80 Sentences With "quodlibet" | Random Sentence Generator

Rondeau's surprising choice to solemnize the Quodlibet eases the transition.

" This is the principle of explosion, or ex falso quodlibet: "from falsehood, anything (follows).

The Quodlibet, the culminating variation, typically unfolds as a rousing climax to the cycle, its interpolated folk-song airs adding a tone of merriment.

Its second theme is a tipsy version of a folk tune ("Kraut und Rüben Haben Mich Vertrieben," or "Cabbage and Turnips Have Driven Me Away") that Bach would later use in the slightly more genteel Quodlibet of his "Goldberg" Variations.

The wonder of the "Goldberg" is that it seems to darken and brighten simultaneously: a few short minutes after the cosmic sadness of the so-called "black pearl" variation, Bach unleashes the Quodlibet, in which old folk songs irreverently intermingle.

The quodlibet originated in 15th-century Europe, during a time when the practice of combining folk tunes was popular.Vincent J. Picerno, "Quodlibet" in Dictionary of Musical Terms (Brooklyn, New York: Haskell House Publishers, 1976), p. 304. Composer first used the term in a specifically musical context in 1544.Maria Rika Maniates with Peter Branscombe/Richard Freedman, "Quodlibet," 2007, Grove Music Online, Online (December 18, 2007).

The manuscript of the Wedding Quodlibet shows Bach's early handwriting The Quodlibet or Wedding Quodlibet, BWV 524, is a lighthearted composition by Johann Sebastian Bach which today exists only in fragmentary form. The line "In diesem Jahre haben wir zwei Sonnenfinsternissen" (In this year we have [seen] two solar eclipses) places the composition of the piece in or shortly after 1707, when central Germany was witness to two such celestial events. The extant source—a fair-copy autograph manuscript on three large, folded sheets—was not discovered until 1932. The work itself is a loosely structured quodlibet for SATB and continuo.

The quodlibet took on additional functions between the beginning and middle of the 19th century, when it became known as the potpourri and the musical switch. In these forms, the quodlibet would often feature anywhere from six to fifty or more consecutive "quotations"; the distinct incongruity between words and music served as a potent source of parody and entertainment.Maria Rika Maniates with Peter Branscombe/Richard Freedman, "Quodlibet," 2007, Grove Music Online, Online (December 19, 2007). In the 20th century, the quodlibet remained a genre in which well-known tunes and/or texts were quoted, either simultaneously or in succession, generally for humorous effect.

Retrieved 24 September 2018 A partie in Quodlibet consists of 12 games which, in some circles are divided into three 'wheels' (Rädern) or rounds, each of four deals (Touren).e.g. see Quodlibet at wuerstchenundbier.com; and 100 Karten at www.pasttimes.de. Retrieved 3 Oct 2018.

Quodlibet (lat.: "what pleases") is a traditional card game associated with central European student fraternities that is played with William Tell pattern cards and in which the dealer is known as the 'beer king'."Quodlibet" in Badeneruf at www.badenia.at. Retrieved 31 August 2018Quodlibet at www.frw.or.at.

Francisco de Peñalosa's quodlibet Por las sierras de Madrid occurs in the Cancionero Musical de Palacio, a manuscript of the early 16th century. Composer Ludwig Senfl (1486–154?) was able to juxtapose several pre-existing melodies in a cantus firmus quodlibet; one such piece, Ach Elselein / Es taget, was noted for its symbolism rather than its humor. In Spain, 1581 saw the publication of the ensaladas of Mateo Flecha et al. The ensaladas were comical compositions that mixed literary texts in a way similar to the quodlibet.

Quodlibet is played in many variations that deviate in their details from the above description. The 1888 Meyers Konversationslexikon describes Quodlibet as "a card game that consists of 13 [sic] different deals that is especially popular in student circles".Meyers Konversations-Lexikon (1888–1889), 4th completely revised edition. Bibliographisches Institut, Leipzig, p.

It was not until 1618, however, that anyone published a rigorous definition of the quodlibet: Michael Praetorius described it as "a mixture of diverse elements quoted from sacred and secular compositions". During the Renaissance, a composer's ability to juxtapose several pre-existing melodies, such as in the cantus firmus quodlibet, was considered the ultimate mastery of counterpoint.

Rumpel at www.br.de. Retrieved 13 Sep 2018. The well known children's game, Schwarzer Peter (or Old Maid in Britain), was originally a Quodlibet deal.

Bach's earliest cantatas are church cantatas, although his early Wedding Quodlibet is sometimes grouped with the secular cantatas.Terry 1933, pp. 103–104Secular Cantatas: Der zufriedengestellte Aeolus (BWV 205), Quodlibet (BWV 524). Hänssler Classics, Edition Bachakademie Vol. 63, Rilling. The oldest extant secular cantata is from his Weimar period where he composed the Hunting Cantata (BWV 208, first version) for the birthday of Christian, Duke of Saxe-Weissenfels on 23 February 1713.

