the design of El Escorial, Philip appointed him architect-royal in 1559, and together they designed El Escorial as a monument to Spains role as a center of the Christian world. On 2 November 1984, UNESCO declared The Royal Seat of San Lorenzo of El Escorial a World Heritage Site and it is a popular tourist attraction, often visited by day-trippers from Madrid – more than 500,000 visitors come to El Escorial every year. El Escorial is situated at the foot of Mt. Abantos in the Sierra de Guadarrama, Quentin in Picardy against Henry II, king of France. He also intended the complex to serve as a necropolis for the interment of the remains of his parents, Charles I and Isabella of Portugal, himself, in addition, Philip envisioned El Escorial as a center for studies in aid of the Counter-Reformation cause. The buildings cornerstone was laid on 23 April 1563, the design and construction were overseen by Juan Bautista de Toledo, who did not live to see the completion of the project. With Toledos death in 1567, direction passed to his apprentice, Juan de Herrera, under whom the building was completed in 1584, to this day, la obra de El Escorial is a proverbial expression for a thing that takes a long time to finish. Since then, El Escorial has been the site for most of the Spanish kings of the last five centuries. Two Bourbon kings, Philip V and Ferdinand VI, as well as King Amadeus, are not buried in the monastery, the floor plan of the building is in the form of a gridiron. The traditional belief is that design was chosen in honor of St. Lawrence. St. Lawrence’s feast day is 10 August, the date as the 1557 Battle of St. Quentin. In fact, however, the origin of the layout is quite controversial. The grill-like shape, which did not fully emerge until Herrera eliminated from the conception the six interior towers of the facade, was, by no means. In fact, palaces of this design were commonplace in the Byzantine. Statues of David and Solomon on either side of the entrance to the basilica of El Escorial lend further weight to the theory that this is the origin of the design. A more personal connection can be drawn between the David-warrior figure, representing Charles V, and his son, the stolid and solomonically prudent Philip II
El Escorial
–
A distant view of the Royal Seat of San Lorenzo de El Escorial
El Escorial
–
West facade of the monastery.
El Escorial
–
El Escorial: floor plan, based on the floorplan of
Solomon's Temple.
El Escorial
–
Courtyard of the Kings and the Basilica.
6.
Madrid
–
Madrid is the capital city of the Kingdom of Spain and the largest municipality in both the Community of Madrid and Spain as a whole. The city has a population of almost 3.2 million with an area population of approximately 6.5 million. It is the third-largest city in the European Union after London and Berlin, the municipality itself covers an area of 604.3 km2. Madrid lies on the River Manzanares in the centre of both the country and the Community of Madrid, this community is bordered by the communities of Castile and León. As the capital city of Spain, seat of government, and residence of the Spanish monarch, Madrid is also the political, economic, the current mayor is Manuela Carmena from Ahora Madrid. Madrid is home to two football clubs, Real Madrid and Atlético de Madrid. Madrid is the 17th most liveable city in the according to Monocle magazine. Madrid organises fairs such as FITUR, ARCO, SIMO TCI, while Madrid possesses modern infrastructure, it has preserved the look and feel of many of its historic neighbourhoods and streets. Cibeles Palace and Fountain have become one of the monument symbols of the city, the first documented reference of the city originates in Andalusan times as the Arabic مجريط Majrīṭ, which was retained in Medieval Spanish as Magerit. A wider number of theories have been formulated on possible earlier origins, according to legend, Madrid was founded by Ocno Bianor and was named Metragirta or Mantua Carpetana. The most ancient recorded name of the city Magerit comes from the name of a built on the Manzanares River in the 9th century AD. Nevertheless, it is speculated that the origin of the current name of the city comes from the 2nd century BC. The Roman Empire established a settlement on the banks of the Manzanares river, the name of this first village was Matrice. In the 8th century, the Islamic conquest of the Iberian Peninsula saw the changed to Mayrit, from the Arabic term ميرا Mayra. The modern Madrid evolved from the Mozarabic Matrit, which is still in the Madrilenian gentilic, after the disintegration of the Caliphate of Córdoba, Madrid was integrated in the Taifa of Toledo. With the surrender of Toledo to Alfonso VI of León and Castile, the city was conquered by Christians in 1085, Christians replaced Muslims in the occupation of the centre of the city, while Muslims and Jews settled in the suburbs. The city was thriving and was given the title of Villa, since 1188, Madrid won the right to be a city with representation in the courts of Castile. In 1202, King Alfonso VIII of Castile gave Madrid its first charter to regulate the municipal council, which was expanded in 1222 by Ferdinand III of Castile
Madrid
–
From upper left: view of business districts of
AZCA and
CTBA,
Gran Vía street and
Metropolis Building, the
Palace of Communication, view of
Royal Palace and
Almudena Cathedral.
Madrid
Madrid
–
Plaza Mayor
Madrid
–
Puerta de Alcalá
7.
