16th Century Counterpoint

This study deals with questions of style. in the abstract instrumental music of the sixteenth century and a methodology for tracing stylistic evolution. It is a methodology which was designed for a specific project relating to the fantasias written for the vihuela, but which I believe has much broader application (1). The focus here will be on the methodology itself, although it will be necessary to refer extensively to the way it has been applied to the music of the vihuela and the conclusions that were drawn as a result. By rneans of preliminary explanation, it is necessary to clarify some of the assumptions upon which the methodology is based, and the issues that gave rise to its formulation. These issues relate to the nature of the sixteenth-century fantasia and ricercar (2). The fantasia was the most unrestricted genre available to sixteenth-century instrumental composers due to its lack of formal constraints and conventions. A considerable amount of enterprise has been expended upon the denition of the fantasia of the sixteenth century, but often without illuminating the mysteries of its fantasy (3). The most satisfactory definitions have been those which delineate a-practice through the de- scription of external features such as textures and devices. The descriptive never attains conceptual significance, as it is difficult to account for the process involved in fantasia composition or to define any constructional pattern that could be regarded as "fantasia form". In the sense that it is an undefinable form with a definable practice, it is thus directly analogous to contemporary vocal composition, the motet in particular offers the most direct parallels. As a genre, the fantasia is a species of polyphonic "song without words" in which instrumentalists sought to compose works often of similar character to the polyphony of the motet, but frequently utilizing textural and polyphonic devices more inherent to the instrument. The aesthetic and structural dimensions are, however, predictably similar to those of vocal music. The fantasia composer es- sentially was the author of works whose rhetorical program was made abstract through the absence of the (1) john Griffiths, "The Vihuela fantasia: A Comparative Study of forms and Styles", Ph. D., Monash University, 1983. (2) The terms ufantasia» and vricercar» were used interchangeably in the repertory of the sixteenth century. In this study, the term ~<fantasia» is used generically to include all abstract works of this genre. See H. C. Slim, "The Keyboard Ricercar and Fantasia in Italy, c. 1500-1550, with Reference to Parallel Forms in European Lute Music of the Same Period", Ph. D., Harvard University, 1960. (3) Recent contributions to this eld include: Gregory Butler, "The Fantasia as Musical Image", Musieal Quarterly, 60 (1974), p. 602-15; John Caldwell, "Ricercare", T/we New Grove Dictionary of Music and Musieians, London, Macmillan,l98O; Martin Kemp, "From Mimesis to Fantasia: the Quattrocento vocabulary of creation, inspiration and genius in the visual arts", Viator, 8 (1977), p. 347- 398; Warren Kirkendale, "Ciceronians versus Aristorelians on the Ricercar as Exordium', journal oft/1e American Musicological Society, 32 (1979), p. l-44; Paul Marrell, "Parody versus Paraphrase in G. P. I'aladino's Fantasia Alcun non puo taper", journal oft/2: Lute Sotieiy of/imerira, 19 (I986), p. 1-12; Anthony Newcomb, "Wrhen The stile antico Was Young", Atti a'eIX1V Congresso della Sncietb Internazianale di Musicologia : Transmissione e rerezione dell: farme di cultura musieale,

The aim of this study was to examine the firm-specific, industry-specific and macroeconomic determinants of Ethiopian insurance companies' capital structure decision with the sample size of nine insurance companies, covering the period of 2005-2016.To achieve this objective quantitative research approach and quantitative data were used. The data was obtained from the annual audited financial statement of insurance companies and from NBE. In comply with this objective the study applied panel data model with fixed effect Ordinary Least Square regression. To test the hypotheses those were formulated through the review of available literature, the collected data was organized and checked for the fulfillment of OLS linear regression assumptions and then analyzed using fixed effect linear regression. The finding of the study shows that age of the firm, firm size and growth rate of real GDP have statistically significant and positive relationship with insurance company's capital structure decision. On the other hand, variables like business risk, tangibility of asset and liquidity have a negative and statistically significant relationship with capital structure of insurance companies However, the relationship to exchange rate, profitability, growth opportunity and non-debt tax shield appear to be statistically insignificant. Depending up on the finding the study recommends that insurance companies in Ethiopia should not focus only on firm specific factors but also on macroeconomic environment so as to make an optimal capital structure decision and also the management of those insurance companies has to be focused on reducing factors that causes earning volatility to enhance earning sustainability. Finally the regulator (NBE) need to address problem of information asymmetry through setting up of rules that will ensure effective disclosures of the insurance companies audited financial statements.

La Fundación Juan March, en colaboración con la editorial Taurus, ha iniciado el proyecto Españoles Eminentes, con el fin de contribuir a conocer más profundamente a ciertos personajes cuyas biografías han estado sujetas a interpretaciones muy diversas. El objetivo último es avanzar en el camino de una historia integradora de España. El Dr. Enrique García Hernán, investigador del CSIC especialista en la historia de la Compañía de Jesús, nos ofrece una interesante biografía histórico-ejemplar de San Ignacio de Loyola. La bibliografía sobre San Ignacio es tan amplia como dispares son sus visiones, oscilando entre la imagen de "un hombre sediento de poder, maquiavélico o un dictador de almas" y la extrema idealización religiosa de su figura. En la semblanza que nos ocupa, el autor quiere situarse en el punto de equilibrio entre estos muchos "Ignacios". Para ello ha decidido separarse de la figura del santo, tratando de centrarse "en el hombre que llegó a ser".

This article analyzes a collective portrait in which Queen Regent Mariana of Austria is depicted receiving the Dutch ambassador Hieronymus van Berveningk, with his wife and a female member of his family. This portrait, painted in The Hague, is a Dutch reconstruction of the reception given to van Berveningk in Madrid. Our hypothesis is that it was ordered after the final success of the negotiations between the United Provinces and the Catholic Monarchy, when the Dutch Ambassador becomes a partner of that success, although his embassy to the court of Madrid was a failure.

This article looks at the application and modification of Gerald Graff and Kathy Birkenstein’s methodology for teaching academic writing (as presented in their text They Say/ I Say: the moves that matter in academic writing ) to the undergraduate music history classroom.  The author focuses on the first part of Graff and Birkenstein’s methodology – the art of successfully summarizing and quoting relevant parts of academic discourse as a springboard for one’s own ideas – and suggests that the basic techniques espoused by Graff and Birkenstein can be adapted for use when discussing musical texts (i.e. scores) rather than verbal texts.  The author illustrates her ideas with examples from scholarly musicological discourse and shows how she uses these examples along with her modifications of Graff and Birkenstein’s strategies in her own classroom to help her students understand and implement rhetorical strategies that strengthen their discourse and improve their writing skills.

