Renaissance and Baroque Music: A Comprehensive Survey
Identifieur interne : 002092 ( Istex/Corpus ); précédent : 002091; suivant : 002093Renaissance and Baroque Music: A Comprehensive Survey
Auteurs : Johannes RiedelSource :
- Journal of research in music education [ 0022-4294 ] ; 1970-04.
English descriptors
- Teeft :
Url:
DOI: 10.2307/3344363
Links to Exploration step
ISTEX:CBECAE8793AE0A3752B670EA8FAB5D5050E821B8Le document en format XML
<record><TEI wicri:istexFullTextTei="biblStruct"><teiHeader><fileDesc><titleStmt><title xml:lang="en">Renaissance and Baroque Music: A Comprehensive Survey</title><author wicri:is="90%"><name sortKey="Riedel, Johannes" sort="Riedel, Johannes" uniqKey="Riedel J" first="Johannes" last="Riedel">Johannes Riedel</name><affiliation><mods:affiliation>University of Minnesota</mods:affiliation></affiliation></author></titleStmt><publicationStmt><idno type="wicri:source">ISTEX</idno><idno type="RBID">ISTEX:CBECAE8793AE0A3752B670EA8FAB5D5050E821B8</idno><date when="1970" year="1970">1970</date><idno type="doi">10.2307/3344363</idno><idno type="url">https://api.istex.fr/document/CBECAE8793AE0A3752B670EA8FAB5D5050E821B8/fulltext/pdf</idno><idno type="wicri:Area/Istex/Corpus">002092</idno><idno type="wicri:explorRef" wicri:stream="Istex" wicri:step="Corpus" wicri:corpus="ISTEX">002092</idno></publicationStmt><sourceDesc><biblStruct><analytic><title level="a" type="main" xml:lang="en">Renaissance and Baroque Music: A Comprehensive Survey</title><author wicri:is="90%"><name sortKey="Riedel, Johannes" sort="Riedel, Johannes" uniqKey="Riedel J" first="Johannes" last="Riedel">Johannes Riedel</name><affiliation><mods:affiliation>University of Minnesota</mods:affiliation></affiliation></author></analytic><monogr></monogr><series><title level="j">Journal of research in music education</title><idno type="ISSN">0022-4294</idno><idno type="eISSN"></idno><imprint><publisher>SAGE Publications</publisher><pubPlace>Sage CA: Los Angeles, CA</pubPlace><date type="published" when="1970-04">1970-04</date><biblScope unit="volume">18</biblScope><biblScope unit="issue">1</biblScope><biblScope unit="page" from="85">85</biblScope><biblScope unit="page" to="87">87</biblScope></imprint><idno type="ISSN">0022-4294</idno></series></biblStruct></sourceDesc><seriesStmt><idno type="ISSN">0022-4294</idno></seriesStmt></fileDesc><profileDesc><textClass><keywords scheme="Teeft" xml:lang="en"><term>Baroque eras</term><term>Baroque music</term><term>Blume</term><term>First order</term><term>Friedrich blume</term><term>Herter norton</term><term>Middle ages</term><term>Music history</term><term>Prima pratica</term><term>Recent times</term><term>Renaissance section</term><term>Tanglewood</term><term>Tanglewood symposium</term><term>World perspectives</term></keywords></textClass><langUsage><language ident="en">en</language></langUsage></profileDesc></teiHeader></TEI><istex><corpusName>sage</corpusName><keywords><teeft><json:string>baroque music</json:string><json:string>tanglewood</json:string><json:string>tanglewood symposium</json:string><json:string>first order</json:string><json:string>music history</json:string><json:string>blume</json:string><json:string>middle ages</json:string><json:string>friedrich blume</json:string><json:string>prima pratica</json:string><json:string>baroque eras</json:string><json:string>recent times</json:string><json:string>herter norton</json:string><json:string>world perspectives</json:string><json:string>renaissance section</json:string></teeft></keywords><author><json:item><name>Johannes Riedel</name><affiliations><json:string>University of