Forkel's anecdote (which is likely to be true, given that he was able to interview Bach's sons), suggests fairly clearly that Bach meant the Quodlibet to be a joke.

The final variation, instead of being the expected canon in the tenth, is a quodlibet, discussed below. As Ralph Kirkpatrick has pointed out, the variations that intervene between the canons are also arranged in a pattern.

He was also a maker of harpsichords and organs. Surviving pieces include a mass, two chorale preludes on "" and a Singspiel Der jenaische Wein- und Bierrufer, this in the form of a quodlibet on Jena student traditions.

Quodlibet is an old student drinking game mentioned as early as 1845 as one of the "best-known drinking games". It is described in an 1862 source as comprising around 20 different deals (Touren) each, in itself, almost childish, but collectively making for an enjoyable variety. It appears to have been particularly popular in student circles as a drinking game and is still played by student fraternities in Austria. In a 400th anniversary magazine for the University of Tübingen that year, students from Mainz describe the rules for Quodlibet.

Quodlibet is played anti-clockwise and is a trick-taking game in which players must follow suit (Farbzwang), but there is no trump suit or requirement to win the trick. The aim is to score as few penalty points as possible. The dealer in Quodlibet is called the 'beer king' (Bierkönig). The first beer king deals 8 cards to each player (normally 3-3-2 or 3-2-3), picks up his hand, chooses a contract from the first round (see below) and leads to the first trick.

Near the end of this war, Hervaeus Natalis compiled two censure lists, one in 1314 and one in 1316. These lists gathered the problematic tenets of Durandus' works, and in turn, compelled Durandus to revise his work. Notable works concerning this polemical war include Reprobationes excusationum Durandi, Quodlibet III, and Correctiones super dicta Durandi in Quodlibet Avenonense I. These works either reprimanded Durandus or responded to Durandus' counterattacks to Natalis' arguments. One of Natalis' most significant counters to Durandus was in his Evidentiae contra Durandum super IVum Sent.

Alexandre, pp. 207–208 In 1909, the journal was also one of the first to host Hans Driesch's philosophical tracts, discussing the concept of becoming in history and nature.Caterina Zanfi, Bergson e la filosofia tedesca, 1907–1932, p. 151. Macerata: Quodlibet, 2013.

Bach's biographer Forkel explains the Quodlibet by invoking a custom observed at Bach family reunions (Bach's relatives were almost all musicians): > As soon as they were assembled a chorale was first struck up. From this > devout beginning they proceeded to jokes which were frequently in strong > contrast. That is, they then sang popular songs partly of comic and also > partly of indecent content, all mixed together on the spur of the moment. > ... This kind of improvised harmonizing they called a Quodlibet, and not > only could laugh over it quite whole-heartedly themselves, but also aroused > just as hearty and irresistible laughter in all who heard them.

Barbu, Quodlibet and Poch. ; contract : An agreement or obligation to play a certain type of game, to win a certain number of points or tricks in a hand, round or game. ; contractor : The highest bidder who then plays out his contract. ; counter # Object used to score.

Typically the intuitionistic negation eg P of P is defined as P \rightarrow \bot. Then negation introduction and elimination are just special cases of implication introduction (conditional proof) and elimination (modus ponens). In this case one must also add as a primitive rule ex falso quodlibet.

Quodlibet, 2010. . Both partners were educated at the Oslo School of Architecture and Design (1985/1988) and hold part-time positions there. They have previously worked at NSB Architects. Their office has been involved in the Norwegian Public Roads Administration tourist project at Sognefjellsvegen (along with others).

Godfrey left Paris between his final Quodlibet in 1298-1299 - 1303/1304 yet returned before he died on October 29, 1306 or 1309. He had compiled a large library during his lifetime, which he donated to the Sorbonne upon his death, a portion of which is still intact.

The Quodlibet as it appears in the first edition This quodlibet is based on multiple German folk songs, two of which are Ich bin solang nicht bei dir g'west, ruck her, ruck her ("I have so long been away from you, come closer, come closer") and Kraut und Rüben haben mich vertrieben, hätt mein' Mutter Fleisch gekocht, wär ich länger blieben ("Cabbage and turnips have driven me away, had my mother cooked meat, I'd have opted to stay"). The others remain unknown.BBC Radio 3 – Discovering Music. The Kraut und Rüben theme, under the title of La Capricciosa, had previously been used by Dieterich Buxtehude for his thirty-two partite in G major, BuxWV 250.

Herzeln is a compendium card game for three or four players in a partie of eight deals (Touren, c.f. Quodlibet). As its name suggests, it is an Austrian game.Herzeln at www.allekartenspiele.de. Retrieved 27 August 2018 It should not be confused with other games sometimes called Herzeln, including Barbu and Kein Stich.