The story has long been known and often been told: as a student at the University at Orléans, Johannes Tinctoris made a fool of himself. 1 Proud of his accomplishments, and pleased especially with his literary prowess, he allowed his vanity to slip through and leave a permanent record, in full view of all posterity, in a document that would survive the centuries. That document, which is still kept at Orléans today, is precious for several reasons-not the least of which is that it is the only surviving text written in the theorist's own hand. Yet what makes it truly invaluable is what he reveals about himself, intentionally and, perhaps, unintentionally. The text has been transcribed and edited by several modern scholars, and the facts of the case are well known. 2 Yet the story they tell remains a footnote to the larger story of Tinctoris's life. My aim in the pages that follow is to take another close look at the text, and to give it more of the interpretive scrutiny that we are accustomed to give to other documents from this period. Like so many medieval texts, the Orléans document raises questions that may not be obvious in a face-value reading. Indeed, upon sustained scrutiny we may soon find ourselves wondering what, exactly, is the story it tells, how much of a fool Tinctoris really made of himself, and who, ultimately, has the last laugh. Before delving into those questions, however, let us begin by recapitulating the story, and providing some of the context necessary to analyze it. The year is 1463, and Johannes Tinctoris is a musician in his late twenties. Although his celebrity as the most authoritative music theorist of his time is still a decade in the future, he can already boast an impressive start to his career. He is an ordained priest, a master in the liberal arts, and a successful professional musician.

los dieciocho responsorios analizados en el presente trabajo aparecieron por primera vez en el Officium Hebdomadae Sanctae, publicación de 1585 que contiene, asimismo, otras obras de Tomás Luis de Victoria compiladas en colecciones anteriores. La primera circunstancia citada, junto al hecho de que parecen haber sido compuestos en el mismo periodo de tiempo, hacen que estén dotados de una coherencia y unidad estilística inhabituales 1 . Su afinidad y unidad, fruto de un plan preconcebido, se conjugan -nos dice Rubio-con "bellos artificios de la mejor ley", y en ellos -continúa-"acude el abulense con más frecuencia que en los restantes números del Officium a los llamados figuralismos" 2 . La existencia y abundancia de madrigalismos hacen que tengamos que realizar algunas consideraciones sobre el sustantivo que encabeza título del presente trabajo, el cual hace referencia a la tercera de las operaciones contempladas en la producción retórica, la decoratio o embellecimiento del discurso con ayuda de las figuras retóricas. Hace tiempo que Claude V. Palisca ha destacado que la literatura humanista debió haber ejercido una fuerte y directa influencia en los compositores del siglo XVI, aunque el itinerario de esta influencia hasta el momento no ha sido bien documentado. Su efecto puede observarse particularmente en el madrigal italiano y poco después en el motete en latín 3 . Teniendo en cuenta que la publicación del Officium Hebdomadae Sanctae es el último fruto de una prolongada estancia en Roma (1565-1585), pensamos que la formación jesuítica puede estar detrás del itinerario particular de Victoria en cuanto a la aplicación en música de las operaciones de producción retórica. Creemos que esta posibilidad es plausible si tenemos en cuenta la dilatada relación de Victoria con los jesuitas en la capital italiana y que los colegios jesuitas fueron centros profunda y largamente influenciados por el pensamiento humanístico en los que se enseñaba Retórica 4 . A este respecto conviene subrayar que, desde las primeras versiones de las Constituciones de Ignacio de Loyola (1541-1544), los estudios básicos (letras, artes o 209 1 Son varios los temas musicales que contribuyen a dotar a estos dieciocho responsorios de una coherencia motívica inusual, pero requeriríamos de un estudio específico para abordar este aspecto, ya que excede el objetivo del presente trabajo. No obstante, otros investigadores ya han puesto de relieve la reiterada utilización del motivo inicial del responsorio número 14, O vos omnes, no solo en los responsorios, sino en el Officium Hebdomadae Sanctae en su conjunto. Véase en este sentido Eugene Casjen Cramer: "The 'O vos omnes' motive in Victoria's

Este artigo investiga a introdução da orientação profissional nas escolas de ensino médio em Moçambique, abordando os desafios, as perspectivas e os impactos dessa iniciativa no processo formativo dos jovens. Utilizando uma abordagem qualitativa – que envolve a análise documental de políticas públicas, entrevistas semiestruturadas com professores, gestores e alunos, além de grupos focais com representantes do sector privado – a pesquisa busca compreender como a ausência de um sistema estruturado de orientação profissional tem contribuído para escolhas de carreira pouco informadas e para a evasão escolar. Os resultados apontam para a necessidade de políticas integradas e da capacitação dos educadores, evidenciando que a implementação de programas de orientação profissional pode favorecer a inserção dos alunos no mercado de trabalho e a continuidade de seus estudos, contribuindo assim para o desenvolvimento socioeconômico do país.

This paper demonstrates how Hernando de Cabezón used the Libro de cifra nueva (1557) of Venegas de Henestrosa as the model for the publication of Antonio de Cabezón's Obras in 1578. The printer was required to copy the format, style and title of the old work for the new one

RESUMEN: En un contexto en el cual se entendía que la justicia fundamentaba la autoridad del monarca, y en el que este debía dar cuenta a Dios de haberla preservado, la actuación de los ministros de las audiencias resultaba crucial. Ellos representaban al rey en la administración de justicia, y fueron muy numerosas las normas expedidas para garantizar su adecuado desempeño. Sin embargo, abundaron las dificultades que los magistrados enfrentaron para hacer efectiva la justicia. Este artículo pretende analizar esas circunstancias en el caso de la Audiencia de Lima en el siglo XVII. Los ministros de ese tribunal afrontaron factores externos-como el representado por la lentitud de las comunicaciones y la lejanía de la metrópoli-, pero también fueron responsables de acciones y omisiones que impidieron la consecución de la justicia. / ABSTRACT: In a context in which it was understood that justice was the basis of the monarch's authority, and in which he had to give an account to God for having preserved it, the performance of the ministers of the audiences was crucial. They represented the king in the justice administration, and many regulations were issued to guarantee their adequate performance. However, the magistrates faced many difficulties in enforcing justice. This article seeks to analyze these difficulties in the case of the Audiencia of Lima in the seventeenth century. The magistrates faced external factors -such as the difficulty of communications and remoteness from the metropolis-, but they were also responsible for actions and omissions that prevented the achievement of justice.

RESUMEN: En esta investigación se pretende entender cómo la reforma postal de 1764 iniciada por la corona borbónica buscó centralizar, regular y organizar el sistema de correo, considerado por los coetáneos de imprevisible y deficiente. Sin embargo, durante la aplicación de la reforma en el virreinato peruano, esta generó un conjunto de resistencias por parte de la población nativa, que como chasquis se habían dedicado a ser los artífices de la comunicación durante los primeros siglos del Estado colonial. En efecto, los chasquis, gracias a su oficio, recibieron un conjunto de privilegios debido a la naturaleza más o menos autónoma del sistema de correo Habsburgo. Esta situación fue afectada por la reforma borbónica, que iniciaría un periodo de desacatos, desórdenes y negociaciones entre las autoridades postales y los chasquis y conductores de correo. / ABSTRACT: This research aims to understand how the postal reform of 1764 initiated by the Bourbon crown sought to centralize, regulate and organize the postal system, considered by contemporaries to be unpredictable and deficient. During the application of the reform in the Peruvian viceroyalty, it generated a set of resistances on the part of the native population, who as chasquis had dedicated themselves to being the architects of communication during the first centuries of the colonial State. In effect, the chasquis, thanks to their privileged profession, received a set of rights and privileges due to the more or less autonomous nature of the Habsburg postal system. This situation would be affected by the Bourbon reform, which would initiate a period of disrespect, disorders and negotiations between the postal authorities and the chasquis and mail driver.

