Romanesca in Movement: a Walking Schema
This paper demonstrates the change in position of the use of the counterpoint schema entitled Romanesca, throughout the 18th century. The way of its use goes from a thematic opening procedure to different positions in the structure of the instrumental and vocal repertoire. Apparently, its recurrence...
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| Principais autores: | , |
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| Formato: | Online |
| Idioma: | por eng |
| Publicado em: |
ABRACE / ANDA / ANPAP / ANPPOM
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| Endereço do item: | https://periodicos.ufrn.br/artresearchjournal/article/view/31581 |
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| Resumo: | This paper demonstrates the change in position of the use of the counterpoint schema entitled Romanesca, throughout the 18th century. The way of its use goes from a thematic opening procedure to different positions in the structure of the instrumental and vocal repertoire. Apparently, its recurrence, especially in the latter case, suggests musical topic implications that gradually removed the strong connotation of a musical opening formula, belonging to the 18th century repertoire, the so-called Gallant Style, as presented and explained by Robert Gjerdingen. The paper focuses on the verification of this variability of use and suggests that in the process of maturation of its use, Romanesca may have been an expedient of syntactic construction with direction to different meanings, according to the creative project in which it was inserted. * Research funding: Fundação de Amparo à Pesquisa do Estado do Amazonas – FAPEAM. |
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