Setting Of Text Research Articles

Now the Sun Sinks in the Sea: The Sacred Works of Þorkell Sigurbjörnsson

Þorkell Sigurbjörnsson’s contributions to Icelandic music were manifold, encompassing teaching, composition, arts administration, music criticism, radio program hosting, solo and chamber performance, conducting, and countless other accomplishments. He remains the most prolific of all Icelandic composers with over 350 compositions. Those works for which Þorkell is best known are his exquisite sacred works, of which there are at least fifty. For that reason, this paper will focus on Þorkell’s sacred works and the diversity of approaches he utilized. Þorkell had familial connections with the Iceland Lutheran Church. A number of his compositions were settings of his father's poetry, including the hymn Nú hverfur sól í haf. The most notable and famous of his hymns is Heyr, himna smiður, a setting of a 13th century hymn text by Kolbeinn Tumason. Other prominent works include several choral settings of Psalms of David, a Missa Brevis, and the oratorio Immanúel, which was based on text by Þorkell’s brother Bishop Karl Sigurbjörnsson. The sacred works Þorkell wrote are not restricted to choral compositions, as there are several instrumental works (including Blessed Be the Feet of the Peacemaker for organ pedals).

Peer review declaration (3rd ICOSA 2020)

All papers published in this volume of IOP Conference Series: Earth and Environmental Science have been peer reviewed through processes administered by the proceedings Editors. Reviews were conducted by expert referees to the professional and scientific standards expected of a proceedings journal published by IOP Publishing.• Type of peer review: Double-blind (Double-anonymous: author and reviewer identities are hidden to each other)• Describe criteria used by Reviewers when accepting/declining papers. Was there the opportunity to resubmit articles after revisions? Reviewers have criteria to accept or declining papers including:1. similarity check (percentage of similarity detected),2. content check (reviewer comment and suggested feedback)3. paper format check (setting of margins, title, authorship, abstract, body text, section, table and figure, and citation/reference style)Authors should revise and resubmit paper no later than two weeks after receiving the result of paper review from reviewers.• Conference submission management system: Conference submission management system via website account, as well as email correspondence between conference committee members.• Number of submissions received: 94 papers• Number of submissions sent for review: 94 papers• Number of submissions accepted: 59 papers• Acceptance Rate (Number of Submissions Accepted/Number of Submissions Received X 100): 59 papers/94 papers ×100 = 62,76 %• Average number of reviews per paper: 3 reviews per paper• Total number of reviewers involved: 19 reviewers• Any additional info on review process (ie plagiarism check system): Plagiarism found by Turnitin.• Contact person for queries: Genesiska (Person in Charge for Post conference publication) Email: genesiska@umy.ac.id, and icosa@umy.ac.idDepartment of Agrotechnology, Faculty of Agriculture, Universitas Muhammadiyah Yogyakarta

Cultural schemata and nativization of reading: I Wandered Lonely as a Cloud by William Wordsworth

Reading involves both cognitive and psychological activities of combining both pre-existing cultural and linguistic knowledge. The reader has the ability to view the world in the light of his/her own cultural experiences which are constructed consciously or unconsciously, and may seem to be fruitful in text analysis and exploring the uncovered multi layers of meanings. In relation to multifaceted cross-cultural environment and experiences, people world view undergoes a dynamic change due to their distinct norms, values, attributed to specific objects. The purpose of the study focuses on to collect feedback from the EFL learners on culturally nativizatized literary poem, ‘‘I wandered Lonely as a Cloud’’ by William Wordsworth, analyzed and discussed during reading process. This study aims to explain how EFL learners with distinct cultural schemata read and interpret a western culturally loaded texts differently. It also attempts to indicate how visual images, setting and figurative language of the nativized text may contribute to their interpretation and reading comprehension level. As a result, in reading nativized version and non-nativized version, they indicated similarities and differences in their responses and interpretations in these culturally overloaded discourses. The respondents, in this study, reflected different images and structures through nativization. In this qualitative study, the data was collected and analyzed by comparing familiar and unfamiliar contents of two distinct versions in the form of the learners’ feedback through semi-structured interviews and questionnaires. The study asks for further investigation to look into the effect of cultural specific concepts on cross-cultural literary texts.