RESUMEN: Un terremoto, una erupción volcánica o una guerra han constituido siempre eventos traumáticos cuyas consecuencias resuenan en las sociedades que los vivieron y en las generaciones futuras. El presente monográfico tiene como objetivo analizar los modos en los que se construía, se experimentaba y se transmitía la memoria de estos acontecimientos a lo largo de la Edad Moderna. A partir del análisis de diversos casos de estudio, se enfatizan algunas de las características inherentes al proceso de construcción y comunicación del recuerdo, como su inevitable dinamismo a lo largo de tiempo. Además, se pone de relieve la subjetividad y la falta de neutralidad del fenómeno, puesto que tanto el recuerdo como el olvido respondían a objetivos concretos, dependientes de los intereses de los numerosos agentes que intervenían en su elaboración. Por último, se evidencia cómo la memoria de los acontecimientos traumáticos podía ser también la manifestación de conflictos latentes en la sociedad. / ABSTRACT: An earthquake, a volcanic eruption or a war have historically been traumatic events whose consequences resonate in the societies that experienced them and in future generations. The objective of this monograph is to analyse the ways in which the memory of these events was constructed, experienced and transmitted throughout the Early Modern Age. Based on the analysis of various case studies, it emphasises some of the inherent characteristics of the process of constructing and communicating memory, such as its inevitable dynamism over time. Furthermore, the subjectivity and lack of neutrality of this process are highlighted, as both the acts of remembering and forgetting are shaped by specific objectives, reflecting the interests of the numerous agents involved in their elaboration. Finally, it is demonstrated how the memory of traumatic events can also be the manifestation of latent conflicts in society.

RESUMEN: Las relaciones de sucesos representan de manera significativa la conexión entre los eventos calamitosos y la memoria. En primer lugar, los opúsculos informativos consagrados a los desastres acuden a la memoria de las calamidades pasadas para elaborar un discurso que explique unos eventos que parecen incomprensibles. En segundo lugar, los reporteros se apresuran a elaborar una versión confiable del presente, ya una memoria fidedigna del presente, para hacer frente a la multitud de voces que intentan relatar el evento con perspectivas distintas, a veces opuestas. Al imponer visiones más ciertas y verdaderas que otras en un entramado mediático ya denso y articulado, estos textos muestran una atención hacia la memoria futura, a saber, hacia la narración del desastre para las generaciones venideras. / ABSTRACT: The Pamphlet News significantly represent the connection between calamitous events and memory. Firstly, pamphlets dedicated to disasters draw upon the memory of past calamities to construct a discourse that explains seemingly incomprehensible events. Secondly, reporters rush to craft a reliable account of the present, already a faithful memory of the present, to contend with the multitude of voices attempting to narrate the event from different, sometimes opposing perspectives. By imposing more certain and truthful views than others within an already dense and articulated media framework, these texts demonstrate an attention towards future memory, namely, towards the narration of the disaster for future generations.

La transición del Medievo a la Modernidad en la Corona de Aragón cuenta con un sobresaliente protagonista: el arzobispo de Zaragoza don Alonso de Aragón (ca. 1468-1520), hijo natural de Fernando el Católico. Este príncipe del Renacimiento, animal político, agente dinástico, protector de las letras y hombre de armas se descubre en este trabajo como la figura más destacada de la Corona de Aragón en los procesos de transformación que tuvieron lugar a finales del siglo XV y durante las primeras décadas del XVI y que resultaron en la formación de la Monarquía de España. La monografía de Jaime Elipe, resultado de su tesis doctoral defendida con sobresaliente cum laude en la

In Music, the concept of Brightness has progressively become a topic of heated debate. According to several authors, when a significant number of Modes is involved in a comparison, it is not possible to exactly establish a brightness hierarchy devoid of inconsistencies and ambiguities. A method to solve the problem is proposed in this paper. Firstly, in order to avoid counter-intuitive solutions, the Brightness of all the Seventh Chords is determined; subsequently, by resorting to a Reference Scale arising from the Overtone Series, all the inconsistencies (e. g. occurrence of Modes yielding the same Absolute Brightness) are removed.

Osmanlı-Habsburg ilişkileri, 15. yüzyılda başlamış ve Kanuni Sultan Süley-man’ın Macaristan’ı fethinden sonra, Osmanlı’nın Avusturya’yla sınır komşusu olmasıy-la birlikte yoğunluk kazanmıştır. Avusturya arşidükü I. Ferdinand, İstanbul’a birçok kez elçi göndermiştir. Bu elçilerden biri olan Ogier Ghiselin de Busbecq, 1555 yılı başında I. Ferdinand’ın daimi elçisi olarak İstanbul’a gelmiş ve 1562 yılında Osmanlılar ile Habs-burglar arasında barış antlaşması imzalanana kadar burada ikamet etmiştir. Busbecq, yalnızca barış müzakerelerini yürüterek diplomatik görevini yerine getirmekle kalma-mış, başka alanlarda da aktif bir rol oynamıştır. Meraklı kişiliği, entelektüelliği ve Os-manlı Devleti’nin geniş topraları ve çok uluslu yapısı, onu, hem bilimsel hem de kültürel alanda çeşitli araştırmalar yapmaya zorlamıştır. Ankara yakınlarında İmparator Augus-tus’un faaliyetlerinin kayıtlı olduğu Res Gestae Divi Augisti isimli anıtı bulmuştur. Kay-bolmak üzere olan Kırım Gotlarının dilini yeniden keşfetmiştir. Antikçağ doktoru Dios-korides’in tıp kitabı Materia Medica’nın bir nüshasını bulmuştur. Lale, leylak, eğir otu gibi birçok çiçek ve şifalı otu ve birçok hayvan türünü Avrupa’ya ilk tanıtan Busbecq olmuştur. Busbecq, Türkler başta olmak üzere Osmanlı sınırları içindeki birçok halkın din, dil, kültür ve adetini araştırarak, bu halkların Avrupa’da tanınmasını da sağlamıştır. Busbecq’in botanik, tıp, zooloji, nümizmatik, filoloji, arkeloloji ve klasik epigrafi başta olmak üzere çeşitli alanlarda yaptığı aratırmalar, bu bilimlerin gelişimine önemli katkıda bulunmuştur.

This paper analyses the pedagogical process of self-instruction for vihuela players in sixteenth-century Spain based on the instructions given by Juan Bermudo in his Declaración de Instrumentos Musicales of 1555. It progresses through learning about two-part counterpoint, harmonic progressions, imitative counterpoint through intabulation prior to attempting to compose one's own fantasias. Importantly, teaching instrumental technique is completely absent from the process.

