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Literatura i música a l'Edat Mitjana: la cançó èpica
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After many years teaching the Romance Epic at university and asserting that those epics were sung, I determined to undertake research that might lead to a musical staging. My objective, I have to admit, was to sing the romance epic: the Chanson de Roland, the Chanson de Guillaume, the Cantar de Mio Çid' Yet this aim was soon overshadowed by the enthusiasm of musicians and colleagues regarding the comparison with contemporary epic repertoires and the results stemming from the research. Orality as a medieval composition system (text-music) is evident not only in the studies on contemporary epic repertoires that we have printed out, but also in the medieval ones. In this book, and in the book appearing together with it devoted to text-music relations in troubadour works, the starting point is an oral conception that governs the entire discourse. Orality viewed not so much as mnemonic structures that can be demarcated to some extent and that are to some extent structurally poetic, but more as a mnemonic device. A device that the author uses deliberately so that his work will spread rapidly among the people and be understood and adopted by them. This manifests itself in the form of an architectural composition affecting the lexis, the syntax, the melody and the literary poetic. Summary of the author's presentation. · The Chanson de geste and music. Hypothesis for practical performance: singing romance epics today · Towards a musical reconstruction of the romance chanson de geste. · Aniso-syllabism: regularity, irregularity, or standpoint' · The Town Crier: a surviving example of the oral/musical transmission of the Hispanic epic' · Orality as an argument for researching into the context of the Catalan medieval epic · The contemporary epic ' the theatricality of the voice · Music, text and memory. 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years of constant work, the publishing company devotes itself to promoting the publication of several books and materials destined to musical education in all its fields: music schools and conservatories, school in all its levels and university.<br /> <br /> Its collection includes scores ranging from solo parts, literature for chamber ensembles and orchestras to the great symphonic repertoire, as well as works for choir in all its formations. Some of these collections include publications of critical studies in several languages.</div> <div> </div> <ul> <li> <a href="/en/p/introduction">Introduction</a></li> <li> <a href="/en/p/aims_of_the_enterprise">Aims of the enterprise</a></li> <li> <a href="/en/p/the_autors">The autors</a></li> <li> <a href="/en/p/cooperations">Cooperations</a></li> <li> <a href="/en/p/commercial_distribution">Commercial distribution</a></li> <li> <a href="/en/p/catalogue_of_releases">Catalogue of releases</a></li> </ul> ", "url" => "about_us", "published" => "1", "lft" => "5", "rght" => "26", "locale" => "en_gb" ) ) $que_fem = array( "Page" => array( "id" => "41", "order" => "8", "parent_id" => null, "name" => "What we do", "html" => "<div> At DINSIC, we basically specialize in writing and publishing books and a wide range of materials for music education. We also edit vocal, instrumental and orchestral scores for choirs, chamber ensembles and orchestras.<br /> <br /> We have a special interest in publishing music works with comments in several languages: Catalan, Spanish, Bask, French Occitan, Portuguese, English, German etc., and books about music and its world.<br /> <br /> We have a department for traditional and popular Catalan and Occitan music, which is soon going to be expanded with music from other regions.<br /> <br /> At our publishing company, we work intensively to make the most of the possibilities of the technological applications that new information and communication technologies offer within our field.<br /> <br /> Our website exhibits our catalogue of releases, which are available in all sorts of mediums (paper, CD etc.), or on-line.<br /> <br /> We have adjoined a virtual store and environment for registered users, who can benefit from additional information and support services.