Towards a model of creative understanding: deconstructing and recreating conceptual blends using image schemas and qualitative spatial descriptors

Computational models of novel concept understanding and creativity are addressed in this paper from the viewpoint of conceptual blending theory (CBT). In our approach, a novel, unknown concept is addressed in a communication setting, where this novel concept, created as a blend by an emitter agent, sends a communicative object (words, or in this paper, a visual representation of that concept) to another agent. When received by a computational agent, a novel concept for that communicative object can only be understood by blending concepts already known by that agent. In this paper, we first posit that understanding new concepts via blending is also a creative process. Albeit different from generating conceptual blends, understanding a novel concept via blending involves the disintegration and decompression of that novel concept, in such a way that the receiver of that concept is able to re-create the conceptual network supposedly intended by the emitter of the novel concept. Secondly, we also propose image schemas as a tool that agents can use to interpret the spatial information obtained when disintegrating/unpacking novel concepts and then re-create the new blend. This process is studied in a communication setting where semiotics and meaning are conveyed by visual and spatial signs (instead of the usual setting of natural language or text). In this case study, qualitative spatial descriptors are applied for obtaining a formal description of an icon or pictogram, which is later assigned a meaning by a process of conceptual blending using image schemas.

Reading Bach's Notation: A Guide to the Temporal Structure of the 1733 <em>Missa</em>

Reading Bach's Notation:A Guide to the Temporal Structure of the 1733 MlSSA1 Don O. Franklin (bio) My ongoing study of Bach's notational practice takes as its point of departure Johann Philipp Kirnberger's discussion of "Tempo, Meter, and Rhythm" in his Art of Strict Musical Composition (1771–76).2 A student of J. S. Bach, Kirnberger sums up the notational system employed by his teacher whose notational practice was considered old fashioned by 1776 when Kirnberger published his treatise. As in seventeenth-century notational practice,3 each time-signature in the system described by Kirnberger is associated with a particular set of note values that represent its ordinary or normal tempo, which he calls tempo giusto, and that frequently is referred to as tempo ordinario. For example, the tempo giusto of , the most common duple meter, includes primarily sixteenth-note motion. (I take the modern equivalent of its tempo giusto to be quarter note=72–80.) Using larger or smaller note values is the primary means to alter its tempo. Notated in values that include predominately quarters, its tempo becomes faster, and with predominantly thirty-second notes, slower. Another means of modifying or altering the tempo giusto is by adding what Kirnberger calls a Beiwort, such as adagio. Commonly regarded in later practice as the primary indicator of tempo, its function, as described by Kirnberger is as a "tempo modifier." Similar to a change in note values, the addition of an allegro or adagio can denote a slower or faster tempo. Each marking, however, needs to be seen in direct relation to the note values with which it is associated. Click for larger view View full resolution Figure 1. Time signatures in the Missa in tempo giusto and modified form. Reading the original parts for the Missa (D-Dl, Mus. 2405-D-21) in conjunction with Bach's autograph score (D-B, P 180) reveals the extent to which Bach's notational practice reflects Kirnberger's description of tempo and meter cited above. Composed midway [End Page 77] into his Leipzig tenure, after he had completed his cantata cycles4 and representing his first setting of the Latin text of the Kyrie and Gloria, the Missa also provides examples of Bach experimenting with new notational, as well as compositional, procedures. Furthermore, as the first work in which the majority of its sections are parody movements,5 it also illustrates how Bach adapts the earlier movements to a new temporal context. Figure 1 lists the time signatures Bach assigns to each movement, denoting those he notates in tempo giusto and which he modifies by one of the methods described above. Also essential to consider in any study of tempo in the Missa—or in any of Bach's works that include a series of successive movements—are the following notational conventions that would have been known to composers and performers of the time. 1). the absence of a barline before a change of time signature within a movement signals that the beat should carry directly over into the next section in either a new metrical grouping of the beat or a new notational value. 2). the absence of a fermata performs the same function when it is absent between two movements, signaling to the performer that the beat carries over to the next section or movement, either at the same notational value in a new metrical grouping, or in a proportional relationship with a new set of note values. In Bach's autograph score of the Missa and the Dresden parts, the placement of fermatas is consistent, with the following exception. While Bach does not enter a fermata at the end of the "Qui tollis" in [End Page 78] Click for larger view View full resolution Figure 2. Outline of Temporal Structure of the 1733 Missa. [End Page 79] his score, he does enter fermatas at the end of the "Qui tollis" in five of the vocal and instrumental parts.6 Bach's placement of the fermatas in the Missa sets off a series of temporal units (TUs) that share a common pulse or beat, and comprise what I describe as the work's temporal structure. As...