El impacto de las aportaciones musicales y la influencia de Francisco Guerrero en las generaciones posteriores de compositores ibéricos no han sido suficientemente reconocidos, a diferencia de su producción musical, que ha sido objeto de una importante consideración. La difusión de sus ediciones musicales y la calidad y mérito artístico de sus obras, en especial, de sus motetes, favorecieron que un número importante de maestros inmediatamente posteriores a él utilizaran algunos de estos motetes como fuente temática para la composición de sus respectivas Misas parodia rindiendo así homenaje póstumo al maestro sevillano.
En este trabajo se realiza una breve exposición de la figura y producción musical de Guerrero en el contexto de la música de la segunda mitad del siglo XVI. A continuación, se presentan la estructura y técnicas compositivas de la Misa parodia, tal y como fueron codificadas por el teórico y cantor Pedro Cerone en su tratado de 1613. Finalmente, se ofrece un minucioso relato en el que se delinean las características principales de cada uno de los motetes publicados por Guerrero que sirvieron de material temático para el im-portante número de misas parodia compuestas en la península ibérica a lo largo de todo el siglo XVII. Se demuestra así el importante legado musical e influencia que la obra de Francisco Guerrero ejerció sobre varios polifonistas de las generaciones posteriores.

The impact of Francisco Guerrero's musical contributions and influence on subsequent generations of Iberian composers has not been adequately acknowledged, despite the fact that his musical output has been the subject of considerable scrutiny. The dissemination of his musical editions and the quality and artistic merit of his works, especially his motets, meant that a significant number of masters immediately after him made use of some of these motets as a thematic source for the composition of their respective parody masses, thus paying posthumous tribute to the Sevillian master.
This work begins with a concise overview of Guerrero's significant musical output. It then presents the structure and compositional techniques of the Parody Mass, as codified by the theorist and cantor Pedro Cerone in his 1613 treatise. Subsequently, a comprehensive account is provided, delineating the essential characteristics of each of Guerrero's motets that served as the thematic material for the multitude of parody masses composed in the Iberian Peninsula throughout the 17th century. This exemplifies the profound musical legacy and influence that Guerrero exerted upon numerous subsequent polyphonists.

Few travellers to Italy early in the seventeenth-century noted instrumental and vocal performances as novel. From this we can surmise that initially the new Florentine manner of solo singing was encountered somewhat rarely and that Italian solo singing more generally did not strike visitors as so entirely foreign. Extemporising instrumentalist-singers, for instance, would have continued their ways of making musicin Italy and everywhere else. Since the fifteenth century, singer-lutenists especially had always performed both in town, and at court, participating in both unwritten popular musical traditions and literate courtly music-making. The migration of such musicians between Naples and Spain brings to light some earlier traditions of recitation and chamber performance for lute that have been lost sight of in Italy itself and some that may have returned to Italy from Iberia. Whether listening to improvised arie or learned solo perfrmances of madrigals, early seventeenth-century listeners would have assimilated their experience of the new monody to these older practices.

In der von mir gemeinsam mit Klaus Beckmann übersetzten Ausgabe von Sethus Calvisius' Melopoiia* sind die Kapitel 11-14 unrevidiert in Druck gegeben worden. Daraufhin habe ich meine Co-Autorschaft zurückgezogen, stelle hier aber die revidierte Fassung zur Verfügung. Die Seitenzahlen in spitzen Klammern beziehen sich auf die Seitenzahlen des Faksimiles.

* Sethus Calvisius. Melopoiia (Erfurt 1592). Faksimile-Edition, ins Deutsche übersetzt von Klaus Beckmann, Mainz 2024.

In the 16 th and 7 th centuries, the musical culture in the territory of today's Slovakia, which was part of the historical Hungary, was closely connected with the religion of the population. After 1517, the ideas of Martin Luther's Reformation began to spread into the Hungarian Catholic milieu from the areas of present-day Germany. These tendencies were also reflected in musical culture. Its peak in the 16 th and 7 th centuries can be observed in western Slovakia, in Bratislava in central Slovakia, in the mining towns of Banská Bystrica, Kremnica, Banská Štiavnica and Krupina, and in the east of the country, e.g. in the Spiš and Šariš regions, in the towns of Levoča, Bardejov, Sabinov, Kežmarok, Prešov and Košice. Today's Slovakia maintained close cultural, intellectual and economic contacts with its neighbouring countries: Austria, Silesia, the Polish-Lithuanian Commonwealth, the Czech and Moravian lands and also with countries with German-speaking populations. As a consequence, in the evangelical milieu (in addition to the predominantly evangelical composers), we observe the work of Catholic composers. In the Protestant repertoire, we register composers of German origin:

Stemming from an email exchange, this analysis of O Sonno by Cipriano de Rore is based on an affective reading of its text. The investigation focusses on Cypriano’s use of melodic intervals, modal ambiguity, and specific sonic structures to reflect the vacillating, fast-changing affects of an insomniac wrangling with his inability to sleep. With reference to recent analytical interpretations of this outstanding piece, it demonstrates how a strictly linear analytical approach to polyphony brings new insight into the compositional process in a way that is profitable not only for theorists; as an ‘analysis for performers’ it opens new perspectives on content-related aspects of madrigal composition around 1550.

En Del principio y progreso de la religión cristiana en Japón, Alessandro Valignano ofrece un análisis detallado y matizado de la introducción y expansión del cristianismo en Japón durante el siglo XVI. Completada en 1601, la obra se destaca por su enfoque historiográfico y filológico único: Valignano documenta eventos clave mediante una rica variedad de textos históricos, cartas y tratados, y desarrolla paralelamente una estrategia narrativa sofisticada para describir las complejas interacciones culturales entre los misioneros europeos y la sociedad japonesa. Subraya así la importancia de la adaptación cultural en la evangelización, un enfoque innovador para su época.

Esta edición se destaca por su accesibilidad y rigor académico, con un lenguaje actualizado y un exhaustivo aparato crítico que proporciona análisis contextuales y referencias a estudiosos y fuentes contemporáneas. Esta edición no solo rescata un texto fundamental, sino que también resalta su relevancia en la historia de las misiones jesuitas y la representación cultural de Japón en Europa durante los siglos XVI y XVII, convirtiéndola en una valiosa herramienta para investigadores y académicos interesados en la historia global y las relaciones interculturales.

Au tournant des XVI e et XVII e siècles, la musique italienne connut une révolution digne de l'apparition de l'École de Notre-Dame, l'essor de l'Ars nova ou du développement, par Arnold Schoenberg, du dodécaphonisme sériel. L'invention de la basse continue en Italie eut pour conséquence la publication-y compris en Allemagne où ce nouveau style se répandit presque immédiatement-de parties d'orgue ajoutées aux oeuvres des grands maîtres de la prima prattica tels que Palestrina ou Lassus. En effet, l'interprétation a cappella des anciennes polyphonies n'intéressaient plus. Il s'agissait donc de sauver ce patrimoine en le modernisant. Contrairement aux interprètes d'aujourd'hui qui se piquent d'authenticité, les musiciens d'alors s'attachaient plutôt à mettre les oeuvres des anciens au goût du jour. Cette édition propose non seulement la mise en partition de la réduction à 4 voix, avec l'ajout d'une basse chiffrée pour l'orgue, de la célébre Missa papae Marcelli à 6 voix de Palestrina effectuée par le compositeur Francesco Anerio, mais aussi une proposition de réalisation de cette basse d'après les règles de l'époque ainsi qu'une documentation et des exemples sur la manière de transposer, d'orner et de diminuer une musique qui n'était pas exécutée telle qu'elle était écrite ni écrite telle qu'exécutée. Ces divers aspects-souvent méconnus dans l'enseignement de nos jours-ont été expérimentés avec des élèves des conservatoires de Chambéry et Grenoble (prof. Gaële Griffon du Bellay) et le choeur de la Sainte-Chapelle de Chambéry (dir. Benoit Magnin). Les ateliers d'improvisation ont été animés par le cornettiste William Dongois.