Bach likely did not write the text, which some attribute to the Leipzig poet Johann Christoph Gottsched. Though the cover sheet has been lost, the libretto of the remaining portion indicates that the quodlibet was to be performed at a wedding, possibly that of the composer himself to Maria Barbara Bach.

He was also one of the early scholars of the life and work of Johannes Kepler, a precursor of Alexandre Koyré.His son Otto Friedrich Apelt made important contributions to the debate on the nature of the categories of Aristotle.Venanzio Raspa, Otto Apelt: La dottrina delle categorie di Aristotle,Quodlibet 2020 pp.74-81.

The production for instrumental ensembles includes several divertimenti, cassations, notturni, serenades, marches, and dances, a quodlibet, besides, of course, his symphonies. Mozart's production for orchestra is written for string ensembles (like the early Divertimenti K. 136–138), as well as for wind instruments ensembles and the varied combinations of string and wind.

Songs and arias by Johann Sebastian Bach are compositions listed in Chapter 6 of the Bach-Werke-Verzeichnis (BWV 439–524), which also includes the Quodlibet.(BWV2a) Alfred Dürr, Yoshitake Kobayashi (eds.), Kirsten Beißwenger. Bach Werke Verzeichnis: Kleine Ausgabe, nach der von Wolfgang Schmieder vorgelegten 2. Ausgabe. Preface in English and German.

In this method he gives lessons for speakers and singers as a professional voice teacher. He performed with the male trio Canterbury Clerkes for 25 years. In 2000 he founded the mixed voice quintet Quodlibet, with which he made three albums. Besides that he plays the organ at different churches and conducts and coaches choirs.

London: Society for Promoting Christian Knowledge. Numerous variations of the carol include an arrangement by William Llewellyn as a "quodlibet" for choir: London Waits (Past Three O'clock).Novello and Co Ltd. Recordings of the carol include those by the Choir of Clare College, Cambridge,EMI: CDM 7 69950 2 the Choir of King's College, Cambridge, the Monteverdi Choir.

If we leave aside the initial and final material of the work (specifically, the Aria, the first two variations, the Quodlibet, and the aria da capo), the remaining material is arranged as follows. The variations found just after each canon are genre pieces of various types, among them three Baroque dances (4, 7, 19); a fughetta (10); a French overture (16); two ornate arias for the right hand (13, 25); and others (22, 28). The variations located two after each canon (5, 8, 11, 14, 17, 20, 23, 26, and 29) are what Kirkpatrick calls "arabesques"; they are variations in lively tempo with a great deal of hand-crossing. This ternary pattern—canon, genre piece, arabesque—is repeated a total of nine times, until the Quodlibet breaks the cycle.

David Esterly (1944-2019) with his piece Quodlibet #7, 2012. Limewood on painted backboard, from the collection of Martha J. Fleischman James David Esterly Jr. (May 10, 1944 – June 15, 2019) was an American limewood carver, self-described sculptor and writer. He was known as an exponent of the high- relief naturalistic style of the British carver Grinling Gibbons (1648–1721).

Regardless of whether the application of the concept to other branches of Christian chant, or other types of music is valid, its use with respect to Gregorian chant has been severely criticized, and opposing models have been proposed (; ; ). The term "centonate" is not applied to other categories of composition constructed from pre-existing units, such as fricassée, pasticcio, potpourri, and quodlibet .

Quodlibet with violin and documents Cornelis Biltius was born in The Hague as the first-born child of Jacob Biltius and Adriana Proot van der Jeucht. His father was a still life painter originally from Middelburg. He would later have seven more siblings of whom Bartholomeus also became a painter.B. J. A. Renckens, Enkele archivalia en opmerkingen over Jacobus and Cornelis Biltius, in: Oud Holland , Vol.

Marcel Proust e le idee sensibili, Macerata, Quodlibet, 2004; broadened edition: Proust et les idées sensibles, French tr. by S. Kristensen revised by P. Rodrigo and by the author, Paris, Vrin, 2008; English tr. by N. Keane, An unprecedented Deformation: Marcel Proust and the Sensible Ideas, Albany (NY), SUNY Press, 2010. # Essere morti insieme. L’evento dell’11 settembre 2001, Torino, Bollati Boringhieri, 2007; broadened French edition tr.

Barbu may be descended from earlier compendium games popular with students and originating in the Austro-Hungarian Empire such as Lorum or Quodlibet. "Le barbu" literally means "the bearded" (man), and phonetically "the barb" – a reference to the king of hearts' common depiction as a bearded monarch nonchalantly stabbing himself in the head. This card is of special significance in one of the seven contracts featured in the game.

History of Medieval Philosophy 272 On trinitarian theology, however, Gerard was much closer to the emerging Franciscan view.Russell L. Friedman, Trinitarian Texts from the Franciscan Trinitarian Tradition, ca. 1265-85, in Cahiers de L'Institut Du Moyen-Âge Grec Et Latin, Volume 73 (2006), p. 22. With Aquinas, he was one of the developers of the quodlibet genre of open philosophical discussion, flourishing for about a century from his time.