Reading Bach's Notation: A Guide to the Temporal Structure of the 1733 MlSSA

Reading Bach's Notation:A Guide to the Temporal Structure of the 1733 MlSSA1 Don O. Franklin (bio) My ongoing study of Bach's notational practice takes as its point of departure Johann Philipp Kirnberger's discussion of "Tempo, Meter, and Rhythm" in his Art of Strict Musical Composition (1771–76).2 A student of J. S. Bach, Kirnberger sums up the notational system employed by his teacher whose notational practice was considered old fashioned by 1776 when Kirnberger published his treatise. As in seventeenth-century notational practice,3 each time-signature in the system described by Kirnberger is associated with a particular set of note values that represent its ordinary or normal tempo, which he calls tempo giusto, and that frequently is referred to as tempo ordinario. For example, the tempo giusto of , the most common duple meter, includes primarily sixteenth-note motion. (I take the modern equivalent of its tempo giusto to be quarter note=72–80.) Using larger or smaller note values is the primary means to alter its tempo. Notated in values that include predominately quarters, its tempo becomes faster, and with predominantly thirty-second notes, slower. Another means of modifying or altering the tempo giusto is by adding what Kirnberger calls a Beiwort, such as adagio. Commonly regarded in later practice as the primary indicator of tempo, its function, as described by Kirnberger is as a "tempo modifier." Similar to a change in note values, the addition of an allegro or adagio can denote a slower or faster tempo. Each marking, however, needs to be seen in direct relation to the note values with which it is associated. Click for larger view View full resolution Figure 1. Time signatures in the Missa in tempo giusto and modified form. Reading the original parts for the Missa (D-Dl, Mus. 2405-D-21) in conjunction with Bach's autograph score (D-B, P 180) reveals the extent to which Bach's notational practice reflects Kirnberger's description of tempo and meter cited above. Composed midway [End Page 77] into his Leipzig tenure, after he had completed his cantata cycles4 and representing his first setting of the Latin text of the Kyrie and Gloria, the Missa also provides examples of Bach experimenting with new notational, as well as compositional, procedures. Furthermore, as the first work in which the majority of its sections are parody movements,5 it also illustrates how Bach adapts the earlier movements to a new temporal context. Figure 1 lists the time signatures Bach assigns to each movement, denoting those he notates in tempo giusto and which he modifies by one of the methods described above. Also essential to consider in any study of tempo in the Missa—or in any of Bach's works that include a series of successive movements—are the following notational conventions that would have been known to composers and performers of the time. 1). the absence of a barline before a change of time signature within a movement signals that the beat should carry directly over into the next section in either a new metrical grouping of the beat or a new notational value. 2). the absence of a fermata performs the same function when it is absent between two movements, signaling to the performer that the beat carries over to the next section or movement, either at the same notational value in a new metrical grouping, or in a proportional relationship with a new set of note values. In Bach's autograph score of the Missa and the Dresden parts, the placement of fermatas is consistent, with the following exception. While Bach does not enter a fermata at the end of the "Qui tollis" in [End Page 78] Click for larger view View full resolution Figure 2. Outline of Temporal Structure of the 1733 Missa. [End Page 79] his score, he does enter fermatas at the end of the "Qui tollis" in five of the vocal and instrumental parts.6 Bach's placement of the fermatas in the Missa sets off a series of temporal units (TUs) that share a common pulse or beat, and comprise what I describe as the work's temporal structure. As...

Dimensional expansions and shiftings: fan fiction and transmedia storytelling the the Fringeverse

This article explores the characteristics of user-generated texts in fictional transmedia storytelling based on the fan fiction originating from FOX’s television series Fringe (2008-2013). A fan fiction (also known as fanfic or fic) is a piece of writing in which the author recreates the setting, events and characters of a source text or canon. After reviewing fan theories and practices, the article focuses on three examples examples of Fringe fan fiction analysing them with a double-edged methodology that combines narrative semiotics and narratology. Based on the results we update a set of transmedia narrative strategies by adding dimensional expansion and shifting, and also redefine the different areas of the storyworld where fan fiction is set with special emphasis on alternate universe (AU) scenarios.

