La vocale et l'instrumentale: jeux de miroirs au temps des Lumières. Poétique des rapports entre musique vocale et musique instrumentale dans la seconde moitié du 18e siècle
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La vocale et l'instrumentale: jeux de miroirs au temps des Lumières. Poétique des rapports entre musique vocale et musique instrumentale dans la seconde moitié du 18e siècle

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La vocale et l'instrumentale: jeux de miroirs au temps des Lumières. Poétique des rapports entre musique vocale et musique instrumentale dans la seconde moitié du 18e siècle

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dc.contributor.author Dauphin, Claude es
dc.date.accessioned 2019-02-19T10:48:13Z
dc.date.available 2019-02-19T10:48:13Z
dc.date.issued 2008 es
dc.identifier.uri http://hdl.handle.net/10550/69088
dc.source Dauphin, Claude. La vocale et l'instrumentale: jeux de miroirs au temps des Lumières. Poétique des rapports entre musique vocale et musique instrumentale dans la seconde moitié du 18e siècle. En: Itamar, revista de investigación musical, 2008, Número 1: 19-29 es
dc.subject Música es
dc.subject Arte es
dc.title La vocale et l'instrumentale: jeux de miroirs au temps des Lumières. Poétique des rapports entre musique vocale et musique instrumentale dans la seconde moitié du 18e siècle es
dc.type info:eu-repo/semantics/article en
dc.type info:eu-repo/semantics/publishedVersion en
dc.subject.unesco UNESCO::PEDAGOGÍA es
dc.description.abstractenglish These ideas are an attempt to explain some functional musical gestures shaped with the help of language. Three perspectives are considered. First: the imitating archetypal patterns of speech; second, those adopted from the syntax process; and third, the definition of grammar. These hypotheses were risen in an earlier work of mine without further discussion or argumentation. They have been taken up here again to clarify what could be considered the attributes of the Italian influence that the legion of analysts and commentators of Baroque, preclassic and classic music identify without feeling the need to point them out. Too often being classified as having Italian influence is equal to denoting "a certain grace" of the melody in the ultramontane production during the eighteenth century. Meanwhile, the French style merely identifies certain rhythms established by the lullyenne opening detect and ineffable "majesty" in the work of the heirs of the Versailles' aesthetic. By this work I aim to point out in a more specific way the characteristics of both styles. es

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