Florence, Italy
–
Florence is the capital city of the Italian region of Tuscany and of the Metropolitan City of Florence. It is the most populous city in Tuscany, with 383,083 inhabitants, Florence was a centre of medieval European trade and finance and one of the wealthiest cities of the time. It is considered the birthplace of the Renaissance, and has called the Athens of the Middle Ages. A turbulent political history includes periods of rule by the powerful Medici family, from 1865 to 1871 the city was the capital of the recently established Kingdom of Italy. The Historic Centre of Florence attracts 13 million tourists each year and it was declared a World Heritage Site by UNESCO in 1982. The city is noted for its culture, Renaissance art and architecture, the city also contains numerous museums and art galleries, such as the Uffizi Gallery and the Palazzo Pitti, and still exerts an influence in the fields of art, culture and politics. Due to Florences artistic and architectural heritage, it has been ranked by Forbes as one of the most beautiful cities in the world, in 2008, the city had the 17th highest average income in Italy. Florence originated as a Roman city, and later, after a period as a flourishing trading and banking medieval commune. According to the Encyclopædia Britannica, it was politically, economically, and culturally one of the most important cities in Europe, the language spoken in the city during the 14th century was, and still is, accepted as the Italian language. Starting from the late Middle Ages, Florentine money—in the form of the gold florin—financed the development of all over Europe, from Britain to Bruges, to Lyon. Florentine bankers financed the English kings during the Hundred Years War and they similarly financed the papacy, including the construction of their provisional capital of Avignon and, after their return to Rome, the reconstruction and Renaissance embellishment of Rome. Florence was home to the Medici, one of European historys most important noble families, Lorenzo de Medici was considered a political and cultural mastermind of Italy in the late 15th century. Two members of the family were popes in the early 16th century, Leo X, catherine de Medici married king Henry II of France and, after his death in 1559, reigned as regent in France. Marie de Medici married Henry IV of France and gave birth to the future king Louis XIII, the Medici reigned as Grand Dukes of Tuscany, starting with Cosimo I de Medici in 1569 and ending with the death of Gian Gastone de Medici in 1737. The Etruscans initially formed in 200 BC the small settlement of Fiesole and it was built in the style of an army camp with the main streets, the cardo and the decumanus, intersecting at the present Piazza della Repubblica. Situated along the Via Cassia, the route between Rome and the north, and within the fertile valley of the Arno, the settlement quickly became an important commercial centre. Peace returned under Lombard rule in the 6th century, Florence was conquered by Charlemagne in 774 and became part of the Duchy of Tuscany, with Lucca as capital. The population began to again and commerce prospered
Florence, Italy
–
A collage of Florence showing the
Galleria degli Uffizi (top left), followed by the
Palazzo Pitti, a sunset view of the city and the
Fountain of Neptune in the
Piazza della Signoria
Florence, Italy
–
A wooden model of Florence as it would have probably looked during Roman times, showing the ancient amphitheatre
Florence, Italy
–
The façade of the Cathedral
Florence, Italy
–
Leonardo da Vinci statue outside the
Uffizi Gallery.
8.
Miniature (illuminated manuscript)
–
These include Persian miniatures, and their Mughal, Ottoman and other Indian offshoots. This article gives an art historical account of the miniature form, for the techniques involved in production, see illuminated manuscript. The earliest extant miniatures are a series of colored drawings or miniatures cut from the Ambrosian Iliad and they are similar in style and treatment with the pictorial art of the later Roman classical period. Of even greater value from a point of view are the miniatures of the Vatican manuscript of Virgil, known as the Vergilius Vaticanus. They are in a perfect condition and on a larger scale than the Ambrosian fragments. The drawing is quite classical in style, and the idea is conveyed that the miniatures are copies from an older series. The colors are opaque, indeed, in all the miniatures of early manuscripts the employment of body color was universal. The method followed in placing the different scenes on the page is highly instructive of the practice followed, as we may presume, by the artists of the early centuries. Again, for the purpose of securing something like perspective, an arrangement of zones was adopted. It was reserved for the Byzantine school to break away more decidedly from the natural presentment of things, but on comparing the miniatures of the Byzantine school generally with their classical predecessors, one has a sense of having passed from the open air into the cloister. Under the restraint of ecclesiastical domination Byzantine art became more and more stereotyped, the tendency grows to paint the flesh-tints in swarthy hues, to elongate and emaciate the limbs, and to stiffen the gait. Browns, blue-greys and neutral tints are in favor, in the miniatures of Byzantine manuscripts are first seen those backgrounds of bright gold which afterwards appear in such profusion in the productions of every western school of painting. The influence of Byzantine art on that of medieval Italy is obvious, the early mosaics in the churches of Italy, such as those at Ravenna and Venice, also afford examples of the dominating Byzantine influence. In the native schools of illumination of Western Europe, decoration only was the leading motive, the highest qualities of the miniatures of the 10th and 11th century of this school lie in fine outline drawing, which had a lasting influence on the English miniature of the later centuries. But the southern Anglo-Saxon school rather stands apart from the line of development of the western medieval miniature. Under the Carolingian monarchs there developed a school of painting derived from classical models, in this school, which owed its origin to the encouragement of Charlemagne, it is seen that the miniature appears in two forms. Accompanied as it was with profuse decoration in border and initial, on the other hand, there is also the miniature in which there is an attempt at illustration, as, for example, the depicting of scenes from the Bible. Here there is freedom, and we trace the classical style which copies Roman, as distinguished from Byzantine
Miniature (illuminated manuscript)
–
Miniature of the
Trojan Horse, from the
Vergilius Romanus, a manuscript of
Virgil 's
Aeneid, early 5th century.
Miniature (illuminated manuscript)
–
Miniature of
Abraham meeting
angels, from the
Cotton Genesis, 5th–6th century.
Miniature (illuminated manuscript)
–
Miniature of seven physicians from the
Vienna Dioscurides, early 6th century.
Miniature (illuminated manuscript)
–
This lavishly decorated text that opens the
Gospel of John in the
Book of Kells, early 9th century, shows the
Insular style of illumination: decorative and not illustrative.
9.