Dialogues of Byrd and Sidney: performing incompleteness

This article offers a reading of Byrd's setting of Sidney's text ‘O you that heare this voice’ from Byrd's 1588 publication Psalms, sonets, and songs of sadness and piety that positions the piece as a practical performance of the negotiation surrounding changes in episteme that unfolded over the seventeenth century. Musical analysis of William Byrd's settings of poetry by Philip Sidney has proven to present significant hermeneutic challenges. This article presents an observation of an anomaly within one of Byrd's settings that echoes many similar challenges Sidney scholars have encountered when analysing the poet and his works on their own. This incongruity in Byrd's setting of Sidney's verse can be read as related to contemporary concern regarding the role of the arts in understanding sense perception, as well as the role of the performer(s) in the creation of musical meaning in late sixteenth‐century England.

James MacMillan St Luke Passion, Barbican Centre, London

James MacMillan's new St Luke Passion is unusual. No longer does the Passion story end in the death of its principal character; there's a postlude that sees Christ resurrected. Neither is it peopled with singers acting out the traditional confrontations between Christ, Pilate and the High Priest; it starts instead with a brief setting of the Annunciation text found at the opening of St Luke's gospel. Unusual too is the small size of the orchestra – no trombones or tubas, one set of timpani as the sole percussion and an organ. Perhaps most surprising, however, is that the roles of Christus and Pilate, and indeed everyone else, are given to the choruses: a children's chorus for Christ, the other choirs acting as narrator.

Il primo libro de motetti a due, tre, quattro, cinque, & otto voci, con una Messa à Quattro (1610) ed. by Dennis Collins & Steven Saunders (review)

THE FIRST VOLUME IN THE GRANDI EDITIONAlessandro Grandi. Il primo libro de motetti a due, tre, quattro, cinque, & otto voci, con una Messa a Quattro (1610). Edidunt Dennis Collins & Steven Saunders. (Alessandro Grandi Opera Omnia, I.) (Corpus Mensurabilis Musicae, 112.) Munster: American Institute of Musicology, 2011. [Abbrevs., p. ix; acknowledgements, p. x; introd., p. xi-xxxiv; sources, p. xxxv-xxxvii; editorial methods, p. xxxix-xlii; crit. report, p. xliii-lvi; 2 plates; score, p. 3-137. ISBN-10 1-59551-503-8, ISBN-13 978-1-59551-503-2. $110.]The North Italian composer Alessandro Grandi (ca. 1585-1630) has long been recognized as a highly significant figure, albeit one whose music has been largely unavailable in modern editions. His reputation is based on the good press he has received from scholars such as Denis Arnold, Jerome Roche, James Moore, Martin Seelkopf, Jeffrey Kurtzman, and Roark Miller, rather than on any real knowledge of his music, a few select pieces apart. The appearance of this first volume of a projected opera omnia, published in the American Institute of Musicology's Corpus Mensurabilis Musicae series, is thus extremely welcome. Under the watchful eyes of general editor Jeffrey Kurtzman, volume coeditors Robert Kendrick, Dennis Collins, and Steven Saunders have started the process with Grandi's Il primo libro de motetti of 1610. Given that he was a very prolific composer with over twenty sole-author publications involving motets, Masses, psalms, and madrigals, plus works in various anthologies, this is a major undertaking, and the institute and its director Paul Ranzini are to be congratulated in taking it forward.Grandi's first publication contained twenty motets, as well as a setting of the Ordinary of the Mass. It also included a motet, Quae est ista, by Alvise Grani, a trombone player at S. Marco in Venice, and the editor of Giovanni Gabrieli's 1615 Symphoniae sacrae. Including a piece by another composer was not unusual, and indicates some sort of relationship between the two, though the editors here do not speculate as to what that might have been. By the time Grandi published this volume he had already spent about three years as a singer in S. Marco, before returning to Ferrara where he had earlier had an appointment. Grani's motet is included here in an appendix in two versions: one at original pitch and the other transposed a fifth lower, since the piece's clefs fit into the chiavette or high-clef combination (using the F3 clef for the bass). The only one of Grandi's own pieces with an analogous clef configuration (with a C4 clef in the bass) is also given in its original form in the appendix, while the transposed version is included in the body of the volume. All of the other pieces use chiavi naturali.Of the twenty motets, six are for two voices, five for three, and seven for four. There also are single pieces for five and eight voices, while the final Mass Ordinary setting is for four, though with considerable sections to be sung by two and three voices. All have a basso continuo part, given without realization in this edition. The twovoice motets are mainly for two sopranos or two tenors; those for three voices use various combinations; while the four-voice pieces favor the adult male ATTB combination, also used for the Mass. The eight-voice setting of the Marian text, Nativitas tua, is for two equally-cleffed choirs. The most texturally-varied piece here is the five-voice Missus est Gabriel Archangelus, set as an extended Annunciation dialog between a narrator (Texto), Gabriel, and Mary, with a pair of sopranos labelled far away and hidden who sing the phrase Tota pulchra es, Maria twelve times, presumably representing a choir of angels. The piece ends with a five-voice commenting chorus in which the characters lose their individuality. The text is compiled from a variety of mainly biblical sources, while the extended dialog, or mini-oratorio, format suggests that it might have been written for one of the two Ferrarese confraternities at which Grandi worked as maestro di cappella: the Accademia dello Spirito Santo, or the Accademia della Morte. …