</div> ", "url" => "what_we_do", "published" => "1", "lft" => "71", "rght" => "72", "locale" => "en_gb" ) ) $listcolleccions = array( array( "Catcolleccion" => array(), "children" => array() ), array( "Catcolleccion" => array(), "children" => array() ), array( "Catcolleccion" => array(), "children" => array() ), array( "Catcolleccion" => array(), "children" => array() ), array( "Catcolleccion" => array(), "children" => array() ), array( "Catcolleccion" => array(), "children" => array() ) ) $listformacions = array( array( "Catformacion" => array(), "children" => array() ), array( "Catformacion" => array(), "children" => array() ), array( "Catformacion" => array(), "children" => array() ) ) $listinstruments = array( array( "Catinstrument" => array(), "children" => array() ), array( "Catinstrument" => array(), "children" => array() ), array( "Catinstrument" => array(), "children" => array() ), array( "Catinstrument" => array(), "children" => array() ), array( "Catinstrument" => array(), "children" => array() ), array( "Catinstrument" => array(), "children" => array() ) ) $paypal = array( "Page" => array( "id" => "42", "order" => "9", "parent_id" => null, "name" => "More ways to pay: PayPal", "html" => "<div> DINSIC Publicacions Musicals is delighted to announce it already accepts PayPal as an on-line payment method, alongside Visa, Mastercard and other credit cards or other traditional payment methods as COD or shipping service.<br /> <br /> For those who don’t know PayPal, this system is one of the most efficient ways to make and receive international and – of course - national payments.<br /> <br /> As in payments with credit cards, which are completely safe, the seller doesn’t have any access to your banc details.<br /> <br /> Link your credit or debit card to PayPal and decide with them your preferred payment method.</div> ", "url" => "more_ways_to_pay_paypal", "published" => "1", "lft" => "73", "rght" => "74", "locale" => "en_gb" ) ) $perfils_lateral = array( array( "Page" => array() ), array( "Page" => array() ), array( "Page" => array() ), array( "Page" => array() ), array( "Page" => array() ) ) $cloud = " <a href="/searches/index/q:Carnestoltes" class="word size7">Carnestoltes</a> <a href="/searches/index/q:abesten" class="word size1">abesten</a> <a href="/searches/index/q:nadal" class="word size7">nadal</a> <a href="/searches/index/q:abesten 3" class="word size1">abesten 3</a> <a href="/searches/index/q:flauta" class="word size9">flauta</a> <a href="/searches/index/q:cançó" class="word size6">cançó</a> <a href="/searches/index/q:Da Camera 22" class="word size6">Da Camera 22</a> <a href="/searches/index/q:cantata nadalenca nit de vetlla" class="word size9">cantata nadalenca nit de vetlla</a> <a href="/searches/index/q:Musica" class="word size1">Musica</a> <a href="/searches/index/q:els músics més petits" class="word size6">els músics més petits</a> <a href="/searches/index/q:Quartet de corda núm. 3" class="word size8">Quartet de corda núm. 3</a> <a href="/searches/index/q:orquestra i cada instrument" class="word size4">orquestra i cada instrument</a> <a href="/searches/index/q:musica 2" class="word size7">musica 2</a> <a href="/searches/index/q:acompañamiento de canciones infantiles" class="word size7">acompañamiento de canciones infantiles</a> <a href="/searches/index/q:partitura" class="word size2">partitura</a> <a href="/searches/index/q:Literatura e interpretación de la trompeta" class="word size2">Literatura e interpretación de la trompeta</a> <a href="/searches/index/q:Da Camera 22: Tres danses americanes per a quartet de corda" class="word size8">Da Camera 22: Tres danses americanes per a quartet de corda</a> <a href="/searches/index/q:cançoner" class="word size3">cançoner</a> <a href="/searches/index/q:somnis" class="word size5">somnis</a> <a href="/searches/index/q:passeport" class="word size7">passeport</a> <a href="/searches/index/q:tot ho podem expressar" class="word size1">tot ho podem expressar</a> <a href="/searches/index/q:corda" class="word size5">corda</a> <a href="/searches/index/q:abesten 2" class="word size6">abesten 2</a> <a href="/searches/index/q:Palau insòlit" class="word size7">Palau insòlit</a> <a href="/searches/index/q:piano" class="word size8">piano</a> <a href="/searches/index/q:Sonatina de Nadal" class="word size8">Sonatina de Nadal</a> <a href="/searches/index/q:soliloquis" class="word size2">soliloquis</a> <a href="/searches/index/q:El timbaler del Bruc" class="word size4">El timbaler del Bruc</a> <a href="/searches/index/q:Catala" class="word size3">Catala</a> <a href="/searches/index/q:abesten 4" class="word size4">abesten 4</a> " $descompte = 0 $options_third_level = array( "All types", "orchestral_music" => "Orchestral music", "vocal_and_choral_music" => "Vocal and Choral Music", "instrumental_music" => "Instrumental Music" ) $options_instruments_level = array( "All Instruments", "brass" => "Brass", "clarinets_and_saxes" => "Clarinets and Saxes", "double_reed" => "Double Reed ", "electronic_keyboard" => "Electronic Keyboard", "flutes_recorders_and_pipes" => "Flutes, recorders and pipes", "guitares" => "Guitares", "harp_lyre_electric_bass_etc" => "Harp, Lyre, Electric Bass, etc.", "key_hammered_string_piano" => "Key / Hammered String (Piano)", "key_plucked_string_harpsichord" => "Key / Plucked String (Harpsichord). 