Musical instrument
–
A musical instrument is an instrument created or adapted to make musical sounds. In principle, any object that produces sound can be a musical instrument—it is through purpose that the object becomes a musical instrument, the history of musical instruments dates to the beginnings of human culture. Early musical instruments may have used for ritual, such as a trumpet to signal success on the hunt. Cultures eventually developed composition and performance of melodies for entertainment, Musical instruments evolved in step with changing applications. The date and origin of the first device considered an instrument is disputed. The oldest object that some refer to as a musical instrument. Some consensus dates early flutes to about 37,000 years ago, many early musical instruments were made from animal skins, bone, wood, and other non-durable materials. Musical instruments developed independently in many populated regions of the world, however, contact among civilizations caused rapid spread and adaptation of most instruments in places far from their origin. By the Middle Ages, instruments from Mesopotamia were in maritime Southeast Asia, development in the Americas occurred at a slower pace, but cultures of North, Central, and South America shared musical instruments. By 1400, musical instrument development slowed in areas and was dominated by the Occident. Musical instrument classification is a discipline in its own right, Instruments can be classified by their effective range, their material composition, their size, etc. However, the most common method, Hornbostel-Sachs, uses the means by which they produce sound. The academic study of instruments is called organology. Once humans moved from making sounds with their bodies—for example, by using objects to create music from sounds. Primitive instruments were designed to emulate natural sounds, and their purpose was ritual rather than entertainment. The concept of melody and the pursuit of musical composition were unknown to early players of musical instruments. A player sounding a flute to signal the start of a hunt does so without thought of the notion of making music. Musical instruments are constructed in an array of styles and shapes
Musical instrument
–
Anne Vallayer-Coster, Attributes of Music, 1770. This
still life painting depicts a variety of French Baroque musical instruments, such as a
natural horn,
transverse flute,
musette,
violin, and
lute.
Musical instrument
–
Found in
Slovenia, the
Divje Babe Flute is considered the world's
oldest known musical instrument
Musical instrument
–
Two
Aztec slit drums, called teponaztli. The characteristic " H " slits can be seen on the top of the drum in the foreground.
Musical instrument
–
Ancient Egyptian tomb painting depicting lute players,
18th Dynasty (c. 1350 BC)
10.
Galician-Portuguese
–
Galician-Portuguese, also known as Old Portuguese or Medieval Galician, was a West Iberian Romance language spoken in the Middle Ages, in the northwest area of the Iberian Peninsula. Alternatively, it can be considered a period of the Galician. It is the ancestor of modern Portuguese, Galician, Eonavian. The term Galician-Portuguese also designates the subdivision of the modern West Iberian group of Romance languages, in general, the more cultivated variety of Latin spoken by the Hispano-Roman elites in Roman Hispania had a peculiar regional accent, referred to as Hispano ore and agrestius pronuntians. The more cultivated variety of Latin coexisted with the popular variety and it is believed that by 600, Vulgar Latin was no longer spoken in the Iberian Peninsula. An early form of Galician-Portuguese was already spoken in the Kingdom of the Suebi, the first known phonetic changes in Vulgar Latin, which began the evolution to Galician-Portuguese, took place during the rule of the Germanic groups, the Suebi and Visigoths. And the Galician-Portuguese inflected infinitive and the vowels may have evolved under the influence of local Celtic languages. The nasal vowels would thus be a characteristic of the Vulgar Latin spoken in Roman Gallaecia. The oldest known document to contain Galician-Portuguese words, found in northern Portugal, is called the Doação à Igreja de Sozello and dated to 870 but otherwise composed in Late/Middle Latin. Another document, from 882, also containing some Galician-Portuguese words is the Carta de dotação e fundação da Igreja de S. Miguel de Lardosa, in fact, many Latin documents written in Portuguese territory contain Romance forms. The Notícia de fiadores, written in 1175, is thought by some to be the oldest known document written in Galician-Portuguese, the Noticia de Torto, of uncertain date, and the Testamento de D. Afonso II are most certainly Galician-Portuguese. The earliest poetic texts date from c.1195 to c, thus, by the end of the 12th century and the beginning of the 13th there are documents in prose and verse written in the local Romance vernacular. Over 160 poets are recorded, among them Bernal de Bonaval, Pero da Ponte, Johan Garcia de Guilhade, Johan Airas de Santiago, the main secular poetic genres were the cantigas damor, the cantigas damigo and the cantigas descarnho e de mal dizer. All told, nearly 1,700 poems survive in three genres, and there is a corpus of over 400 cantigas de Santa Maria. The Castilian king Alfonso X composed his cantigas de Santa Maria and his cantigas de escárnio e maldizer in Galician-Portuguese, King Dinis of Portugal, who also contributed to the secular poetic genres, made the language official in Portugal in 1290. Until then, Latin had been the language for royal documents. Galician-Portuguese and português arcaico are modern terms for the ancestor of modern Portuguese. Compared to the differences in Ancient Greek dialects, the differences between 13th-century Portuguese and Galician are trivial
Galician-Portuguese
–
Galician-Portuguese
11.