Postmodern Teleological Agents of End in Don DeLilLo’s White Noise

Apocalyptic literature in its secular form is a rich way of depicting a more meaningful fiction about ateleological end. The aim of postmodern apocalyptic literature is to manifest how the need for structure inspiresthe writers of this genre to use it as a sense-making device in postmodern era. This paper is an analysis ofpostmodern apocalyptic literary concepts in Richard Don DeLillos’ White Noise (1985). The novel represents asense of apocalypticism in a nuclear age when the fear of an atomic ending is not likely to vanish. The presentpaper examines the author’s depiction of the presence of an apocalyptic world in the postmodern setting of theselected text. It also explores the concept of postmodern apocalyptic deity and its imperfect judgment which callsinto question the simplistic depictions of morality. This has been achieved in this study based on a textualanalysis as a methodology by applying Elizabeth K. Rosen’s study of the genre in her book; ApocalypticTransformation: Apocalypse and the Postmodern Imagination (2008). Findings of this study show how theabsence of a complete destruction in the novel manifests the failure of the only sense-making device in the age ofnuclear fear and the everlasting nature of such fears.

Helen’s Silences: The Gendering of Voice Pitch and Narrative Structure in Lili Boulanger’s Faust et Hélène

Lili Boulanger won the Prix de Rome in 1913 with her cantata Faust et Hélène, a setting of the compulsory text for the competition. Boulanger’s setting is often seen as derivatively Wagnerian; but how might Boulanger be seen to go beyond such categorization, to subvert some of the meanings inherent in this kind of tonality and harmonic language? Three issues offer a new reading and a new performance practice for the work: the poem itself and its links to Goethe’s earlier work, Boulanger’s modes of behaviour during the competition, and the ramifications of gendered language on her setting.

STUDENT AS RESEARCHER: ASSESSMENT ANALYSIS ON INTERCULTURAL LANGUAGE EDUCATION COURSE

Context awareness in tertiary education is a crucial aspect. This awareness should be perceived by university students to maximize their academic potentials. In so doing, this mini research employs context analysis about: text, the purpose of text, the setting of text, the audience of text, the relationship between reader and writer, the expectations and conventions and the requirements of texts, shared values, background knowledge and understanding of text, intertextuality, the tone of text, assessment criteria followed by intercommunication of discourse community as proposed by Johns (1997). The context analysis on the disciplinary assignment through the active role of students as researcher is necessary. This would sensitize students what to do and what not to do in the learning activities. Furthermore, being well-informed on ethnographic writing, the study of academic practices in the university, is salient. This can be done, one of them, through the interview with the lecturer of a specific course as well as to some extent negotiate the academic practices. This positions the students as an active agent in learning.<br />Keywords: Student as Researcher, Context Analysis, Ethnographic Writing, Genre<br /><br />

The 21st Century (a Girl Born in Afghanistan)