Estudo de caso e análise comparativa do tratado manuscrito Escola de Canto de Orgaõ (1759-60), em dois volumes, de Caetano de Melo de Jesus (ca. 1700 – ca. 1770), mestre de capela da Catedral Primaz da Bahia. Com cerca de 1.240 páginas, constitui a mais extensa obra de teoria musical em língua portuguesa do Antigo Regime, dotada de um extenso aparato teórico. O estudo permitiu identificar os modelos de teoria musical em circulação no espaço luso-brasileiro e a receção teórica no quadro de uma escolástica tardia. Entre referências a centenas de autores são citados cerca de 70 tratados de música europeus dos séculos XVI e XVII e alguns do século XVIII, da Península Ibérica. A intensa intertextualidade da obra assume formas como a transcrição, a paráfrase e a tradução de tratados de outras geografias. Com um investimento maciço na musica speculativa, a Parte II configura um extenso tratado de proporções harmónicas com 490 páginas. Embora parte do texto não seja original, a singularidade reside por vezes na mediação e reelaboração de textos originados noutras línguas e geografias. Realizada a transcrição diplomática integral dos manuscritos da Escola de Canto de Orgaõ, incluindo as polémicas em apêndice, os conteúdos teóricos foram objeto de uma análise comparada, confrontados com os de outros tratados de música da Península Ibérica dos séculos XVII e XVIII. A investigação permitiu contrastar o perfil do baiano com o de outros teóricos peninsulares, em torno de questões como a relação com os «Practicos», ou as adaptações teóricas face à prática musical corrente, tanto no campo tonal, como no da mensuração do tempo ou dos sistemas de afinação. A dimensão polémica do tratado baiano foi situada no contexto histórico local, designadamente a rivalidade entre diferentes instituições produtoras de música sacra. O estudo assumiu três vertentes: o exame da «fisiologia» do tratado, isto é, das relações dinâmicas que ela estabelece com outras obras no exterior, e da auto-representação da figura do autor e do seu capital de erudição (ethos); a «anatomia» dos conteúdos, sua conceptualização e posicionamento na evolução do pensamento ocidental sobre a música (logos); a «patologia» do tratado, ou a tensão polémica e a conflitualidade subjacente, com a identificação dos antagonistas do autor, incluindo os adversários locais e alguns teóricos espanhóis (pathos).

A case study and comparative analysis of the manuscript treatise Escola de Canto de Orgaõ (1759-60), by Caetano de Melo de Jesus (ca. 1700 – ca. 1770), a chapel master at the Cathedral of Bahia, Brazil, in the mid-18th century. This treatise on music – the largest in Portuguese language of the Ancien Régime – was written in Salvador, later sent to Lisbon and preserved, unpublished, at the Evora Public Library. The study deals with theoretical reception and circulation of intelectual models in the Portuguese-Brazilian empire. A number of 70 European musical treatises are quoted, alghough only a few were used as close models and sources of emulation. A highly intertextual work, the Escola de Canto de Orgaõ presents interesting patterns of cultural mediation and adaptation of musical thought from different geographical contexts into a particular historical framework where scholasticism was still an important cultural model. Part II of the manuscript consists of a vast treatise on musica speculativa of 490 pages. Althought not entirely original, Melo de Jesus reelaborated other European treatises on harmonic proportions, showing a vast erudition. A full diplomatic transcription of the manuscripts was completed, and the texts were subject to comparative analysis with other Portuguese and Spanish music treatises of the 17th and 18th centuries. The comparative research revealed Melo de Jesus’ high profile amongst local practical musicians, in open constrast with other theorists of the Iberian Peninsula, who were more flexible and open to modern adaptations of theory to current musical practice. Contrasts and common values were found in issues such as tonal organization, mensuration of time, and intonation. Two discussions included as appendixes to Part II are studied in the local historical context, namely the rivalry between Cathedral musicians and those of other religious centres. The study highlighted three different dimensions: the work’s «physiology», meaning the intertextual relationships with many other treatises and the author’s self-representation as a local erudite (ethos); the «anatomy», or analysis of theoretical contents, conceptualization, and its place in the evolution of Western musical thought (logos); and the work’s «pathology» or tension in terms of conflict and controversy, either in relation to local antagonists, or to «modern» Spanish music theorists (pathos).

Lydia Goehr, en su libro The Imaginary Museum of Musical Works, describe que para la filosofía analítica la obra musical es un objeto original y único, producto de una actividad creativa cuyas propiedades tonales, rítmicas e instrumentales, integradas como una totalidad, constituyen una estructura representada simbólicamente en una partitura (Goehr, 1992). Asimismo, la obra se considera portadora de las intenciones del compositor, existe más allá de sus performances y de su partitura, y está disponible para ser interpretada en cualquier tiempo y lugar. Pero la autora, desde una visión crítica, discute la postura de la Filosofía Analítica. Para Goehr la obra musical no puede ser concebida como un objeto ni físico, ni mental, ni ideal, sino como un concepto cuyo modo de existencia está unido a la historia y explica de qué manera este concepto regula la práctica con argumentos basados en la filosofía y en la historia. 
Por otro lado, Nicholas Cook, en Beyond the score, en el capítulo “Plato’s Curse”, hace un interesante desarrollo sobre el rol del intérprete y su relación con los distintos conceptos de obra. Si la misma se visualiza como una entidad abstracta concebida desde una idea platónica o formalista donde las ideas del compositor están plasmadas en la notación, el intérprete será un mero intermediario o un eficiente traductor cuya tarea consistirá exclusivamente, en poner en sonido la partitura. Mientras que, si la obra se concibe como la objetivación de un momento histórico, el intérprete que pasa a tener un rol activo necesitará de otra serie de herramientas más allá de la notación para ponerla en acto.  Puesta la mirada sobre la obra entonces, segun como un objeto o como un concepto, vemos que las relaciones entre el compositor, la partitura y el intérprete se modifican revelando también la historicidad de las prácticas y tradiciones performativas.
Dentro del campo de la llamada “música antigua” mi propuesta se centra específicamente en las interpretaciones del Salve Regina en La Mayor para voz, cuerdas y continuo compuesta en 1757 por Domenico Scarlatti, para investigar como a través de distintas ediciones e interpretaciones encontramos diversas concepciones de la obra musical que regulan implícitamente estas prácticas.