Crown of Castile
–
The title of King of Castile remained in use by the Habsburg rulers during the 16th and 17th centuries. Charles I was King of Aragon, Majorca, Valencia, and Sicily, in the early 18th century, Philip of Bourbon won the War of the Spanish Succession and imposed unification policies over the Crown of Aragon, supporters of their enemies. This unified the Crown of Aragon and the Crown of Castile into the kingdom of Spain, even though the Nueva Planta decrees did not formally abolish the Crown of Castile, the country of was called Spain by both contemporaries and historians. King of Castile also remains part of the title of Felipe VI of Spain. The Kingdom of León arose out of the Kingdom of Asturias, the Kingdom of Castile appeared initially as a county of the Kingdom of León. From the second half of the 10th century to the first half of the 11th century it changed hands between León and the Kingdom of Navarre, in the 11th century it became a kingdom in its own right. The two kingdoms had been united twice previously, From 1037 until 1065 under Ferdinand I of León, upon his death his kingdoms passed to his sons, León to Alfonso VI, Castile to Sancho II, and Galicia to García. From 1072 until 1157 under Alfonso VI, Urraca, and Alfonso VII, from 1111 until 1126 Galicia was separate from the union under Alfonso VII. In 1157 the kingdoms were divided between Alfonsos sons, with Ferdinand II receiving León and Sancho III Castile, from then on the two kingdoms were united under the name of the Kingdom of León and Castile, or simply as the Crown of Castile. Ferdinand III later conquered the Guadalquivir Valley, while his son Alfonso X conquered the Kingdom of Murcia from Al-Andalus, the heir to the throne has been titled Prince of Asturias since the 14th century. Almost immediately after the union of the two kingdoms under Ferdinand III, the parliaments of Castile and León were united. It was divided into three estates, which corresponded with the nobility, the church and the cities, and included representation from Castile, León, Galicia, Toledo, Navarre, under Alfonso X, most sessions of the Cortes of both kingdoms were held jointly. The Cortes of 1258 in Valladolid comprised representatives of Castile, Extremadura and León, subsequent Cortes were celebrated separately, for example in 1301 that of Castile in Burgos and that of León in Zamora, but the representatives demanded that the parliaments be reunited from then on. These laws continued to be in force until 1889, when a new Spanish civil code, in the 13th century there were many languages spoken in the Kingdoms of León and Castile among them Castilian, Leonese, Basque and Galician-Portuguese. But, as the century progressed, Castilian gained increasing prominence as the language of culture, henceforth all public documents were written in Castilian, likewise all translations of Arabic legal and government documents were made into Castilian instead of Latin. In 1492, under the Catholic Monarchs, the first edition of the Grammar of the Castilian Language by Antonio de Nebrija was published, Castilian was eventually carried to the Americas in the 16th century by the conquistadors. Because of Castilians importance in the land ruled by the Spanish Crown, on the death of Alfonso XI a dynastic conflict started between his sons, the Infantes Peter and Henry, Count of Trastámara, which became entangled in the Hundred Years War. Alfonso XI had married Maria of Portugal with whom he had his heir, however, the King also had many illegitimate children with Eleanor of Guzman, among them the above-mentioned Henry, who disputed Peters right to the throne once the latter became king
Crown of Castile
–
The Recapture of Granada (F. Padilla)
Crown of Castile
–
Royal Standard
Crown of Castile
–
Columbus and the Catholic Monarchs (The return of Columbus)
Crown of Castile
–
"The Comuneros Padilla, Bravo and Maldonado in the Patíbulo ", by
Antonio Gisbert, 1860.
12.
Galicia (Spain)
–
Galicia is an autonomous community of Spain and historic nationality under Spanish law. It had a population of 2,718,525 in 2016 and has an area of 29,574 km2. Galicia has over 1,660 km of coastline, including its islands and islets, among them Cíes Islands, Ons, Sálvora, Cortegada. Galicia was incorporated into the Roman Empire at the end of the Cantabrian Wars in 19 BC, in 410, the Germanic Suebi established a kingdom with its capital in Braga, this kingdom was incorporated into that of the Visigoths in 585. The Governor also presided the Real Audiencia do Reino de Galicia, from the 16th century, the representation and voice of the kingdom was held by an assembly of deputies and representatives of the cities of the kingdom, the Cortes or Junta of the Kingdom of Galicia. This institution was forcibly discontinued in 1833 when the kingdom was divided into four provinces with no legal mutual links. During the 19th and 20th centuries, demand grew for self-government and this resulted in the Statute of Autonomy of 1936, soon frustrated by Francos coup detat and subsequent long dictatorship. After democracy was restored the legislature passed the Statute of Autonomy of 1981, approved in referendum and currently in force, the interior of Galicia is characterized by a hilly landscape, mountain ranges rise to 2,000 m in the east and south. The coastal areas are mostly a series of rías and cliffs. The climate of Galicia is usually temperate and rainy, with drier summers. Its topographic and climatic conditions have made animal husbandry and farming the primary source of Galicias wealth for most of its history, allowing for a relative high density of population. With the exception of shipbuilding and food processing, Galicia was based on a farming and fishing economy until after the mid-20th century, in 2012, the gross domestic product at purchasing power parity was €56,000 million, with a nominal GDP per capita of €20,700. There are smaller populations around the cities of Lugo and Ourense. The political capital is Santiago de Compostela, in the province of A Coruña, Vigo, in the province of Pontevedra, is the most populous municipality, with 292,817, while A Coruña is the most populous city, with 215,227. 56% of the Galician population speak Galician as their first language and these Callaeci were the first tribe in the area to help the Lusitanians against the invading Romans. The Romans applied their name to all the tribes in the northwest who spoke the same language. In any case, Galicia, being per se a derivation of the ethnic name Kallaikói, the name evolved during the Middle Ages from Gallaecia, sometimes written Galletia, to Gallicia. This coincides with the spelling of the Castilian Spanish name, the historical denomination Galiza became popular again during the end of the 19th and the first three-quarters of the 20th century, and is still used with some frequency today
Galicia (Spain)
–
A satellite view of Galicia
Galicia (Spain)
–
Flag
Galicia (Spain)
–
Bronze Age gold helmet from Leiro,
Rianxo
Galicia (Spain)
–
Palloza houses in eastern Galicia, an evolved form of the
Iron Age local
roundhouses
13.
