RT info:eu-repo/semantics/bookPart
T1 Léxico y paradigmas en la teoría musical: reflexiones y herramientas metodológicas para abordar el estudio del léxico musical renacentista
A1 García Pérez, Amaya Sara
K1 Musicología
AB During the sixteenth century, and a great part of the next, many of the most eminent musical theorists of Italy employed their time in subtle divisions of the scale, and visionary pursuits after the ancient Greek genera; nor was this rage wholly confined to theorists, but extended itself to practical musicians, ambitious of astonishing the world by their deep science and superior penetration, though they might have employed their time more profitably to themselves, and the art they professed, in exploring the latent resources of harmonic combinations and effects in composition, or in refining the tone, heightening the expression, and extending the powers of execution, upon some particular instrument. These vain enquiries certainly impeded the progress of modern Music; for hardly a single tract or treatise was presented to the public, that was not crowded with circles, segments of circles, diagrams, divisions, sub-divisions, commas, modes, genera, species, and technical terms drawn from Greek writers, and the now unintelligible and useless jargon of Boethius.
PB Classiques Garniers
YR 2020
FD 2020
LK http://uvadoc.uva.es/handle/10324/41085
UL http://uvadoc.uva.es/handle/10324/41085
LA spa
NO Le Lexique Musical de la Renaissance. Une nouvelle approche au vocabulaire de la musique ancienne (El léxico musical del Renacimiento. Una nueva aproximación al vocabulario de la música antigua), Classiques Garniers, editado por Cristina Diego Pacheco y Amaya S. García Pérez, París.
NO Producción Científica
DS UVaDOC
RD 21-dic-2024