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After many years teaching the Romance Epic at university and asserting that those epics were sung, I determined to undertake research that might lead to a musical staging. My objective, I have to admit, was to sing the romance epic: the Chanson de Roland, the Chanson de Guillaume, the Cantar de Mio Çid' Yet this aim was soon overshadowed by the enthusiasm of musicians and colleagues regarding the comparison with contemporary epic repertoires and the results stemming from the research. Orality as a medieval composition system (text-music) is evident not only in the studies on contemporary epic repertoires that we have printed out, but also in the medieval ones. In this book, and in the book appearing together with it devoted to text-music relations in troubadour works, the starting point is an oral conception that governs the entire discourse. Orality viewed not so much as mnemonic structures that can be demarcated to some extent and that are to some extent structurally poetic, but more as a mnemonic device. A device that the author uses deliberately so that his work will spread rapidly among the people and be understood and adopted by them. This manifests itself in the form of an architectural composition affecting the lexis, the syntax, the melody and the literary poetic. Summary of the author's presentation. · The Chanson de geste and music. Hypothesis for practical performance: singing romance epics today · Towards a musical reconstruction of the romance chanson de geste. · Aniso-syllabism: regularity, irregularity, or standpoint' · The Town Crier: a surviving example of the oral/musical transmission of the Hispanic epic' · Orality as an argument for researching into the context of the Catalan medieval epic · The contemporary epic ' the theatricality of the voice · Music, text and memory. 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Contents
The research that gave rise to this book had its origins in an academic experience and an artistic experience, in that order. After many years teaching the Romance Epic at university and asserting that those epics were sung, I determined to undertake research that might lead to a musical staging.My objective, I have to admit, was to sing the romance epic: the Chanson de Roland, the Chanson de Guillaume, the Cantar de Mio Çid' Yet this aim was soon overshadowed by the enthusiasm of musicians and colleagues regarding the comparison with contemporary epic repertoires and the results stemming from the research.
Orality as a medieval composition system (text-music) is evident not only in the studies on contemporary epic repertoires that we have printed out, but also in the medieval ones. In this book, and in the book appearing together with it devoted to text-music relations in troubadour works, the starting point is an oral conception that governs the entire discourse. Orality viewed not so much as mnemonic structures that can be demarcated to some extent and that are to some extent structurally poetic, but more as a mnemonic device. A device that the author uses deliberately so that his work will spread rapidly among the people and be understood and adopted by them. This manifests itself in the form of an architectural composition affecting the lexis, the syntax, the melody and the literary poetic.
Summary of the author's presentation.
Structure
· The Chanson de geste and music. Hypothesis for practical performance: singing romance epics today· Towards a musical reconstruction of the romance chanson de geste.
· Aniso-syllabism: regularity, irregularity, or standpoint'
· The Town Crier: a surviving example of the oral/musical transmission of the Hispanic epic'
· Orality as an argument for researching into the context of the Catalan medieval epic
· The contemporary epic ' the theatricality of the voice
· Music, text and memory. The music of the text, and the text of the music: verse in the oral tradition
Technical Specifications
Measurements
17 x 23 cm, vertical
Binding
Paperback
Number of Pages
96
ISBN
84-95055-93-7
Editor
DINSIC Publicacions Musicals
Also collaborating:
Cover Designer
Francesc Ruestes