The volume explores the long-lasting phenomenon of basso continuo in the Italian peninsula, from its origins — i.e. from the regole per suonare sopra il basso which collects and develops the contrappunto alla mente’s legacy — up to the late partimento pedagogy. In addition to a bibliographic update, the volume presents case studies providing the reader with new information on performative contexts and performance practice between the sixteenth and nineteenth centuries, and shedding new lights on sacred and secular genres and repertoires cultivated in churches, theatres, academies, noble chambers and domestic environments. Particular attention is given to the relationship between counterpoint, improvisation and instrumentation, to the analysis of primary sources in relation to book formats and the type of notation chosen to convey the accompaniment. Furthermore, a few chapters focus on peculiar issues of accompaniment pedagogy according to unpublished or neglected sources.

El objetivo principal de estas jornadas es estudiar algunos repertorios polifónicos del mundo hispánico (ca. 1500-1900) con especial atención a las interacciones entre polifonía escrita, interpretaciones improvisadas y tradición oral. Se abordarán además la pervivencia y reelaboración de prácticas musicales polifónicas y la aproximación a herramientas digitales relacionadas con los temas tratados.

Las jornadas incluirán ponencias a cargo de destacados especialistas nacionales e internacionales y de jóvenes investigadores, así como dos talleres prácticos. El primero, impartido por Emilio Ros-Fábregas, se dedicará a la plataforma digital Books of Hispanic Polyphony IMF-CSIC (BHP, https://hispanicpolyphony.eu, ISSN 2565-1579). Esta plataforma, creada en 2013 y de acceso abierto desde 2017, ofrece actualmente el mayor censo de libros manuscritos e impresos de polifonía hispánica y es reconocida como recurso en línea en webs de referencia de las universidades estadounidenses de Harvard y Stanford. El segundo taller se centrará en la práctica de cantar y tañer desde el facistol y estará a cargo de Fernando López Valera, director de La Danserye, ensemble especializado en la práctica históricamente informada de interpretación directa a partir de fuentes originales.

También se explorarán las conexiones del repertorio polifónico con otra importante plataforma digital: Fondo de Música Tradicional IMF-CSIC (FMT, https://www.musicatradicional.eu, ISSN 2564-8500), que contiene más de 50.000 melodías de música de tradición oral. Como parte de estas jornadas e ilustración de su temática, se programarán dos conciertos en el marco del Festival de Música Antigua de Úbeda y Baeza, a cargo de la Real Capilla del Pópulo, la Capella Prolationum y el Ensemble La Danserye.

Estas jornadas internacionales han sido organizadas conjuntamente por el Festival de Música Antigua de Úbeda y Baeza (FeMAUB) y el Proyecto I+D+i “Prácticas polifónicas hispánicas (siglos XVI-XIX) en perspectiva digital: fuentes musicales, pervivencias, mujeres” (PID2021-123990NB-I00), financiado por el Ministerio de Ciencia, Innovación y Universidades de España / Agencia Estatal de Investigación 10.13039/501100011033/ y por FEDER “Una manera de hacer Europa”, adscrito a la Institución Milá y Fontanals de Investigación en Humanidades del CSIC en Barcelona (investigadores principales: María Gembero-Ustárroz y Emilio Ros-Fábregas).

An initial Value investigation has been made of an incompressible viscous homogeneous fluid over a porous plate with uniform suction or blowing. A solution describing the general feature of the unsteady hydrodynamic boundary layer flow in a rotating fluid with suction (blowing) has been derived. It is a assumed that both the plate and the fluid are in state of solid body rotation with constant angular velocity  about Z-axis normal to the plate and the plate is supposed to be accelerated with previous investigations on the topic. Some particular cases of interest have been discussed. Special care has been paid to the physical interpretation of mathematical results obtained for steady state solution. The significant effect of the suction parameter on the flow phenomenon in this case has also been investigated.

Nicolás de Bobadilla nació en el pueblo de Bobadilla del Camino, en Palencia, en el año 1509. Era hijo de padres cristianos, devotos y modestos de bienes. Estudió las primeras letras en la escuela del pueblo. Becado, pudo continuar sus estudios, primero en Valladolid y después en Alcalá de Henares, aficionándose a las lenguas clásicas.
En 1533 viaja a París donde se encuentra con Ignacio, que lo ayudó a financiar sus estudios teológicos y a conseguir un puesto como docente de filosofía en el Colegio de Calvi, “la Pequeña Sorbonne”. Allí conoció a Fabro, Javier, Laínez, Simón Rodrigues y Claudio Jayo. En 1534 hace los Ejercicios Espirituales y desde entonces Ignacio será, para él y sus compañeros, el jefe espiritual.

Alfonso Salmerón nació en Toledo el 8 de septiembre de 1515, fiesta del nacimiento de la Virgen, de la que fue muy devoto. En su enseñanza básica demostró capacidades notables y sus padres consiguieron una beca para que continuara estudios en el famoso Colegio Trilingüe San Jerónimo, de la universidad de Alcalá de Henares, que fue fundado por el cardenal Cisneros en tiempo de los Reyes Católicos. Allí estudió el latín, el griego y el hebreo, y probablemente la filosofía. Trabó amistad con Diego Laínez, también estudiante de filosofía, que llevaba dentro de sí la inquietud de ir a conocer a Íñigo de Loyola, de cuyo paso por Alcalá quedaban ecos contrapuestos y que por entonces estudiaba en la universidad de Paris.

RESUMEN: El gobierno de Francisco de Toledo como virrey del Perú (1569-1581) implementó reformas para la administración del territorio y población andina con el objetivo de establecer un orden político y económico que generara mayores ingresos y envíos de remesas a la monarquía.  Como parte de ese plan, el virrey llevó a cabo la reducción y organización de la población nativa en pueblos o comunidades de indios, así como la reglamentación del tributo indígena y el funcionamiento del sistema de mitas. Estas medidas generaron un aumento significativo en la circulación de dinero y bienes en el entorno de las comunidades de indios, de allí que las cajas de comunidades de indios se incrementaran y cobraran un nuevo significado como fuente de recursos susceptibles a ser usados. En este artículo se analiza la transformación e institucionalización de la administración de las cajas de comunidad durante el gobierno del virrey Toledo, el proceso de copamiento en su control y manejo por parte de autoridades nombradas del entorno cercano al virrey, el  uso particular que los criados y el propio virrey hacen de estos dineros y bienes, y la crisis que terminó enfrentando al virrey con la Corona, por la investigación y acusación de cobros y apropiaciones indebidas de estos fondos que enfrentó a su regreso a España. / ABSTRACT: The government of Francisco de Toledo as viceroy of Peru (1569-1581) implemented reforms for the administration of the Andean territory and population aiming the establishment of a political and economic order that would generate greater income and remittances to the monarchy.  As part of this plan, the viceroy carried out the congregation and organization of the native population into towns or Indian communities, as well as the regulation of the indigenous tribute and the operation of the mita system. These actions generated a significant increase in the circulation of money and goods within the Indian communities, hence the so-called cajas de comunidad increased and took on a new meaning within the Toledo model, as a source of resources that could be used. This article analyzes the transformation and institutionalization in the administration of the cajas de comunidad during Toledo`s administration, the process of takeover in their control and management by authorities appointed within the viceroy`s close circle, the particular use that these servants and the viceroy himself made of these moneys and assets, and the crisis that ended up confronting the viceroy with the Crown, due to the investigation and accusation of collections and misappropriations of funds that he faced upon his return to Spain.

