Affectus und effectus in der italienischen Monodie (I)
Beschreibung
Personen und Körperschaften: | |
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Titel: | Affectus und effectus in der italienischen Monodie (I) |
Medientyp: | Buch, Text |
veröffentlicht: |
Institute of Musicology, Zagreb Music Academy
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Umfang: | 3-21 |
Schlagworte: | |
Zusammenfassung: | <p>Summary: "Affectus" and "Effectus" in Italian Monody. The expressive tendencies of polyphony in the motet and the madrigal, strengthened during the 16th century, brought composition to an attachment to affects. This found its fullfilment in monody. The individual expressivity of the composition required an expression directed towards effect. Thus the "effectus" was linked to the "affectus" and the expression in the composition was to be realised in performing practice. The release of Renaissance man from universal church thought created a new basis for music in its creative and receptive aspects. To a rational text-bound declamatory understanding of music, pure musical experience was added, which led to a new development in the music of the late 16th and the early 17th century. This development subsequently led to the differentiated forms of Baroque music and is evident both in contemporary musico-theoretical treatises and compositional setting and sound formation. When G. B. Doni speaks of "stile narrativo" and "stile espressivo," he recognizes the peculiarities of a musical development tending towards dramatization. These tendencies are to be found in both church and secular music containing those additional meanings. The last rise of such dramatic-affective formation was achieved by opera. In opera, a personal experience is developed by means of the effects in music, representation and action. In 1650, A. Kircher had shown the multitude of music forms - arising from changes in social and aesthetic notions - in their variety and effects.</p> |
ISSN: |
0351-5796
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Datensammlung: | sid-55-col-jstormusic sid-55-col-jstoras3 JSTOR Music Archive JSTOR Arts & Sciences III Archive |