Castilian language
–
Spanish —also called Castilian —is a Romance language that originated in the Castile region of Spain, with hundreds of millions of native speakers around the world. It is usually considered the worlds second-most spoken native language after Mandarin Chinese and it is one of the few languages to use inverted question and exclamation marks. Spanish is a part of the Ibero-Romance group of languages, which evolved from several dialects of Vulgar Latin in Iberia after the collapse of the Western Roman Empire in the 5th century. Beginning in the early 16th century, Spanish was taken to the colonies of the Spanish Empire, most notably to the Americas, as well as territories in Africa, Oceania, around 75% of modern Spanish is derived from Latin. Greek has also contributed substantially to Spanish vocabulary, especially through Latin, Spanish vocabulary has been in contact from an early date with Arabic, having developed during the Al-Andalus era in the Iberian Peninsula. With around 8% of its vocabulary being Arabic in origin, this language is the second most important influence after Latin and it has also been influenced by Basque as well as by neighboring Ibero-Romance languages. It also adopted words from languages such as Gothic language from the Visigoths in which many Spanish names and surnames have a Visigothic origin. Spanish is one of the six languages of the United Nations. It is the language in the world by the number of people who speak it as a mother tongue, after Mandarin Chinese. It is estimated more than 437 million people speak Spanish as a native language. Spanish is the official or national language in Spain, Equatorial Guinea, speakers in the Americas total some 418 million. In the European Union, Spanish is the tongue of 8% of the population. Spanish is the most popular second language learned in the United States, in 2011 it was estimated by the American Community Survey that of the 55 million Hispanic United States residents who are five years of age and over,38 million speak Spanish at home. The Spanish Constitution of 1978 uses the term castellano to define the language of the whole Spanish State in contrast to las demás lenguas españolas. Article III reads as follows, El castellano es la lengua española oficial del Estado, las demás lenguas españolas serán también oficiales en las respectivas Comunidades Autónomas. Castilian is the official Spanish language of the State, the other Spanish languages as well shall be official in their respective Autonomous Communities. The Spanish Royal Academy, on the hand, currently uses the term español in its publications. Two etymologies for español have been suggested, the Spanish Royal Academy Dictionary derives the term from the Provençal word espaignol, and that in turn from the Medieval Latin word Hispaniolus, from—or pertaining to—Hispania
Castilian language
–
A page of
Cantar de Mio Cid, the oldest preserved Spanish
epic poem, in medieval Spanish.
Castilian language
–
Spanish is sole official language at the national level
Castilian language
–
Antonio de Nebrija, author of
Gramática de la lengua castellana, the first grammar of modern European languages.
Castilian language
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Miguel de Cervantes author of
Don Quixote, considered the first modern European novel.
14.
Lute
–
The European lute and the modern Near-Eastern oud descend from a common ancestor via diverging evolutionary paths. The lute is used in a variety of instrumental music from the Medieval to the late Baroque eras and was the most important instrument for secular music in the Renaissance. It is also an instrument, especially in vocal works. The player of a lute is called a lutenist, lutanist or lutist, the words lute and oud possibly derive from Arabic al-ʿud. Recent research by Eckhard Neubauer suggests ʿud may in turn be an Arabized version of the Persian name rud and it has equally been suggested the wood in the name may have distinguished the instrument by its wooden soundboard from skin-faced predecessors. Gianfranco Lotti suggests the wood appellation originally carried derogatory connotations because of proscriptions of all music in early Islam. Lutes are made almost entirely of wood, the soundboard is a teardrop-shaped thin flat plate of resonant wood. In all lutes the soundboard has a single decorated sound hole under the strings called the rose. The sound hole is not open, but rather covered with a grille in the form of a vine or a decorative knot. Robert Lundberg, in his book Historical Lute Construction, suggests ancient builders placed bars according to ratios of the scale length. He further suggests the inward bend of the soundboard is an adaptation by ancient builders to afford the lutenists right hand more space between the strings and soundboard. Soundboard thickness varies, but generally hovers between 1.5 and 2 mm, some luthiers tune the belly as they build, removing mass and adapting bracing to produce desirable sonic results. The lute belly is almost never finished, but in cases the luthier may size the top with a very thin coat of shellac or glair to help keep it clean. After joining the top to the sides, a half-binding is usually installed around the edge of the soundboard, the half-binding is approximately half the thickness of the soundboard and is usually made of a contrasting color wood. The rebate for the half-binding must be precise to avoid compromising structural integrity. The back or the shell is assembled from strips of hardwood called ribs. There are braces inside on the soundboard to give it strength, the neck is made of light wood, with a veneer of hardwood to provide durability for the fretboard beneath the strings. Unlike most modern stringed instruments, the fretboard is mounted flush with the top
Lute
–
Various lutes
Lute
–
A lute being made in a workshop.
Lute
–
Ancient Egyptian tomb painting depicting lute players,
18th Dynasty (c.
1350 BC).
Lute
–
Hellenistic banquet scene from 1st Century AD,
Hadda,
Gandhara. Lute player far right.
15.