Minnesota</json:string></affiliations></json:item></author><articleId><json:string>10.2307_3344363</json:string></articleId><arkIstex>ark:/67375/M70-C1LHG3ZT-P</arkIstex><language><json:string>eng</json:string></language><originalGenre><json:string>review-article</json:string></originalGenre><qualityIndicators><score>3.492</score><pdfWordCount>1480</pdfWordCount><pdfCharCount>9303</pdfCharCount><pdfVersion>1.3</pdfVersion><pdfPageCount>3</pdfPageCount><pdfPageSize>432 x 659.88 pts</pdfPageSize><refBibsNative>false</refBibsNative><abstractWordCount>1</abstractWordCount><abstractCharCount>0</abstractCharCount><keywordCount>0</keywordCount></qualityIndicators><title>Renaissance and Baroque Music: A Comprehensive Survey</title><genre><json:string>review-article</json:string></genre><host><title>Journal of research in music education</title><language><json:string>unknown</json:string></language><issn><json:string>0022-4294</json:string></issn><publisherId><json:string>JRM</json:string></publisherId><volume>18</volume><issue>1</issue><pages><first>85</first><last>87</last></pages><genre><json:string>journal</json:string></genre></host><namedEntities><unitex><date><json:string>1970</json:string><json:string>the nineteenth century</json:string><json:string>1967</json:string></date><geogName></geogName><orgName><json:string>University of Minnesota</json:string></orgName><orgName_funder></orgName_funder><orgName_provider></orgName_provider><persName><json:string>Richard Strauss</json:string><json:string>Wilfrid Mellers</json:string><json:string>Ruth Nanda</json:string><json:string>Mellers</json:string><json:string>Manfred K. Bukofzer</json:string><json:string>Suzanne Langer</json:string><json:string>Choate</json:string><json:string>M.D. Herter</json:string><json:string>Blume</json:string><json:string>Charles Seeger</json:string><json:string>Max Reger</json:string><json:string>Dresden Zwinger</json:string><json:string>Friedrich Blume</json:string><json:string>W. W. Norton</json:string></persName><placeName><json:string>Europe</json:string><json:string>York</json:string></placeName><ref_url></ref_url><ref_bibl></ref_bibl><bibl></bibl></unitex></namedEntities><ark><json:string>ark:/67375/M70-C1LHG3ZT-P</json:string></ark><categories><wos></wos><scienceMetrix><json:string>1 - arts & humanities</json:string><json:string>2 - visual & performing arts</json:string><json:string>3 - music</json:string></scienceMetrix><scopus><json:string>1 - Social Sciences</json:string><json:string>2 - Arts and Humanities</json:string><json:string>3 - Music</json:string><json:string>1 - Social Sciences</json:string><json:string>2 - Social Sciences</json:string><json:string>3 - Education</json:string></scopus></categories><publicationDate>1970</publicationDate><copyrightDate>1970</copyrightDate><doi><json:string>10.2307/3344363</json:string></doi><id>CBECAE8793AE0A3752B670EA8FAB5D5050E821B8</id><score>1</score><fulltext><json:item><extension>pdf</extension><original>true</original><mimetype>application/pdf</mimetype><uri>https://api.istex.fr/document/CBECAE8793AE0A3752B670EA8FAB5D5050E821B8/fulltext/pdf</uri></json:item><json:item><extension>zip</extension><original>false</original><mimetype>application/zip</mimetype><uri>https://api.istex.fr/document/CBECAE8793AE0A3752B670EA8FAB5D5050E821B8/fulltext/zip</uri></json:item><istex:fulltextTEI uri="https://api.istex.fr/document/CBECAE8793AE0A3752B670EA8FAB5D5050E821B8/fulltext/tei"><teiHeader><fileDesc><titleStmt><title level="a" type="main" xml:lang="en">Renaissance and Baroque Music: A Comprehensive Survey</title><respStmt><resp>Références bibliographiques récupérées via GROBID</resp><name resp="ISTEX-API">ISTEX-API (INIST-CNRS)</name></respStmt></titleStmt><publicationStmt><authority>ISTEX</authority><publisher scheme="https://publisher-list.data.istex.fr">SAGE Publications</publisher><pubPlace>Sage CA: Los Angeles, CA</pubPlace><availability><licence><p>sage</p></licence></availability><p scheme="https://loaded-corpus.data.istex.fr/ark:/67375/XBH-0J1N7DQT-B"></p><date>1970</date></publicationStmt><notesStmt><note