Pubblicazioni

Komponieren nach einer Vorlage  (2013)

Autori:
Borghetti, Vincenzo
Titolo:
Komponieren nach einer Vorlage
Anno:
2013
Tipologia prodotto:
Contributo in volume (Capitolo o Saggio)
Tipologia ANVUR:
Contributo in volume (Capitolo o Saggio)
Lingua:
Tedesco
Formato:
A Stampa
Titolo libro:
Handbuch der Musik der Renaissance 2
Casa editrice:
Laaber Verlag
ISBN:
9783890077024
Intervallo pagine:
317-353
Parole chiave:
Intertextuality in renaissance music; Music and Humanism; Music historiography
Breve descrizione dei contenuti:
All musical works, like all literary and visual ones, exist in relation to other pre-existing and contemporary works. Intertextuality is the very condition of artistic creation, and therefore all musical works are to some degree intertextual. Between the mid-fifteenth and the early-seventeenth century, however, emphatically and self-consciously intertextual composition acquired unprecedented importance, thus becoming a characteristic feature of the music-historical period generally called “Renaissance.” Rather than simply presupposing implicitly other previous or contemporary works, an increasing number of pieces made their intertextual dimension explicit, proudly exhibiting their condition as second-degree compositions. This study offers a new perspective on this crucial issue, taking its cue from from recent important studies of "imitatio" and its cultural meanings especially by literary historians and theorists. These studies emphasize an aspect of the phenomenon to which thus far musicologists have paid relatively scant attention, that is, the shaping of the relationship between present and past in terms of “tradition.” Among the most interesting characteristics of explicitly intertextual compositions is the frequency with which they posited older works as their “hypotexts” (Genette). In many cases these hypotexts came from several generations before, as demonstrated, for example, by the reworkings of songs such as "O rosa bella", "Fors seulement", and by some of Josquin’s motets. Therefore, a direct and explicit relationship between the works of the present and those of a sometime remote past was established, resulting in relatively long compositional traditions - an unprecedented phenomenon in music history. Focusing on the reworkings of a celebrated models, Bedyngham/Dunstable "O rosa bella", Ockeghem’s "Fors seulement", Josquin's "Praeter rerum seriem" and others I analyze and discuss emphatically intertextual works not so much in the light of a possible musical reception of rhetorical precepts already elaborated in other fields, but as links in a chronological chain of pieces considered worthy of being remembered, reheard, and recomposed. These lines of authoritative musical works linked by strongly exhibited intertextual connections testify to a perception of the past no longer as a generic “before,” but as history in the modern and emphatic meaning of the term. In fact, this kind of intertextuality may turn out to be among the most significant ways in which musical composition proclaimed a newly acquired awareness of its own history, thus becoming (early) modern.
Id prodotto:
77443
Handle IRIS:
11562/318663
depositato il:
16 luglio 2013
ultima modifica:
24 ottobre 2022
Citazione bibliografica:
Borghetti, Vincenzo, Komponieren nach einer Vorlage Handbuch der Musik der Renaissance 2Laaber Verlag2013pp. 317-353

Consulta la scheda completa presente nel repository istituzionale della Ricerca di Ateneo IRIS

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