Virelai
–
A virelai is a form of medieval French verse used often in poetry and music. It is one of the three formes fixes and was one of the most common verse forms set to music in Europe from the thirteenth to the fifteenth centuries. One of the most famous composers of virelai is Guillaume de Machaut, other composers of virelai include Jehannot de lEscurel, one of the earliest, and Guillaume Dufay, one of the latest. A virelai with only a stanza is also known as a bergerette. The virelai as a form of the 14th and early 15th century usually has three stanzas, and a refrain that is stated before the first stanza and again after each. Within each stanza, the structure is that of the bar form, the third section of each stanza shares its rhymes and music with the refrain. Within this overall structure, the number of lines and the scheme is variable. The refrain and abgesang may be of three, four or five each, with rhyme schemes such as ABA, ABAB, AAAB, ABBA, AAAB. The structure often involves an alternation of longer with shorter lines, typically, all three stanzas share the same set of rhymes, which means that the entire poem may be built on just two rhymes, if the stollen sections also share their rhymes with the refrain. Douce Dame Jolie by Guillaume de Machaut is an example of a virelai with rhymes AAAB in the refrain, douce dame jolie, Pour dieu ne pensés mie Que nulle ait signorie Seur moy fors vous seulement. Quadès sans tricherie Chierie Vous ay et humblement Tous les jours de ma vie Servie Sans villain pensement, et je mendie Desperance et daïe, Dont ma joie est fenie, Se pité ne vous en prent. Douce dame jolie, Pour dieu ne pensés mie Que nulle ait signorie Seur moy fors vous seulement, from the 15th century onwards the virelai was no longer regularly set to music but became a purely literary form, and its structural variety proliferated. The 17th-century prosodist Père Mourgues defined what he called the virelai ancien in a way that has little in common with the musical virelais of the 14th and 15th centuries. In the second stanza, the b rhymes are shifted to the verses, and a new c rhyme is introduced for the shorter ones. These forms have occasionally been reproduced in later English poetry, e. g. by John Payne, list of virelais by Guillaume de Machaut
Virelai
–
MIDI rendering (
help ·
info)
16.
Rondeau (music)
–
A rondeau is a form of medieval and Renaissance French poetry, as well as the corresponding musical chanson form. It is structured around a pattern of repetition of material involving a refrain. The rondeau is believed to have originated in dance songs involving alternating singing of the elements by a group. The older French rondeau or rondel as a song form between the 13th and mid-15th century begins with a statement of its refrain, which consists of two halves. Thus, it can be represented as AB-aAab-AB, where A and B are the repeated refrain parts. If the poem has more than one stanza, it continues with further sequences of aAab-AB, aAab-AB, in the rondeau quatrain, the rhyme scheme is usually ABBA–ab–AB–abba–ABBA, in the rondeau cinquain it is AABBA–aab–AAB–aabba–AABBA. Fait lui avés longuement ceste offence, Ou est celluy qui onc fut ne en France, qui endurast tel mortel deshonneur. Allés, Regrez, … In the medieval manuscripts, the restatement of the refrain is not written out. After the mid-15th century, this came to be regarded no longer as a mere scribal abbreviation. As the form was gradually divorced from the structure and became a purely literary genre. This form is defined as the rondel in modern literary compendia. Another version has the refrains shortened even further, both restatements are reduced to just the first two or three words of the first line, which now stand as short, pithy, non-rhyming lines in the middle and at the end of the poem. If derived from the erstwhile rondeau quatrain, this results in a 12-line structure that is now called the rondeau prime, if derived from the erstwhile 21-line rondeau cinquain, the result is a 15-line form with the rentrements in lines 9 and 15. This 15-line form became the norm in the literary rondeau of the later Renaissance, auprés de leau me fault de soif perir, Je me voy jeune, et en aage fleurir, Et si me monstre estre plein de vieillesse Avant mes jours. Like the other formes fixes, the Rondeau was frequently set to music, the earliest surviving polyphonic rondeaux are by the trouvère Adam de la Halle in the late 13th century. In the 14th and 15th centuries, Guillaume de Machaut, Guillaume Dufay, Hayne van Ghizeghem, early rondeaux are usually found as interpolations in longer narrative poems, and separate monophonic musical settings survive. After the 15th century, the musical form went out of fashion, the musical rondeau is typically a two-part composition, with all the A sections of the poems AB-aAab-AB structure set to one line of music, and all the B parts to another. Although far rarer than the French usage, the Italian equivalent, a single rondello appears in the Rossi Codex
Rondeau (music)
–
Structural plan of 14th century rondel/rondeau forms
17.
Florence
–
Florence is the capital city of the Italian region of Tuscany and of the Metropolitan City of Florence. It is the most populous city in Tuscany, with 383,083 inhabitants, Florence was a centre of medieval European trade and finance and one of the wealthiest cities of the time. It is considered the birthplace of the Renaissance, and has called the Athens of the Middle Ages. A turbulent political history includes periods of rule by the powerful Medici family, from 1865 to 1871 the city was the capital of the recently established Kingdom of Italy. The Historic Centre of Florence attracts 13 million tourists each year and it was declared a World Heritage Site by UNESCO in 1982. The city is noted for its culture, Renaissance art and architecture, the city also contains numerous museums and art galleries, such as the Uffizi Gallery and the Palazzo Pitti, and still exerts an influence in the fields of art, culture and politics. Due to Florences artistic and architectural heritage, it has been ranked by Forbes as one of the most beautiful cities in the world, in 2008, the city had the 17th highest average income in Italy. Florence originated as a Roman city, and later, after a period as a flourishing trading and banking medieval commune. According to the Encyclopædia Britannica, it was politically, economically, and culturally one of the most important cities in Europe, the language spoken in the city during the 14th century was, and still is, accepted as the Italian language. Starting from the late Middle Ages, Florentine money—in the form of the gold florin—financed the development of all over Europe, from Britain to Bruges, to Lyon. Florentine bankers financed the English kings during the Hundred Years War and they similarly financed the papacy, including the construction of their provisional capital of Avignon and, after their return to Rome, the reconstruction and Renaissance embellishment of Rome. Florence was home to the Medici, one of European historys most important noble families, Lorenzo de Medici was considered a political and cultural mastermind of Italy in the late 15th century. Two members of the family were popes in the early 16th century, Leo X, catherine de Medici married king Henry II of France and, after his death in 1559, reigned as regent in France. Marie de Medici married Henry IV of France and gave birth to the future king Louis XIII, the Medici reigned as Grand Dukes of Tuscany, starting with Cosimo I de Medici in 1569 and ending with the death of Gian Gastone de Medici in 1737. The Etruscans initially formed in 200 BC the small settlement of Fiesole and it was built in the style of an army camp with the main streets, the cardo and the decumanus, intersecting at the present Piazza della Repubblica. Situated along the Via Cassia, the route between Rome and the north, and within the fertile valley of the Arno, the settlement quickly became an important commercial centre. Peace returned under Lombard rule in the 6th century, Florence was conquered by Charlemagne in 774 and became part of the Duchy of Tuscany, with Lucca as capital. The population began to again and commerce prospered
Florence
–
A collage of Florence showing the
Galleria degli Uffizi (top left), followed by the
Palazzo Pitti, a sunset view of the city and the
Fountain of Neptune in the
Piazza della Signoria
Florence
–
A wooden model of Florence as it would have probably looked during Roman times, showing the ancient amphitheatre
Florence
–
The façade of the Cathedral
Florence
–
Leonardo da Vinci statue outside the
Uffizi Gallery.