Composed in 2002 for the Waging Peace Through Singing competition, 21st Century (A Girl Born in Afghanistan) is an SATB setting of text adapted from the Nobel Lecture given on December 10, 2001, by United Nations Secretary-General Kofi Annan, who was awarded the 2001 Nobel Peace Prize. The lecture text is Copyright by The Nobel Foundation, Stockholm, 2001, and is used by permission.The 21st Century (A Girl Born in Afghanistan) was premiered by the William & Mary Choir, under the direction of Dr. Constance DeFotis, at the College of William & Mary's Charter Day celebration on February 8, 2003. It's a message of desperate significance, Dr. DeFotis said of the piece. College President Timothy Sullivan called the performance brilliant and beautiful.The piece was also selected as a Finalist in the 2003 Briar Cliff University New Choral Music Competition, where it was performed in concert on May 2, 2003, by the Briar Cliff University Chamber Choir under the direction of Dr. Mark Simmons. It is a very, very powerful piece! says Brenda C. Kayne, director of the Euphonia! choir in Overland Park, Kansas.Connecticut Choral Artists (Concora) included 21st Century (A Girl Born in Afghanistan) on their CD entitled Songs & Stories of Liberation.

Leo for mixed choir

Leo is a setting of ancient Latin text for unaccompanied mixed choir, duration: 5:45.For Zodiakos, the final concert of their 2002 season, The Esoterics commissioned twelve Washington State composers to create a suite of a cappella horoscopes from the ancient poem, Astronomica, by First Century B.C.E. poet Marcus Manilius. Each composer set verses for his or her own star sign.Leo was premiered by The Esoterics on December 7, 8, 14 & 15, 2002, in concerts in Tacoma, Mercer Island and Seattle, Washington. The score is published by Ars Nova Music, a division of Ars Nova Press. The piece was named as a Finalist in 2007 Cincinnati Camerata Composition Competition. Leo is a Project Encore selection.

Symbolic Chiasm in Arvo Pärt’s Passio (1982)

Passio, is Arvo Pärt’s first large scale vocal-instrumental work in the tintinnabuli style and remains today one of his most significant compositions. In this setting of the Passion text according to St. John, Pärt codifies procedures of tintinnabuli that will remain his principle means of musical communication for years to come while implying a very important perspective of Johannine theology. His compositional design utilizes both small-scale and large-scale chiastic constructions and gives prominence to John’s observance in Chapter 18, verse 4, that Christ knows all that will occur in the events leading to his crucifixion. Seen in this light, the Passion narrative unfolds according to a pre-ordained plan; it is this subtle perspective of the Gospel that Arvo Pärt reveals musically in his Passio. This paper approaches a musical analysis of Passio in relation to John’s perspective that Christ knew all that was to follow. It illustrates that virtually every note is linked in some way to Pärt’s musical pilgrimage to the cross. With a microscopic lens, the analysis connects Pärt’s use of melody, texture, inversion and tintinnabuli to a poignant marriage of music and the biblical text. And on a macroscopic level, it is shown that musical events unfold over time to reveal the inevitability of the crucifixion. It is revealed that within the work’s tonal centres, large-scale textural procedures, pedal points and the music of the Exordium and Conclusio the path to the cross is present from beginning to end. In this way, the listener is taken through the narrative only to realize afterward that the Gospel’s outcome was present from beginning to end.

Word Setting in a Perfect Musical World: The Case of Obrecht’s Motets

Advocates of polyphony in Obrecht’s time consider music to be an art that has reached perfection in its own right. They offer virtually no grounds for supposing that the manner in which composers join words and notes bears on the esteem in which they are held. This is reflected in the casual (though not altogether unsystematic) manner in which words are underlaid to musical notation at the time. In this article I seek ways of understanding and evaluating Obrecht’s motets on the basis of their musical ideas alone, discarding anachronistic notions of text sensitivity. In Parce domine, and other motets that adopt the text of their cantus firmi, words are arguably peripheral in the creative process, irrespective of whether their audible presence is required in performance. Even in Mille quingentis, where the setting of new text is demonstrable, the words prove transient in relation to a more fundamental musical idea and fail to circulate with the music. Laudemus nunc Dominum and Salve crux arbor vite adopt syllabic word-setting techniques from popular song, which according to Herbenus not only makes words more intelligible, but more fundamentally clarifies musical structure. By contrast, the music of Omnis spiritus and Benedicamus in laude employs the rhythms of intoned and melodic chanting, respectively. The so-called declamatory style of the former informs the Magnificat setting and Salve sancta facies to some extent, and is conspicuous in O preciosissime sanguis and Mater patris. However, if clarity of text expression in such cases is the objective it is routinely subverted in transmission, giving rise to the supposition that Obrecht regards text declamation essentially as a further device for enhancing musical expression. In Factor orbis, which has been likened to a sermon in structure, Obrecht’s music expresses by itself what preachers cannot. Similarly, in Inter preclarissimas virtutes and Quis numerare queat, it is the music, not the text, that expresses a personal petition and the art of rhetoric, respectively, while in Laudes Christo redemptori imitation and ostinato serve their own musical ends, rather than those of the words. None of this in itself calls Obrecht’s literary credentials into question. However, it may help us understand his motivation for apparently switching from mass to motet composition in his maturity as driven by a desire to find new modes of musical rather than verbal expression.

