TheCantastorie/Canterino/Cantimbancoas Musicianстатья из журнала
Аннотация: Many of the texts of these oral poets survive, often bearing intriguing traces of their oral origins, but what can we say about the ‘canta’ that all three terms share, except that the singing was often accompanied by the instrument of choice, the lira da braccio, and that the music so thoroughly inhabited the oral realm of these singer/poets that it is entirely lost to us? In fact, there is evidence that can be summoned to make informed speculation possible, and it is essential to try, for it is clear that musical delivery was an essential ingredient of the canterino’s practice and popularity. In this article I approach the subject in several ways: the surviving archival records, which drop significant bits of information about the singing and playing of the canterini; the evidence of the cantasi come tradition in Florence, which reveals the wide array of music (much traceable to surviving sources) that circulated orally in the city and that can be connected to some of the Florentine canterini; the evidence of the vernacular memory treatises that can be linked to 15th-century canterini, the techniques of which suggest something about how the musical process of improvisation and rifacimento might have worked; and finally what we know about the technical capabilities of the lira da braccio, including what kinds of music could have been played on it, and how it might have been deployed in performance. I will also attempt to address another knotty problem encountered in the documents related to these performers: the often interchangeable use of the verbs ‘cantare’ and ‘recitare’.
Год издания: 2016
Авторы: Blake Wilson
Издательство: Taylor & Francis
Источник: Italian Studies
Ключевые слова: Musicology and Musical Analysis, Digital Humanities and Scholarship, Diverse Musicological Studies
Открытый доступ: closed
Том: 71
Выпуск: 2
Страницы: 154–170