RESUMEN: La Universidad de Gandía, fundada en 1547 por el duque Francisco de Borja, fue la única universidad regida en España por la Compañía de Jesús. Expulsada la orden ignaciana en abril de 1767 y extinguidas las cátedras jesuitas se abrió un proceso para dilucidar el destino del centro universitario en el que el Consejo Extraordinario recopiló información sobre sus orígenes, bulas, privilegios, rentas, constituciones, facultades, obtención de grados académicos y, sobre todo, la preeminencia de la Compañía de Jesús en su gobierno. El proyecto de la duquesa de Gandía de transformar la universidad en Seminario no prosperó, y finalmente un Real Decreto de 11 de agosto de 1772 ordenó su supresión. / ABSTRACT: The University of Gandía, founded in 1547 by Duke Francisco de Borja, was the only university in Spain governed by the Society of Jesus. After the Ignatian order was expelled in april 1767 and the Jesuit chairs were extinguished, a process was opened to elucidate the fate of the university center in which the Extraordinary Council compiled information on its origins, bulls, privileges, income, constitutions, faculties, obtaining academic degrees and, above all, the preeminence of the Society of Jesus in his government. The project of the Duchess of Gandía to transform the university into a Seminary did not prosper, and finally a Royal Decree of august 11, 1772 ordered its suppression.

The Baldwin Partbooks, GB-Och Mus. 979-983, are the sole source for several apprentice works by William Byrd. Deemed stylistically and technically uncharacteristic of the mature Byrd in textbook surveys of the 1960s-70s, two works in particular were excluded from the Byrd canon: his hymn Sacris solemniis (too smooth) and his responsory Reges tharsis (too coarse).  The copyist John Baldwin was correspondingly disparaged on account of his seemingly 'unreliable' attributions.  Drawing upon a pioneering 2008 conference presentation by John Milsom, this study uses fuga analysis to confirm Byrd's authorship and thereby vindicate Baldwin's reputation as a copyist.

T rumpet-style vocal writing and the place of trumpets in early Renaissance instrumental music have been well investigated by a number of scholars, notably including Reinhard Strohm. Most discussion has concerned the musical character of parts so labelled. In this essay I will investigate neither the melodic style nor its relation to instrumental techniques, but a particular compositional strategy sometimes associated with trompetta and related terms. Before considering the term and its use, some background is needed. Many early fifteenth-century mass movements alternate duets and three-part sections. In straightforward alternation, one part (usually the tenor) falls silent during the duets. In an earlier article I discussed a small group of pieces with non-straightforward alternation where the scoring is not merely reduced between sections but changed. In these compositions, usually only two or three voices sing at once, but four are notated and required. With contemporary support, I called this style 'a versi' , and set out its characteristics and those of five associated manuscript layouts. Editors have often assumed those layouts to be erroneous or confused, but without recognising why they appear so, or indeed that they follow a pattern. I showed, rather, that scribes sometimes

Recent years have seen a critical reassessment of our approach to early music. Musicians, scholars, and critics have been searching for ways of talking about and reacting to the music that engage it not from the perspectives of later music but rather on its own terms. These new approaches would not be possible without the scholarship of the previous decades. The discovery and cataloguing of musical sources, the preparation of critical editions, and the investigation of archival documents have furnished important information about composers, performers, patrons, and institutions that supported the creation and performance of early music. Building on this work, the editors of these volumes now seek to develop and explore analytical methodologies for the discussion of early music as music. Analytic methods are not easily found for early music. The theorists of the time had their own agendas, and they do not provide models that suit our purposes. As a consequence, many twentieth-century scholars have chosen approaches that reflect their own beliefs about early music and its relation to later music. While some continue to rely on common practice tonality as a prism through which to view early music, others have begun to explore methods that respect the integrity and selfsufficiency of the languages of early music. We offer a forum for exploration of particular topics, from both a methodological and critical viewpoint. Our premise is that we can best develop new methodologies by encouraging debate. We will explore compositional procedures, tonal structures, musical borrowing, and other topics, focusing both on individual compositions and on theoretical systems. We seek to encourage critical writing about music that will be useful to performers, listeners, and scholars.

Customer satisfaction means meeting or surpassing customer expectations, resulting in happiness or disappointment based on perceived product performance relative to expectations. It is crucial strategy for banks to gain a competitive edge and thrive, achieved through maximizing deposits, fostering customer trust, and prioritizing high-quality services and competitive interest rates to attract and retain a diverse customers. This research investigates customer satisfaction in commercial banks of Kathmandu Valley in Nepal. A qualitative cross-sectional study was conducted, involving purposeful selection of eleven key informants from Kathmandu's banks for Key Informant Interviews, followed by thematic analysis. This study found that the current state of customer satisfaction in Nepal's commercial banks reflects a mixed scenario, with advancements in digital services enhancing urban satisfaction but disparities persisting between urban and rural areas. While efforts to monitor and enhance satisfaction have expanded nationwide, challenges like technological interruptions and organizational culture persist. Opportunities for improvement include initiatives such as banking literacy programs and digital transactions expansion. Addressing challenges and embracing digital transformation are seen as crucial for fostering satisfaction and competitiveness in Nepal's banking industry.

Customer satisfaction means meeting or surpassing customer expectations, resulting in happiness or disappointment based on perceived product performance relative to expectations. It is crucial strategy for banks to gain a competitive edge and thrive, achieved through maximizing deposits, fostering customer trust, and prioritizing high-quality services and competitive interest rates to attract and retain a diverse customers. This research investigates customer satisfaction in commercial banks of Kathmandu Valley in Nepal. A qualitative cross-sectional study was conducted, involving purposeful selection of eleven key informants from Kathmandu's banks for Key Informant Interviews, followed by thematic analysis. This study found that the current state of customer satisfaction in Nepal's commercial banks reflects a mixed scenario, with advancements in digital services enhancing urban satisfaction but disparities persisting between urban and rural areas. While efforts to monitor and enhance satisfaction have expanded nationwide, challenges like technological interruptions and organizational culture persist. Opportunities for improvement include initiatives such as banking literacy programs and digital transactions expansion. Addressing challenges and embracing digital transformation are seen as crucial for fostering satisfaction and competitiveness in Nepal's banking industry.