18.
Llibre Vermell de Montserrat
–
The Llibre Vermell de Montserrat is a manuscript collection of devotional texts containing, amongst others, some late medieval songs. The 14th-century manuscript was compiled in and is located at the monastery of Montserrat outside Barcelona in Catalonia. The manuscript was prepared in approximately 1399 and it originally contained 172 double pages, of which 32 have been lost. The title The Red Book of Montserrat describes the red binding in which the collection was placed in the 19th century, no composer is identified for any of the songs it contains. The monastery holds the shrine of the Virgin of Montserrat, which was a site of pilgrimage during the time it was compiled. Et de hoc uti debent honeste et parce, ne perturbent perseverantes in orationibus et devotis contemplationibus, and these should be used modestly, and take care that no one who keeps watch in prayer and contemplation is disturbed. The songs, therefore, were written for the pilgrims to have something appropriately chaste and pious to sing, the songs are in Catalan, in Occitan and in Latin. The songs have many of the characteristics of songs as well as hymns. Some are monophonic, while others are set in two to four parts of usually non-imitative polyphony, the monodic songs can be sung as two- or threefold canons. Cantigas de Santa Maria, compiled by Alfonso X of Castile The Black Madonna, Pilgrim Songs from the Monastery of Montserrat, Ensemble Unicorn with Michael Posch, sound recording and liner notes. Lord of the Flies, The soundtrack by Philippe Sarde features the melodies of Stella Splendens in Monte, Los Set Gotxs, no credit was given, though the orchestrations were original. 1979 - Llibre Vermell de Montserrat, Hespèrion XX, Jordi Savall 1992 - Llibre Vermell - Pilgrim Songs & Dances. New London Consort, Philip Pickett 1995 - Llibre Vermell de Montserrat - Cantigas de Santa Maria, alla Francesca 1996 - Los set goyts and Imperayritz de la ciutat joyosa recorded by Angelo Branduardi in the album Futuro antico. Choeur de chambre de Namur, Psallentes, Les Pastoureaux, Millenarium,2001 - Un Llibre Vermell, chants et danses des pèlerins de Montserrat. Le Concert dans lOeuf, Capella Silvanensis, Directed by Jean-Michel Hasler, collection Romane CR1062016 - Llibre Vermell de Montserrat. Cants I danses en honor de la Verge Negra del Monestir de Montserrat La Capella a Reial de Catalunya, Hespèrion XXI, Llibre Vermell - Transcription and translation of the original texts http, //scolas. skyrock. com/article_1107086564. html Llibre Vermell de Montserrat on Wiki Musique
Llibre Vermell de Montserrat
–
The song Mariam matrem virginem, a leaf from the Llibre Vermell de Montserrat.
19.
Pergaminho Sharrer
–
The Pergaminho Sharrer is the name given to a mediaeval parchment fragment containing seven songs by King Dinis I of Portugal, with lyrics in the Galician-Portuguese language and musical notation. The fragment was discovered in 1990 by American scholar Harvey L. Sharrer, of University of California, Sharrer was analysing documents in the Torre do Tombo archive in Lisbon, when he found the folio in the binding of a 16th-century book. Several songbooks covering the period exist, but all of them musical notation except the Cantigas de Santa Maria. The parchment is written with Gothic letters and contains seven love songs, the folio probably belonged to a larger 14th century songbook that has been lost. Pergaminho Vindel Cancioneiro da Biblioteca Nacional Cancioneiro da Ajuda Cancioneiro da Vaticana Cantiga de amigo Cantigas de Santa Maria Portuguese literature Troubadour Harvey L. Sharrer, the discovery of seven cantigas damor by Dom Dinis with musical notation. Cantus Coronatus,7 Cantigas d’El Rei Dom Dinis
Pergaminho Sharrer
–
The Pergaminho Sharrer with songs by
King Dinis I
20.