Processing DNA molecules as text

Polymerase Chain Reaction (PCR) is the DNA-equivalent of Gutenberg’s movable type printing, both allowing large-scale replication of a piece of text. De novo DNA synthesis is the DNA-equivalent of mechanical typesetting, both ease the setting of text for replication. What is the DNA-equivalent of the word processor? Biology labs engage daily in DNA processing—the creation of variations and combinations of existing DNA—using a plethora of manual labor-intensive methods such as site-directed mutagenesis, error-prone PCR, assembly PCR, overlap extension PCR, cleavage and ligation, homologous recombination, and others. So far no universal method for DNA processing has been proposed and, consequently, no engineering discipline that could eliminate this manual labor has emerged. Here we present a novel operation on DNA molecules, called Y, which joins two DNA fragments into one, and show that it provides a foundation for DNA processing as it can implement all basic text processing operations on DNA molecules including insert, delete, replace, cut and paste and copy and paste. In addition, complicated DNA processing tasks such as the creation of libraries of DNA variants, chimeras and extensions can be accomplished with DNA processing plans consisting of multiple Y operations, which can be executed automatically under computer control. The resulting DNA processing system, which incorporates our earlier work on recursive DNA composition and error correction, is the first demonstration of a unified approach to DNA synthesis, editing, and library construction.Electronic supplementary materialThe online version of this article (doi:10.1007/s11693-010-9059-y) contains supplementary material, which is available to authorized users.

Cornelius Cardew (1936–1981): A Life Unfinished , and: Cornelius Cardew: A Reader (review)