This last chapter introduces one last concept, ex falso quodlibet, and mentions Theodore Roosevelt, as well as the election between Obama and Romney. The author ends the novel with encouraging statements, noting that it's okay to not know everything, and that we all learn from failure. He ends saying that to love math is to be “touched by fire and bound by reason”, and that we should all use it well.

This variation features four-part writing with many imitative passages and its development in all voices but the bass is much like that of a fugue. The only specified ornament is a trill which is performed on a whole note and which lasts for two bars (11 and 12). The ground bass on which the entire set of variations is built is heard perhaps most explicitly in this variation (as well as in the Quodlibet) due to the simplicity of the bass voice.

"Schlaf, Kindlein, schlaf" ("Sleep, dear child, sleep") is a German lullaby. The oldest surviving version is a text and melody fragment of the first stanza, which appears in 1611 as part of a quodlibet in Melchior Franck's Fasciculus quodlibeticus. The current melody of the lullaby was composed by Johann Friedrich Reichardt in 1781 after a folk tune and also used for "" (cockchafer fly). The currently known text version was distributed by the third volume of the collection Des Knaben Wunderhorn (1808).

A wager cup Drinking games in 19th century Germany included Bierskat, Elfern, Rammes and Quodlibet, as well as Schlauch and Laubober which may well be the same game as Grasobern. But the "crown of all drinking games" was one with an ancient and distinctive name: Cerevis. One feature of the game was that everything went under a different name from normal. So the cards (Karten) were called 'spoons' (Löffel), the Sevens were 'Septembers' and the Aces were the 'Juveniles' (junge Leichtsinn).

Eventually the discussion of questiones became a method of inquiry apart from the lectio and independent of authoritative texts. Disputationes were arranged to resolve controversial quaestiones. Questions to be disputed were ordinarily announced beforehand, but students could propose a question to the teacher unannounced – disputationes de quodlibet. In this case, the teacher responded and the students rebutted; on the following day the teacher, having used notes taken during the disputation, summarised all arguments and presented his final position, riposting all rebuttals.

It occurs in only half the surviving copies of that printing, but all later printings of the Scale included it. Hilton wrote three other Latin letters of spiritual guidance – the Epistola de Leccione, Intencione, Oracione, Meditacione et Allis, the Epistola ad Quemdam Seculo Renunciare Volentem and Firmissime crede – and a scholastic quodlibet defending images in churches, a practice criticised by Lollards. He also wrote commentaries on the Psalm texts Qui Habitat and Bonum Est (Psalms 90.1 and 91.2), and perhaps on the Canticle Benedictus (Luke 1.68).

The paradox is ultimately based on the principle of formal logic that the statement A \rightarrow B is true whenever A is false, i.e., any statement follows from a false statement (ex falso quodlibet). What is important to the paradox is that the conditional in classical (and intuitionistic) logic is the material conditional. It has the property that A \rightarrow B is true if B is true or if A is false (in classical logic, but not intuitionistic logic, this is also a necessary condition).

In classical logic, particularly in propositional and first-order logic, a proposition \varphi is a contradiction if and only if \varphi\vdash\bot. Since for contradictory \varphi it is true that \vdash\varphi\rightarrow\psi for all \psi (because \bot\rightarrow\psi), one may prove any proposition from a set of axioms which contains contradictions. This is called the "principle of explosion", or "ex falso quodlibet" ("from falsity, anything follows"). In a complete logic, a formula is contradictory if and only if it is unsatisfiable.

Other significant groups are the liberation theologians, the moralists, church historians, scripture scholars and canon lawyers. Scholars exercise the ‘charism’ of both teaching and, occasionally, prophecy (1 Corinthians 12,4-11). This charism of theologians is another source of ‘authority’ in the Church – next to the authority of popes and bishops. The ‘Magisterium’ is reserved to the teaching authority of the Pope and Ecumenical Councils. The 13th-century Thomas Aquinas recognised the ‘professional magisterium’ of university professors next to the ‘pastoral magisterium’ of bishopsThomas Aquinas, Quodlibet 3.4.

Luther came to understand justification as entirely the work of God. Against the teaching of his day that the righteous acts of believers are performed in cooperation with God, Luther wrote that Christians receive such righteousness entirely from outside themselves; that righteousness not only comes from Christ but actually is the righteousness of Christ, imputed to Christians (rather than infused into them) through faith.Dorman, Ted M., "Justification as Healing: The Little-Known Luther ", Quodlibet Journal: Volume 2 Number 3, Summer 2000. Retrieved 13 July 2007.

