https://textus-et-musica.edel.univ-poitiers.fr:443/textus-et-musica/index.php?id=241 Index de Renaissance fr 0 https://textus-et-musica.edel.univ-poitiers.fr:443/textus-et-musica/index.php?id=2015 Le premier XVIe s voit la multiplication des poèmes composés en castillan selon des formes jusqu’alors propres à la poésie italienne comme le sonnet. Il est frappant de constater que la réception de cette innovation s’est faite selon des critères sonores : l’enjeu n’était pas tant le nombre de syllabes des vers, que la façon de les chanter, autrement dit, il s’agissait d’importer une forme musicale autant sinon plus qu’une forme métrique. De fait, on peut repérer des différences fortes dans le rythme et le traitement de la cadence versale entre les formes vernaculaires et italianisantes. During the first half of the XVIth century, numerous poems were composed in Castilian according to metric forms that were until then exclusive to Italian poetry such as sonnets. It is striking to observe that the reception of such an innovation was based on sound: what was at stake wasn’t so much how many syllables there were in a line, as how they were sung. In other words, rather than a metric form what was being imported was a musical form. Hence the strong differences in rhythm and treatment of the end of lines between vernacular and Italianate forms. ven., 01 oct. 2021 16:48:19 +0200 mer., 14 déc. 2022 17:04:29 +0100 https://textus-et-musica.edel.univ-poitiers.fr:443/textus-et-musica/index.php?id=2015 https://textus-et-musica.edel.univ-poitiers.fr:443/textus-et-musica/index.php?id=492 Le terme ‘erreur’ ne bénéficie pas d’une bonne connotation dans l’histoire de la musique. Le but de cet article est de modérer ce positionnement en étudiant les sources musicales et théoriques du Moyen Âge et de la Renaissance. Après avoir adopté un point de vue global, la discussion se centre autour d’un manuscrit inconnu de la toute fin de la Renaissance. Le manuscrit C.85 de la Biblioteca della Musica de Bologne nous invite à redéfinir le concept d’« erreur » au début du 17e siècle, et montre clairement que la ‘faute’ peut être un chemin pour atteindre l’excellence musicale. It is usually accepted that the term ‘error’ doesn’t have a good connotation in music history. The purpose of this paper is to temper this statement by studying medieval and renaissance musical and theoretical sources. The discussion, after adopting a large view, focuses on an unknown source from the very late Renaissance. The manuscript C. 85 from the Biblioteca della Musica de Bologna invites us to redefine the concept of ‘error’ in the beginning of the seventeenth century, and clearly shows that it may be a path to musical excellence. jeu., 17 sept. 2020 13:46:05 +0200 lun., 15 mars 2021 12:56:42 +0100 https://textus-et-musica.edel.univ-poitiers.fr:443/textus-et-musica/index.php?id=492 https://textus-et-musica.edel.univ-poitiers.fr:443/textus-et-musica/index.php?id=437 Nel saggio vengono esaminati gli errori che commettevano i compositori e chi produceva libri di musica in Italia tra Cinquecento e Seicento. Gli errori dei compositori venivano rilevati da altri compositori, con censure diffuse per iscritto, oppure in pubbliche disfide in presenza di giudici e testimoni. Gli errori legati al processo della stampa si presentavano invece sia a livello di paratesto (dimenticando o invertendo lettere e numeri nei frontespizi), sia a livello di testo (omettendo alterazioni, o sbagliando note e parole). Il saggio si conclude discutendo errore e fraintendimenti di esecutori e di ascoltatori, sia quelli testimoniati dalle fonti del tempo, sia quelli che si possono notare nelle odierne riprese della musica antica. Our paper examines the errors made by composers and book-makers in 16th- and 17th-century Italy. Errors made by composers were denounced by other composers, through the diffusion of written censures, or during public challenges in the presence of judges and witnesses. Errors made during the printing process can be found both in the paratext (forgotten or inverted letters and numbers in the title page) and in the text itself (omission of alterations or mistaken notes and words). Our paper ends with a discussion of errors and misunderstandings made by performers and listeners, including both those contemporary to the music, and others committed in modern performances of early music. ven., 04 sept. 2020 13:59:16 +0200 ven., 05 mars 2021 11:45:46 +0100 https://textus-et-musica.edel.univ-poitiers.fr:443/textus-et-musica/index.php?id=437