Papers by Anna Maria Berger
Bookmarks Related papers MentionsView impact
Oxford Music Online, 2001
Bookmarks Related papers MentionsView impact
Bookmarks Related papers MentionsView impact
Musik und Reformation – Politisierung, Medialisierung, Missionierung, 2019
Bookmarks Related papers MentionsView impact
Bookmarks Related papers MentionsView impact
Historische Musikwissenschaft, 2013
Weil dies eine Wiener Vortragsreihe ist, mochte ich mit einer Ihnen allen gut bekannten Novelle v... more Weil dies eine Wiener Vortragsreihe ist, mochte ich mit einer Ihnen allen gut bekannten Novelle von Stefan Zweig beginnen. Die Schachnovelle war Zweigs letztes Stuck, das er zwischen 1938 und 1941 im brasilianischen Exil geschrieben hat. Die Hauptperson ist ein ehemaliger Gestapo-Gefangener, der auf einem Oceanliner berichtet, wie er die Einzelhaft uberlebt hat, indem er Schach gegen sich selbst gespielt habe. Ich will mich hier nur auf einen Teil der Geschichte konzentrieren, und zwar auf die Beschreibung der Lernprozesse beim Schachspielen. Der Gefangene, Dr. B., hat damit angefangen, beruhmte Schachturniere zu rekonstruieren; durch standiges Uben war er bald in der Lage, ganze Spiele im Kopf zu planen. Er wusste, welche Zuge sein imaginarer Gegner ausfuhren wurde und welche Moglichkeiten fur den Rest des Spieles offen stunden. Durch besessenes Auswendiglernen — zunachst auf einem selbstgemachten Schachbrett, schlieslich auf rein mentaler Ebene — wurde der Gefangene ein Meister des Spieles und konnte jedes Spiel vollstandig im Kopf ausarbeiten.
Bookmarks Related papers MentionsView impact
Music in Renaissance Cities and Courts: Studies in …
The paper presents an analysis of dissonance treatment in Busnoys in cut signs and explains Tinct... more The paper presents an analysis of dissonance treatment in Busnoys in cut signs and explains Tinctoris' ambiguous statement on acceleratio mensurae. The evidence strongly supports diminution by half.
Bookmarks Related papers MentionsView impact
Bookmarks Related papers MentionsView impact
Music and Instruments of the Middle Ages, 2020
Bookmarks Related papers MentionsView impact
"Cut Signs in Fifteenth-Century Musical Practice," in Music in Renaissance Cities and Courts. Studies in Honor of Lewis Lockwood., 1997
The paper presents an analysis of dissonance treatment in Busnoys in cut signs and explains Tinct... more The paper presents an analysis of dissonance treatment in Busnoys in cut signs and explains Tinctoris' ambiguous statement on acceleratio mensurae. The evidence strongly supports diminution by half.
Bookmarks Related papers MentionsView impact
Bookmarks Related papers MentionsView impact
Bookmarks Related papers MentionsView impact
The Cambridge History of Fifteenth-Century Music, 2015
Bookmarks Related papers MentionsView impact
Journal of musicology, 1990
Page 1. The Myth of diminutio per tertiam partem* ANNA MARIA BUSSE BERGER he performance of cut m... more Page 1. The Myth of diminutio per tertiam partem* ANNA MARIA BUSSE BERGER he performance of cut mensuration signs (? and )) remains one of the unresolved problems in performance prac-tice of Renaissance vocal polyphony. ...
Bookmarks Related papers MentionsView impact
Journal of the American Musicological Society, 1988
In the late fourteenth and early fifteenth centuries rhythmic proportions were indicated through ... more In the late fourteenth and early fifteenth centuries rhythmic proportions were indicated through coloration, Italian note shapes, mensuration signs, and fractions. Even though Johannes de Muris had introduced in 1321 a division of the breve into from two to nine equal parts, theorists and composers used only those proportions which could be indicated by a combination of various mensuration signs with the assumption of breve equivalence: 3:2 shown by ○:⊂ or ⪽:⊂; 4:3 by ⊃:○ or ⊃:⪽; 9:4 by ⊙:⊂; 9:8 by ⊙:⊄; 2:1 by ⊂:⊄; 8:3 by ⊄:⪽. Other proportions were not used because musicians lacked adequate signs to indicate them. The invention of the fraction to show rhythmic proportions presented, therefore, a true innovation because it permitted the indication of proportions not naturally inherent in the mensural system. However, fractions were used until the late fifteenth century as if they were mensuration signs, that is, they were not cumulative and they determined the mensuration of the following section. It was not until the late fifteenth century that Johannes Tinctoris and Franchinus Gaffurius emancipated proportions from mensuration signs and used fractions in an arithmetically correct way.
Bookmarks Related papers MentionsView impact
Bookmarks Related papers MentionsView impact
Bookmarks Related papers MentionsView impact
Bookmarks Related papers MentionsView impact
Bookmarks Related papers MentionsView impact
Bookmarks Related papers MentionsView impact
Uploads
Papers by Anna Maria Berger