The Latin word 'quodlibet' means 'what you like'. Trompe l'oeil still life with a skull These works are somewhat reminiscent of the trompe l'oeil still lifes of the Netherlandish masters of the 17th century such as Cornelis Norbertus Gysbrechts, Godfriedt van Bochoutt. Gijsbrechts, who worked in the third quarter of the seventeenth century, seems in particular to have been influential on Plasschaert's work although those paintings were not readily available in Bruges since Gijsbrechts worked abroad for some time. Some of these works clearly have a vanitas meaning.

Trex, pronounced Tricks or Trix, and also known as Ticks, is a four-player Middle Eastern card game mainly played in the Levant region (Jordan, Syria, Lebanon and Palestine). Similar to European games like Barbu, Herzeln, Kein Stich or Quodlibet, Trex is a compendium game in which there are four rounds with each round consisting of five games. Each cycle is called a "kingdom" in reference to the fact that in each cycle one player (the King) determines which contract to play in each of the five games.

Mario Bertoncini in Radiocorriere magazine, 1975. Mario Bertoncini (September 27, 1932 in Rome – January 19, 2019 in Siena) was an Italian composer, pianist, and music educator. In 1962 he was awarded the Nicola d'Atri Prize by the Accademia Nazionale di Santa Cecilia for his Sei Pezzi per orchestra and in 1965 he was awarded both the Gaudeamus International Composers Award and the Fondation européenne de la Culture prize for Quodlibet. He has performed as a concert pianist with symphony orchestras throughout Europe and North America and in Israel and Korea.

Out of the 83 recorded works of Nestroy, a total of some 56 were designated as some form of Posse, meaning a farce or 'broad comedy', including 32 Possen mit Gesang (farce with singing). There are eight Parodien, or parodies (two of them also designated as Possen), plus two Burlesken and one 'Travestie'). There are 6 Zauberspiele and 4 Quodlibet, 2 Vorspiele (prologues) and also one each of the following: Dramatisches Gemälde ('dramatic picture'), Historisch-romantisches Drama ('historical-romantic drama'), Intermezzo, Komische Szenenreihe ('comic parade'), Operette, and Schwank ('humorous story').

In 1950 the Bach-Werke- Verzeichnis was published, allocating a unique number to every known composition by Bach. Wolfgang Schmieder, the editor of that catalogue, grouped the compositions by genre, largely following BG for the collation (e.g. BG cantata number = BWV number of the cantata): The BWV is a thematic catalogue, thus it identifies every movement of every composition by its first measures, like the opening of BWV 1006, movement 2 (Loure) above. # Kantaten (Cantatas), BWV 1–224 # Motetten (Motets), BWV 225–231 # Messen, Messensätze, Magnificat (Masses, Mass movements, Magnificat), BWV 232–243 # Passionen, Oratorien (Passions, Oratorios), BWV 244–249 # Vierstimmige Choräle (Four-part chorales), BWV 250–438 # Lieder, Arien, Quodlibet (Songs, Arias and Quodlibet), BWV 439–524 # Werke für Orgel (Works for organ), BWV 525–771 # Werke für Klavier (Keyboard compositions), BWV 772–994 # Werke für Laute (Lute compositions), BWV 995–1000 # Kammermusik (Chamber music), BWV 1001–1040 # Orchesterwerke (Works for orchestra), BWV 1041–1071, originally in two separate chapters: Concertos (BWV 1041–1065) and Overtures (BWV 1066–1071) # Kanons (Canons), BWV 1072–1078 # Musikalisches Opfer, Kunst der Fuge (Musical Offering, Art of the Fugue), BWV 1079–1080 For instance, the Prelude and Fugue in E-flat major now became BWV 552, situated in the range of the works for organ.

Gaudeamus is the school song and is sung each year at founders' day, accompanied by the orchestra. However, the school only sings three of the seven verses: Gaudeamus igitur, Juvenes dum sumus, Gaudeamus igitur, Juvenes dum sumus, Post jucundum juventutem, Post molestam senectutem, Nos habebit humus, Nos habebit humus. Vivat academia, Vivant professores, Vivat academia, Vivant professores, Vivat membrum quodlibet, Vivat membra quaelibet, Semper sint in flore, Semper sint in flore. Vivant et republica, et quae illam regit, Vivant et republica, et quae illam regit, Vivat nostra civitas, Maecenatum caritas, Quae nos hic protegit, Quae nos hic protegit.

Japart was the composer of 23 chansons which are extant. A lost composition by Josquin, Revenu d'oultrements, Japart is often cited as evidence of a friendship between the two composers; if so, they probably met in Milan after 1481, since Josquin did not go to Italy until around 1484. Stylistically, Japart's music is influenced by Busnois, one of the earlier group of Burgundian composers. He was fond of the quodlibet, the combination of several pre-existing tunes in ingenious ways, and he also wrote puzzle canons -- compositions which the singers were intended to figure out from clues given in the text.

