Resfacta and Cantare Super Librum*

Bent, Margaret

doi:10.4324/9781315090689-1

Cited by 2 publications

(2 citation statements)

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“…Other coinages were in circulation for centuries, such as cantare (Latin and Italian for "to sing"), spielen (to play), or words denoting the playing of specific instruments. One prerequisite for the concept of "execution" arose with the awareness that turning music into sound on the basis of musical notation is something different from improvising according to rules (as in Tinctoris's contrast between res facta and cantare super librum [see Bent 1983]). It is not music that can be executed, but only works of music.…”

Section: Execution (Exekution-aufführung/ausführung)mentioning

confidence: 99%

Testing Respect(fully): An Interview with Frederic Rzewski

Vaes¹

2015

Experimental Affinities in Music

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In the 1990s Daniel Wolf talked about a "post-experimental" phase, meaning that "'experimental' refers to a type of music of a particular historical era, essentially, if not quite exclusively, the music of the fifties, sixties, and seventies stemming from Cage's 'hard' definition" (Gilmore 2014, 27). This era implies the operating and maintenance of a complex "experimental scene" that supports itself from within and that includes "the composers themselves, [and] mediating factors compris[ing] a complex network of festivals, foundations, academic institutions, venues, private patrons, performers, publishers, publicists, critics, musicologists, and so on" (ibid.). ( 5)"'Experimental' is all the interesting new music that isn't avant-garde" (Gilmore 2014, 28). [Michael Nyman's definition.] 9This typology, succinctly but rigorously proposed by Bob Gilmore, situates itself in an "experimental world," which is inspired by the thought of the sociologist Howard S. Becker (see Becker 1982), but crucially remains musically (and not sociologically) oriented. Even if limited to music from the twentieth century, it is a most useful typology both from the viewpoint of historical musicology as well as from the perspective of composers, providing a common framework of reference to diverse practices. Two complementary questions become inescapable: (1) Was there no experimentation in music before the twentieth century? and (2) Are there no political implications when one advocates and puts into action an "experimental attitude"? Or, formulated differently, Does experimental music (or experimentation in music) remain in a beautifully encapsulated limbo, independent of the world "out there," as suggested by Daniel Wolf 's definition, which seems based on an ivory-tower "experimental scene"? At the very end of his essay, Bob Gilmore (2014: 29) refers to the first question, stating, "As regards the work of older composers, I'm of the opinion that some music is inherently, not temporarily, experimental."What, then, is music that is "inherently experimental"? Reflecting on this question triggers many other related questions: Is there an experimental attitude recognisable in different times, styles, and places? Are there any detectable "experimental affinities" throughout music history? How do new artistic paths emerge through experimental performance or compositional practices? What is the character, function, and potential of experimentation in musical practice? How does experimentation shape artistic identity and expertise? These were the fundamental questions discussed at the International Orpheus Academy for Music and Theory in the

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Section: Execution (Exekution-aufführung/ausführung)mentioning

confidence: 99%

Testing Respect(fully): An Interview with Frederic Rzewski

Vaes¹

2015

Experimental Affinities in Music

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“…10 Bent (1983) pensa invece che nel cantare super librum i contrappunti alla melodia data fossero accuratamente preparati in anticipo. Forse valevano entrambe le pratiche: come nell’uso jazzistico dei patterns.…”

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Radici rinascimentali del pop come cultura popolare urbana. L’esperienza italiana

Salvatore

2015

Forum Italicum: A Journal of Italian Studies

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A partire dalle villanelle e dalla loro diffusione nella Napoli del Cinquecento si può ricostruire la concezione rinascimentale del "fare musica" utilizzando o formando una melodia cantabile e realizzandone l'accompagnamento. L'analisi dei repertori popolareggianti italiani, delle loro prassi esecutive, e del diverso modo in cui tali repertori erano valutati dai teorici e dagli utenti, relativizza l'efficacia di antitesi convenzionali quali "scritto vs orale", "alto vs basso", "d'élite vs di massa", "egemonico vs subalterno". E identifica una produzione urbana ispirata da temi, motivi e tecniche rurali, riadattate ai contesti cittadini. Ciò aiuta a chiarire la nozione di "musica popolare urbana" e a confrontarla con il pop contemporaneo. I risultati del confronto suggeriscono la costanza di alcuni fattori determinanti: (1) la struttura interclassista delle diffusione del repertorio "popolare"; (2) la domanda e l'offerta di continue novità; (3) il modello della melodia accompagnata dove l'accompagnamento tende a diventare sempre più di tipo accordale, contribuendo ad affermare gli strumenti a corda e la tipologia del "cantore e sonatore" che si accompagna da sé; (4) la diffusione di tecniche formulari per la realizzazione delle melodie e degli accompagnamenti; (5) la libertà di approccio all'esecuzione del repertorio. Nel suo lineamento storico, questo modo di realizzare e diffondere una canzone rappresenta un'arte nazionale italiana che dal Rinascimento a oggi si è sedimentata nei costumi popolari urbani, proponendo modelli ancora riscontrabili nel pop contemporaneo.

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Resfacta and Cantare Super Librum*

Cited by 2 publications

References 0 publications

Testing Respect(fully): An Interview with Frederic Rzewski

Testing Respect(fully): An Interview with Frederic Rzewski

Radici rinascimentali del pop come cultura popolare urbana. L’esperienza italiana

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