This study focuses on Bilateral cooperation between the Wadden Sea National Park, Wattenmeer National Park, and The Gambia Department of Parks and Wildlife Management, in the context of conserving the peregrination of migratory waterbird species and identifying the threats that are reposed along the East Atlantic Flyway. The purpose of this research was to investigate the bilateral cooperation between the Wadden Sea National Park, Wattenmeer National Park, and The Gambia Department of Parks and Wildlife Management, in the conservation of migratory coastal waterbirds from 2016 to April 4, 2023, and determine the most dominant threats on the habitats of bird migrants in these two regions of the Flyway. Based on quantitative analysis and Literature review, the findings suggest that there was a positive collaboration between the management of the Wadden Sea National Park and the Department of Parks and Wildlife Management of The Gambia, in the last seven years. Furthermore, the study has ascertained that the Wadden Sea Flyway Initiative is a partnership initiative that has contact persons in the Environmental Ministry of The Gambia, and water bird organizations that buttress the implementation of joint conservation projects, research, monitoring, and capacity building in The Gambia. Additionally, the geospatial analysis of LANDSAT 8 satellite imagery suggests that the most dominant pressures in these two regions of the East Atlantic Flyway were human development, fishing, pollution, ship traffic, forest logging, Recreation, hunting, agriculture activities, and sea level rise. However, future researchers should combine their findings with a large number of protected areas, to better understand the implications of these results. One important contribution of this paper is to enable management to identify the population trend of migratory coastal waterbird species along these regions of the East Atlantic Flyway. Keywords: Bilateral Collaboration, Flyway, Transverse, Coastal waterbird, Wadden sea, Protected Areas, Threats, National park, Management, and Joint research

The infrastructure development and socioeconomic conditions in these areas may be the cause of the observed urban growth. The observed urban growth in Groß Pankow, Bad Wilsnack, Ferbitz, and other locations can be attributed to favorable regulations, better transit options, and economic prospects. Future studies should examine the particular factors that contribute to urbanization in each place to create strategies for sustainable development and focused interventions. Using change detection algorithms, high-resolution satellite data, and spatial analysis, the study takes a complete approach. The research offers a detailed knowledge of the temporal and spatial patterns of urban growth by utilizing various approaches. Significant changes in land use are evident from preliminary data, which show how regions that were previously rangeland, crops, barren ground, and flooded vegetation have been transformed into urban areas. This research is important because it can help identify the unique elements driving urbanization in each area. Given that Groß Pankow, Bad Wilsnack, Ferbitz, and other places can have particular factors contributing to urban growth, the study emphasizes the necessity of customized approaches to sustainable development and targeted interventions. This research holds significant importance due to its potential to identify the distinct components that drive the process of urbanization in different regions. Taking into consideration the fact that Groß Pankow, Bad Wilsnack, Ferbitz, and various other localities may exhibit specific factors that contribute to urban growth, the study highlights the crucial need for tailor-made approaches to ensure sustainable development and implement targeted interventions. The research findings are anticipated to be highly valuable to academics, policymakers, and urban planners who work towards achieving a state of equilibrium that is balanced between the growth of urban areas and the socio-environmental issues that follow from that expansion.

This article discusses a comprehensive analysis of groundwater quality in Brandenburg, Germany, by examining the interplay between geological and pedological factors. The article highlights the significance of the region's unique geological tapestry on groundwater quality and its susceptibility to flood and drought occurrences. The article also emphasizes the importance of Digital Elevation Model (DEM) data in understanding the spatial distribution of groundwater quality parameters. The research aims to evaluate the groundwater's susceptibility to drought and flood occurrences and assess how different soil types mediate the formation of groundwater quality. The results of this study are expected to contribute to the scientific conversation and provide useful information for protecting the environment, managing groundwater sustainably, and planning land uses in the area. The analysis highlights the significance of the region's unique geological tapestry, which significantly affects groundwater dynamics, including flow, storage, and quality. The Digital Elevation Model (DEM) data enhanced the understanding of the region's groundwater dynamics. It emphasizes the significance of the geological and pedological composition, such as the presence of distinct soil types and their impact on groundwater vulnerability to flood and drought occurrences. The research aims to evaluate the groundwater's susceptibility to drought and flood occurrences and assess how different soil types mediate the formation of groundwater quality. land uses in the area.

This study examined the determinants of capital structure of commercial banks operating in Tanzania using panel financial data of 14 banks drawn from 1998 to 2010 on a quarterly basis. A multiple-indicators-multiple-causes structural equation modelling was applied, with a consideration for structural break. In order of importance, bank size, profitability, non-tax depreciation shield, growth and volatility have been determined to be key determinants in capital structure decisions of commercial banks in Tanzania. Controlling for the ownership, growth of the banking firms is not significant in determining the capital structure among foreign banks. The study contributes to the understanding of commercial banks’ capital structure in relation to the ownership structure in emerging markets and provides a policy direction for foreign bank entry into developing countries.

In the present paper, the flow with constant suction of a viscous incompressible and electrically conducting fluid near an infinite porous flat plate oscillating in its own plane with constant suction has been discussed in the presence of uniform transverse magnetic field. It is assumed that the fluid extends on one side of the wall and is sucked away to the other side. Expressions for velocity profile and skin friction have been obtained. It is found that the velocity in the boundary layer decreases and the amplitude of the skin friction increases with the increase of Hartmann number M.

The path Monteverdi takes between harmonic arrivals depends on three elements: the content of the phrases; whether the repetition of a phrase is altered; and how the joints between phrases are made. I call these schemata, splices, and elisions, respectively.

Introduction 'Strict counterpoint' and 'Palestrina style' are interchangeable terms in current usage. In Bulgarian theory the adjectives 'strict' and 'Palestrinian' are often combined. In the old terminology there are two aspectsla Musica communa (defined by Dimitar Hristov as generally accessible music, 1 according to Neva Krysteva it is a connected style 2) and la Musica reservata (for narrow specialists, elite music-Dimitar Hristov's translation); in Russian terminology the term is строгий стиль, строгое письмо, the German equivalent is Die klassische Vokalpolyphonie, Der strenger Satz, the reciprocal Latin term is stylus a capella ecclesiasticus. 3 We can see different characteristics in distinguishing stylistic features-'classic vocal polyphony,' 'strict composition,' 'vocal church style' and so forth. But these nuances in defining the content are always associated with the creative work of Palestrina. Is it possible for one person to generalize a whole epoch? There is a similar issue with Bach's free style for example, and the answer will inevitably be positive if we follow the analogous link between the name of the most eminent representative of the era and a summarized comprehension of style based on defined compositional techniques. In general, the confirmation of the Palestrina style as 'strict' means that it observes clearly established rules. This first attempt to establish a definition, however, immediately provokes repudiation because the 'clearness' of the techniques in historical and geographical context cannot be guaranteed. There is always a prehistory; a stylistic analogy always exists. We could acknowledge these techniques (at that only relatively) which have comprehensive etymological roots. In this particular case, however, there is no theory of the style by

The piroxicam permeation through porcine ear skin, in a Franz Cell was evaluated, comparing with a commercial product. The permeate was analyzed by high performance liquid chromatography (HPLC) using a 5 mm C 18 column with mobile phase methanol:phosphate buffer (60:40), at 354 nm and the run time of 10 min. This method was validated and the limit of quantification was 0.138 μg/mL, with linearity over 0.02-5 μg/mL, without endogenous skin interference. The order of piroxicam permeation after 24 h was: LE > L> Feldene® > N > LP > NP > NE. The L based formulations showed greater piroxicam permeation compared with N based formulations, particularly up to 10 h of experiment. The ethanol enhancer provided the highest piroxicam permeation. The commercial product shows a different behavior, providing piroxicam permeation almost after 10 h. These results show the development of effective, simple and economic percutaneous formulations of piroxicam allowing the choice of formulations for higher or lower piroxicam permeation.