Bouman, Herbert J. A. "The Doctrine of Justification in the Lutheran Confessions" , Concordia Theological Monthly, November 26, 1955, No. 11:801. Luther came to understand justification as entirely the work of God. Against the teaching of his day that the righteous acts of believers are performed in cooperation with God, Luther wrote that Christians receive such righteousness entirely from outside themselves; that righteousness not only comes from Christ but actually is the righteousness of Christ, imputed to Christians (rather than infused into them) through faith.Dorman, Ted M., "Justification as Healing: The Little-Known Luther ," Quodlibet Journal: Volume 2 Number 3, Summer 2000.

In some works a letter appears to have been recently torn open or a red seal freshly broken. The naturalism is further expressed by the seals stamped in red or dark green lacquer and the stretched ribbons in the form of a grid, behind which the objects are stuck. Writing utensils such as goose feathers and matching leather tubes, inkwells, penknifes, playing cards with figurative representations and bars of sealing wax are also depicted. The works contain a collection of random objects and for this reason such compositions are referred to in art history as quodlibet paintings.

Individual writing credits were subsequently published. In order to increase royalty points on the album, the band divided opening track "That's It for the Other One" into four somewhat arbitrary movements. The opening section, the Garcia-sung "Cryptical Envelopment", was dropped from live performances of the suite after 1971 (though it reappeared a few times in 1985). The second section, ostensibly a quodlibet (misspelled as "quadlibet"), is a short jam connecting to the main section, sung by Weir ("Spanish lady comes to me, she lays on me this rose"), with a short reprise of "Cryptical Envelopment".

Early archeological studies, archaism, and typology are the main themes of his Forgery, Replica, Fiction: Temporalities of German Renaissance Art (Chicago, 2008), which was awarded the Susanne M. Glasscock Humanities Book Prize for Interdisciplinary Scholarship. Anachronic Renaissance, co- authored with Alexander Nagel (ZONE, 2010), has been widely reviewed. The French translation (Renaissance anachroniste, Les Presses du Réel) by Françoise Jaouen was awarded the Prix de la traduction of the Salon du livre et de la revue d'art at the Festival de l'histoire de l'art, Fontainebleau, June 2013. Italian (Quodlibet) and Spanish (Akal) translations are in press.

Constructivism is a mathematical philosophy that rejects all proof methods that involve the existence of objects that are not explicitly built. This excludes, in particular, the use of the law of the excluded middle, the axiom of infinity, and the axiom of choice, and induces a different meaning for some terminology (for example, the term "or" has a stronger meaning in constructive mathematics than in classical). Some non- constructive proofs show that if a certain proposition is false, a contradiction ensues; consequently the proposition must be true (proof by contradiction). However, the principle of explosion (ex falso quodlibet) has been accepted in some varieties of constructive mathematics, including intuitionism.

Marcel Proust e le idee sensibili, Macerata, Quodlibet, 2004, p. 94. According to what Leonard Lawlor wrote in a review in Continental Philosophy Review, "An Unprecedented Deformation seems to open onto something like a meta- or super-philosophical level". In other words, with this book, Carbone develops also a critical thought about the status of Philosophy itself, reconsidering the way we actually think. Later on, another notion began to connect to the above-mentioned ones, namely, that of mutual precession between imaginary and real, which Carbone proposed – by developing a Merleau-Pontian formulation – so as to account for the producing of the peculiar retroflected temporality called mythical time.

Many of these are lacking a bass voice part, since the bass part-book has been lost from the manuscript. #En chevauchant pres d'ung molin; #En l'ombre d'ung aubepin; #En revenant de Noyon; #Et la la la, faictez luy bonne chiere; #Et levez vo gambe, Jennette; #Et levez vous hau, Guillemette; #Gentilz gallans adventureulx; #Helas helas helas; #Hellas, hellas, qui me confortera; #Je mi levay l'autre nuytee; #L'ort villain jaloux; #Mon amy m'avoit promis; #Mon seul plaisir (a quodlibet as well as a ballade; has also been attributed to Josquin des Prez); #N'as tu poinct mis ton hauls bonnet; #Nostre chamberiere si malade elle est; #Pourtant si mon amy; #Si bibero crathere pleno.

Luther came to understand justification as entirely the work of God. This teaching by Luther was clearly expressed in his 1525 publication On the Bondage of the Will, which was written in response to On Free Will by Desiderius Erasmus (1524). Luther based his position on predestination on St. Paul's epistle to the . Against the teaching of his day that the righteous acts of believers are performed in cooperation with God, Luther wrote that Christians receive such righteousness entirely from outside themselves; that righteousness not only comes from Christ but actually is the righteousness of Christ, imputed to Christians (rather than infused into them) through faith.Dorman, Ted M., "Justification as Healing: The Little-Known Luther", Quodlibet Journal: Volume 2 Number 3, Summer 2000.