Reviewed by: Cornelius Cardew (1936–1981): A Life Unfinished, and: Cornelius Cardew: A Reader Tom Bickley Cornelius Cardew (1936–1981): A Life Unfinished. By John Tilbury. Harlow, Essex, UK: Copula, 2008. [xxiv, 1070 p. ISBN 9780952549246. £30.] Illustrations, appendices, bibliograpy, works list, index. Cornelius Cardew: A Reader. Edited by Edwin Prévost. Harlow, Essex, UK: Copula, 2006. [xviii, 390 p. ISBN 9780952549222. £22.] Illustrations, music examples, bibliography, index. "I have an insane desire to be an unsolved mystery" (A Life Unfinished, p. 1019), wrote Cornelius Cardew in his journal at age seventeen or eighteen. Given his remarkable life, with its dramatic changes in course, passionate engagement, and the distressing circumstances of his untimely death, that statement strikes the reader as eerily prophetic. Copula Press, an imprint of Matchless Recordings (noted for consistently excellent recordings of experimental improvisatory music), provides rich material for readers interested in the intersection of experimental music and Marxist-Leninist activism as manifest in Cardew's life and work. Cardew grew up in a middle-class family involved in the arts; his father, Michael Cardew, was a noted potter. His early education included choral training at the Canterbury Cathedral School (relocated to a village in Cornwall during World War II). He chafed at the authoritarian structure, and, coming from an atheist family, was not at all at home in the ecclesiastical environment. He entered the Royal Academy of Music (RAM) in 1953, further developing his performance skills as a pianist and embracing serialism as a composer. He found serialism easy to embrace, enjoying the exploration of conceptual links between serial composition and Wittgenstein's philosophy (especially the Tractatus logico-philosophicus), in which he had already immersed himself. From 1957 to 1961 he studied and worked with Karlheinz Stockhausen at the electronic music studios in Cologne. His close association with Stockhausen ensured connections with the European avant-garde. Cardew's journal entries show his ambivalence in the competitive atmosphere and orthodoxy of integral serial practice. Encounters with John Cage, David Tudor, Christian Wolff, Earle Brown, and Morton Feldman opened a pathway of freedom from the integral serialists. Cardew returned to London, trained in graphic design, worked in the book design industry, and established himself in the forefront of the musical avant-garde in the United Kingdom. Further study in Italy linked him to musical and political developments there, and in Buffalo, New York, he grew closer yet to American Experimental lineages. He brought his passion for experimentation and empowerment of performers to creation in his masterful graphic score Treatise (1963–67) and involvement with the seminal free improvisation ensemble AMM. Developing from his composition teaching at the RAM and Morley College, he cofounded (with Michael Parsons and Howard Skempton and others) the Scratch Orchestra. That ensemble combined democratic organizational principles with various modes of experimental music making. Cardew's expansive setting of the Confucian text The Great Learning stands out from that period for that ensemble. Keith Rowe, of AMM and the Scratch Orchestra, led initiatives for study of the works of Mao Zedong. In a fairly short time, the formerly relatively apolitical Cardew embraced Maoism with exceptional vigor, reminiscent of religious conversion. The Maoist activists transformed the Scratch Orchestra into an ensemble directly supporting the work of the Communist Party of England (Marxist-Leninist). That Maoist faction denounced the revisions of Khrushchev and, influenced by Canadian Maoist Hardial Bains, hewed to Stalinism in the Sino-Soviet split. Friendships and musical associations ruptured in this turmoil, as the charismatic Cardew denounced his former experimental/avant-garde music as counter-revolutionary. [End Page 766] Stockhausen Serves Imperialism (1974) contains essays on these topics and is reprinted in Cornelius Cardew: A Reader. The last decade of Cardew's life was spent in the service of Marxism-Leninism. The energy and passion he brought to serialism, and then to experimental music, he also brought to fighting racism and economic injustice. Following Mao's death in 1976, and the realization that the atrocities of his regime were undeniable, Cardew and others denounced the Chinese leader, and the anti-revisionist CPE (ML) reformed as the Revolutionary Communist Party of Britain (Marxist-Leninist). He was a member of the Central Committee and submitted virtually...

Lorenzo Candelaria . The Rosary Cantoral: Ritual and Social Design in a Chantbook from Early Renaissance Toledo.(Eastman Studies in Music.)Rochester, N.Y. : University of Rochester Press . 2008 . Pp. x, 212. $55.00.

Liturgy, as well as being a vital ingredient in both the exercise of power and the construction of local identities, is fundamental to understanding how music and ceremony actually worked in early modern civic and devotional contexts. This was most obviously true of the period before the Council of Trent, when the church resolved to abolish all local liturgies less than two hundred years old. Even after Trent, festal calendars could be revised to incorporate new cults, while patron saints of minor importance in the Roman calendar continued to assume greater weight in their specific geographical and institutional environments, much as they had done in the years before reform. Lorenzo Candelaria's high-quality manuscript, finely illuminated in the Franco-Flemish style, is a characteristic expression of this dynamic. Copied between 1500 and 1520 for the Rosary Confraternity of the Dominican monastery of San Pedro Mártir in Toledo, most of whose members worked in the silk trade, its original layer mostly consists of chants for the Ordinary of the Mass together with a handful of sequences, antiphons, and tracts. Unusually for the period, most of the chants are decorated by tropes, ornamental additions to the basic chant which by this date had largely fallen out of use. To this central core of melodies, which establish Toledan usage, further additions were made in the course of the sixteenth century, among them further tracts whose texts are in accordance with the reformed Medicean Gradual of 1614–1615. Finally, a third hand has inserted two pieces of four-voice polyphony, probably towards the end of the sixteenth century; one is an unidentified setting of the “Et incarnatus est” section from the credo section of an unknown Mass based on the popular “L'homme armé” melody, the other the setting of the same text taken from the Missa Sine Nomine by Josquin Desprez, a major composer whose works continued to be disseminated in Spanish sources long after his death in 1520. Now in the Beinecke Library at Yale, which bought it from the Connecticut book dealer Laurence Witten, who sold a great deal of early printed and manuscript material, the Beinecke Kyriale is in fact the only source for any of Josquin's music in North America.