Martim Codax
–
Martin Codax or Martim Codax was a Galician medieval joglar - possibly from Vigo, Galicia in present day Spain. He may have been active during the middle of the thirteenth century and he is one of only two out of a total of 88 authors of cantigas damigo who used only the archaic strophic form aaB. He employed an archaic rhyme-system whereby i~o / a~o were used in alternating strophes, in addition Martin Codax consistently utilised a strict parallelistic technique known as leixa-pren. There is no biographical information concerning the poet, dating the work at present remains based on theoretical analysis of the text. The body of work attributed to him consists of seven cantigas damigo which appear in the Galician-Portuguese songbooks, in all three manuscripts he is listed as the author of the compositions, in all three the number and order of the songs is the same. The identification of authorship of the poems may contribute to a viewpoint that the seven songs of Codax reflect an original performance set, consequently the sets of poems by other poets might also have been organized for performance. They are the only cantigas damigo for which the music is known, the Pergaminho Sharrer contains seven melodies for cantigas damor of Denis of Portugal, also in fragmentary form. Here is the third of his songs Cantiga de amigo Galician-Portuguese Galician-Portuguese lyric Pergaminho Sharrer Cohen, the Cantigas d’Amigo, An English Translation Cohen, Rip. 500 Cantigas d’ Amigo, Edição Crítica / Critical Edition, porto, Campo das Letras Cunha, Celso. Cancioneiros dos Trovadores do Mar, edição preparada por Elsa Gonçalves, sobre a dimensão musical da lírica galego-portuguesa. Lisbon, UNISYS/ Imprensa Nacional – Casa de Moeda, “Codax Revisitado”, Anuario de Estudios Literarios Galegos, 157–68. Para a análise grafemática dos testemuños poéticos en galego da segunda metade do século XIII”, in Ferreiro, a edición da Poesia Trobadoresca en Galiza. Xograres do mar de Vigo, Johán de Cangas, Martín Codax, historia da literatura galega I, Das orixes a 1853. Portal de Martin Codax en la Biblioteca Virtual Miguel de Cervantes Digital edition Visualization
Martim Codax
–
Cantigas de Amigo (Pierpont Morgan Library, New York, Vindel MS M979)
21.
International Music Score Library Project
–
Since its launch on February 16,2006, over 370,000 scores and 42,000 recordings for over 110,000 works by over 14,000 composers have been uploaded. The project uses MediaWiki software to provide contributors with a familiar interface, since June 6,2010, IMSLP has also included public domain and licensed recordings in its scope, to allow for study by ear. The site was launched on February 16,2006, the library consists mainly of scans of old musical editions out of copyright. In addition, it admits scores by composers who wish to share their music with the world by releasing it under a Creative Commons license. One of the projects of IMSLP was the sorting and uploading of the complete works of Johann Sebastian Bach in the Bach-Gesellschaft Ausgabe. Besides providing a repository, IMSLP offers possibilities as a musicological encyclopaedia, since multiple. Also, pages on publishers provide valuable information, and the pages themselves often contain a large quantity of information. IMSLP is recommended as a tool by MIT, which also uses it extensively for providing scores for its OpenCourseWare courses. In 2007–2015, IMSLP / Petrucci Music Library used logo based on a score, the score image in the background was taken from the beginning of the very first printed book of music, the Harmonice Musices Odhecaton. It was published in Venice, Italy in 1501 by Ottaviano Petrucci, in 2016, IMSLP changed its logo to a clean wordmark, featuring its two project names – IMSLP and Petrucci Music Library. In 2009, IMSLP won the MERLOT Classics award for Music and it was named one of the Top 100 Web Sites of 2009 by PC Magazine. On October 19,2007, the IMSLP closed following legal demands from Universal Edition of Vienna, at first I thought this letter would be similar in content to the first Cease and Desist letter I received in August. I cannot apologize enough to all IMSLP contributors, who have done so much for IMSLP in the last two years, in response, director Michael S. Hart of Project Gutenberg offered support to keep the project online. This offer was declined by Feldmahler, who voiced concern about having the project hosted in the United States, on November 2,2007, Michael Geist, a prominent Canadian copyright academic, wrote an article for the BBC discussing the specifics and the wider implications of this case. IMSLP went back online on June 30,2008, although the server is located in Canada, files which are not public domain in the US were until July 2010 flagged, for Technical Block or Temporary Block, and could not be viewed. The FAQ posted in their forum stated, Unfortunately, these temporary blocks will be until further notice – possibly all the way until the expiration of term in the USA. After an initial phase, flagged items have disappeared thanks to the introduction of regional servers operated by unaffiliated organizations. On 21 April 2011, the Music Publishers Association issued a DMCA takedown notice against the IMSLP, Go Daddy, the domain name registrar for the IMSLP, removed the domain name imslp. org, leaving it inaccessible
International Music Score Library Project
–
IMSLP Petrucci Music Library
22.
Virtual International Authority File
–
The Virtual International Authority File is an international authority file. It is a joint project of national libraries and operated by the Online Computer Library Center. The project was initiated by the US Library of Congress, the German National Library, the National Library of France joined the project on October 5,2007. The project transitions to a service of the OCLC on April 4,2012, the aim is to link the national authority files to a single virtual authority file. In this file, identical records from the different data sets are linked together, a VIAF record receives a standard data number, contains the primary see and see also records from the original records, and refers to the original authority records. The data are available online and are available for research and data exchange. Reciprocal updating uses the Open Archives Initiative Protocol for Metadata Harvesting protocol, the file numbers are also being added to Wikipedia biographical articles and are incorporated into Wikidata. VIAFs clustering algorithm is run every month, as more data are added from participating libraries, clusters of authority records may coalesce or split, leading to some fluctuation in the VIAF identifier of certain authority records
Virtual International Authority File
–
Screenshot 2012
23.
Integrated Authority File
–
The Integrated Authority File or GND is an international authority file for the organisation of personal names, subject headings and corporate bodies from catalogues. It is used mainly for documentation in libraries and increasingly also by archives, the GND is managed by the German National Library in cooperation with various regional library networks in German-speaking Europe and other partners. The GND falls under the Creative Commons Zero license, the GND specification provides a hierarchy of high-level entities and sub-classes, useful in library classification, and an approach to unambiguous identification of single elements. It also comprises an ontology intended for knowledge representation in the semantic web, available in the RDF format
Integrated Authority File
–
GND screenshot