Duncan, S., Analytic philosophy of religion: its history since 1955, Humanities-Ebooks, p.165. Thomas Aquinas (c. 1225–1274) adapted and enhanced the argument he found in his reading of Aristotle and Avicenna to form one of the most influential versions of the cosmological argument.Summa Theologica, St. Thomas AquinasScott David Foutz, An Examination of Thomas Aquinas' Cosmological Arguments as found in the Five Ways , Quodlibet Online Journal of Christian Theology and Philosophy His conception of First Cause was the idea that the Universe must be caused by something that is itself uncaused, which he claimed is that which we call God: Importantly, Aquinas' Five Ways, given the second question of his Summa Theologica, are not the entirety of Aquinas' demonstration that the Christian God exists.

Given the almost complete elimination of 15th century music manuscripts in England, largely by Henry VIII during the Dissolution of the Monasteries in the 1530s, it is not surprising that most of Morton's music survives in sources from the Continent, and if he was ever active as a musician in his native land, all trace is lost. Eight pieces survive, all rondeaux. One of the most famous of them is the earliest known setting of the tune l'homme armé, which was used by many early Renaissance composers as a cantus firmus for the Mass. This piece, a quodlibet, is probably datable to May 1464; it seems to have been written as a departure gift for another court composer, Simon le Breton.

Minimal logic, or minimal calculus, is a symbolic logic system originally developed by Ingebrigt Johansson. It is an intuitionistic and paraconsistent logic, that rejects both the law of the excluded middle as well as the principle of explosion (ex falso quodlibet), and therefore holding neither of the following two derivations as valid: :\vdash (A \lor eg A) :(A \land eg A) \vdash where A is any proposition. Most constructive logics only reject the former, the law of excluded middle. In classical logic, the ex falso laws :(A \land eg A) \to B, : eg(A \lor eg A) \to B, :A \to ( eg A \to B), as well as their variants with A and eg A switched, are equivalent to each other and valid.

There are a number of equivalent ways to formulate rules for negation. One usual way to formulate classical negation in a natural deduction setting is to take as primitive rules of inference negation introduction (from a derivation of P to both Q and eg Q, infer eg P; this rule also being called reductio ad absurdum), negation elimination (from P and eg P infer Q; this rule also being called ex falso quodlibet), and double negation elimination (from eg eg P infer P). One obtains the rules for intuitionistic negation the same way but by excluding double negation elimination. Negation introduction states that if an absurdity can be drawn as conclusion from P then P must not be the case (i.e. P is false (classically) or refutable (intuitionistically) or etc.).

Out of financial need, Weill taught music theory and composition to private students from 1923 to 1925. Among his students were Claudio Arrau, Maurice Abravanel, Heinz Jolles (later known as Henry Jolles),Musica Reanimata of Berlin, Henry Jolles accessed September 28, 2008 and Nikos Skalkottas. Arrau, Abravanel, and Jolles remained members of Weill's circle of friends thereafter, and Jolles's sole surviving composition predating the rise of the Nazi regime in 1933 is a fragment of a work for four pianos he and Weill wrote jointly. Weill's compositions during his last year of studies included Quodlibet, an orchestral suite version of Die Zaubernacht; Frauentanz, seven medieval poems for soprano, flute, viola, clarinet, French horn, and bassoon; and Recordare for choir and children's choir to words from the Book of Lamentations.

"How Dry I Am" (also widely heard in the variant form, "How Dry Am I") has come to represent a four-pitch sequence widely used to begin both popular and classical works. Other songs influenced by the melody include Will B. Johnstone and Benny Bell.Judaica Sound Archives – The Hilarious Musical Comedy of Benny Bell, Volume 7 There is an old Greek song called Bufetzis (Μπουφετζής) written by Yiorgos Batis made with the music of "How Dry I Am". Composer, television producer, and humorist Allan Sherman included in his concert album Peter and the Commissar a quodlibet titled "Variations On 'How Dry I Am'" and quoting works ranging from "Home on the Range" to "The Flying Trapeze" to the final section of the William Tell overture and the Russian military theme from Tchaikovsky's The Year 1812.

Many concepts of teaching authority gained prominence in the Middle Ages, including the concept of the authority of the learned expert, an idea which began with Origen (or even earlier) and still today has proponents. Some allowed for the participation of theologians in the teaching life of the church, but still drew distinctions between the powers of the theologian and bishops; one example of this view is in the writing of St. Thomas Aquinas, who spoke of the “Magisterium cathedrae pastoralis” ( of the pastoral chair) and the “Magisterium cathedrae magistralis” (Magisterium of a master’s chair). The highest order of the Magisterium cathedrae pastoralis mentioned is the episcopacy itself, and at the top the pope : "Magis est standum sententiae Papae, ad quem pertinet determinare de fide, quam in iudicio profert, quam quorumlibet sapientum hominum in Scripturis opinioni."Quodlibet IX, q.

He was a "Magister", or Master of Theology at the University of Paris by at least 1285 because that is when he gave his first Quodlibet, which means had earned his Magister regens in Theology by this time and because one would have to be at least thirty-five for this honor, this offers the reasoning that his birthday is 1250 or earlier for his year of birth. He was Magister regens from 1285–1299 and then again in 1303-1304. Godfrey was held in high esteem during his life, and held a number of ecclesiastical offices, including Canon of Liege, Canon of Tournai, Provost of St. Severin in Cologne (1287–1295), and possibly Canon of Paris. In 1300 he was chosen to be the Bishop of Tournai, but he chose not to take the position due to a contested election.

Zaslaw, pp. 47-51 Following this concert they spent time in Amsterdam before returning to The Hague early in March. The main reason for their return was the forthcoming public celebrations of the Prince of Orange's coming of age. Wolfgang had composed a quodlibet (song medley) for small orchestra and harpsichord, entitled Gallimathias musicum, K. 32, which was played at a special concert to honour the Prince on 11 March.Zaslaw, pp. 52-55 This was one of several pieces composed for the occasion; Wolfgang also wrote arias for the Princess using words from Metastasio's libretto Artaserse (including Conservati fedele, K. 23), and keyboard variations on a Dutch song Laat ons juichen, Batavieren! K. 24. He wrote a set of keyboard and violin sonatas for the Princess, as he had earlier for the French princess and for the Queen of Great Britain.

He is Senior Artistic Advisor to the Orquesta Sinfónica de Minería and is Artistic Director of the Festival de México en el Centro Histórico and of the Festival de Música de Morelia. He is founder and curator of a free on- line musical quarterly, Quodlibet. He is consultant for several cultural institutions He has lectured extensively on opera, music, the arts and the humanities, at several academic institutions and cultural organizations, such as the National Autonomous University of Mexico, the Instituto Tecnológico Autónomo de México (ITAM), the Universidad Iberoamericana, the Centro Nacional de las Artes, the Instituto Nacional de Bellas Artes, the Universidad Panamericana, the Fundación Miguel Alemán, the Asociación Filarmónica Mozart, the ProÓpera group, the Centro de Estudios Casa Lamm, among others. At the Auditorio Nacional, he gives regular introductory lectures to the HD Broadcasts of the Metropolitan Opera House.

Having received a very traditional music education at school, he immediately immersed himself in the more radical music of the twentieth century when he started his undergraduate studies, learning and performing piano works by Webern, Schoenberg, Messiaen, Stockhausen, Cage, Ives and Cardew, and discovering Dada, conceptual art, and experimental and minimalist music. As a result his compositions from this time show many of these tendencies, for example: A Little Fantasy (1971) for two pianists, metronomes, piano movers and lighting is an indeterminist piece in the form of a kit; Five Pieces for Piccolo and Tuba (1971) is a graphic score which moves between recognizable music notation and abstract art; Quodlibet for Charles Ives (1974), a reworking of In the Inn in which the original American music quotations are literally pasted over with fragments of Cape Malay tunes; and a series somewhat akin to Mauricio Kagel’s ‘Conversations with Chamber Music, for example song without words (1975) for cello and piano, which deconstructs music by Mendelssohn.

It was premièred on August 12 the same year at the Black Mountain College. The String Quartet in Four Parts is based partly on the Indian view of the seasons, in which the four seasons—spring, summer, autumn and winter—are associated each with a particular force–those of creation, preservation, destruction and quiescence. The parts and their corresponding seasons are as follows: # Quietly Flowing Along – Summer # Slowly Rocking – Autumn # Nearly Stationary – Winter # Quodlibet – Spring The general quietness and flatness of sound in the quartet may be an expression of tranquility, the uniting emotion of the nine permanent emotions of the Rasa aesthetic, which Cage explored earlier in Sonatas and Interludes for prepared piano. Another aspect of composition which Cage used earlier was the use of counterpoint: the third movement uses a canon for a single melodic line, which repeats itself going backward, in a slightly rhythmically altered form, to the beginning.

The origin of sound collage can be traced back to the works of Biber's programmatic sonata Battalia (1673) and Mozart's Don Giovanni (1789), and some critics have described certain passages in Mahler symphonies as collage, but the first fully developed collages occur in a few works by Charles Ives, whose piece Central Park in the Dark, composed in 1906, creates the feeling of a walk in the city by layering several distinct melodies and quotations on top of each other. Thus, the use of collage in music actually predates its use in painting by artists like Picasso and Braque, who are generally credited with creating the first collage paintings around 1912. Earlier traditional forms and procedures such as the quodlibet, medley, potpourri, and centonization differ from collage in that the various elements in them are made to fit smoothly together, whereas in a collage clashes of key, timbre, texture, meter, tempo, or other discrepancies are important in helping to preserve the individuality of the constituent elements and to convey the impression of a heterogeneous assemblage.J. Peter Burkholder, "Collage", The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell (London: Macmillan Publishers, 2001).