type="review-article" scheme="https://content-type.data.istex.fr/ark:/67375/XTP-L5L7X3NF-P">review-article</note><note type="journal" scheme="https://publication-type.data.istex.fr/ark:/67375/JMC-0GLKJH51-B">journal</note></notesStmt><sourceDesc><biblStruct type="inbook"><analytic><title level="a" type="main" xml:lang="en">Renaissance and Baroque Music: A Comprehensive Survey</title><author xml:id="author-0000"><persName><forename type="first">Johannes</forename><surname>Riedel</surname></persName><affiliation>University of Minnesota</affiliation></author><idno type="istex">CBECAE8793AE0A3752B670EA8FAB5D5050E821B8</idno><idno type="ark">ark:/67375/M70-C1LHG3ZT-P</idno><idno type="DOI">10.2307/3344363</idno><idno type="article-id">10.2307_3344363</idno></analytic><monogr><title level="j">Journal of research in music education</title><idno type="pISSN">0022-4294</idno><idno type="eISSN"></idno><idno type="publisher-id">JRM</idno><idno type="PublisherID-hwp">spjrm</idno><imprint><publisher>SAGE Publications</publisher><pubPlace>Sage CA: Los Angeles, CA</pubPlace><date type="published" when="1970-04"></date><biblScope unit="volume">18</biblScope><biblScope unit="issue">1</biblScope><biblScope unit="page" from="85">85</biblScope><biblScope unit="page" to="87">87</biblScope></imprint></monogr></biblStruct></sourceDesc></fileDesc><profileDesc><creation><date>1970</date></creation><langUsage><language ident="en">en</language></langUsage></profileDesc><revisionDesc><change when="1970-04">Published</change><change xml:id="refBibs-istex" who="#ISTEX-API" when="2017-10-17">References added</change></revisionDesc></teiHeader></istex:fulltextTEI><json:item><extension>txt</extension><original>false</original><mimetype>text/plain</mimetype><uri>https://api.istex.fr/document/CBECAE8793AE0A3752B670EA8FAB5D5050E821B8/fulltext/txt</uri></json:item></fulltext><metadata><istex:metadataXml wicri:clean="corpus sage not found" wicri:toSee="no header"><istex:xmlDeclaration>version="1.0" encoding="UTF-8"</istex:xmlDeclaration><istex:docType PUBLIC="-//NLM//DTD Journal Publishing DTD v2.3 20070202//EN" URI="journalpublishing.dtd" name="istex:docType"></istex:docType><istex:document><article article-type="review-article" dtd-version="2.3" xml:lang="EN"><front><journal-meta><journal-id journal-id-type="hwp">spjrm</journal-id><journal-id journal-id-type="publisher-id">JRM</journal-id><journal-title>Journal of Research in Music Education</journal-title><issn pub-type="ppub">0022-4294</issn><publisher>
<publisher-name>SAGE Publications</publisher-name>
<publisher-loc>Sage CA: Los Angeles, CA</publisher-loc>
</publisher></journal-meta><article-meta><article-id pub-id-type="doi">10.2307/3344363</article-id><article-id pub-id-type="publisher-id">10.2307_3344363</article-id><article-categories><subj-group subj-group-type="heading"><subject>Articles</subject></subj-group></article-categories><title-group><article-title>Renaissance and Baroque Music: A Comprehensive Survey</article-title></title-group><contrib-group><contrib contrib-type="author" xlink:type="simple"><name name-style="western"><surname>Riedel</surname><given-names>Johannes</given-names></name><aff>University of Minnesota</aff></contrib></contrib-group>
<pub-date pub-type="ppub"><month>4</month><year>1970</year></pub-date><volume>18</volume><issue>1</issue><fpage>85</fpage><lpage>87</lpage><custom-meta-wrap><custom-meta xlink:type="simple"><meta-name>sagemeta-type</meta-name><meta-value>Reviews</meta-value></custom-meta><custom-meta xlink:type="simple"><meta-name>cover-date</meta-name><meta-value>Spring 1970</meta-value></custom-meta><custom-meta xlink:type="simple"><meta-name>search-text</meta-name><meta-value> REVIEWS EDITED BY R. M. LONGYEAR The Musical Symbol, A Study of icance of this in respect to the general the Philosophic Theory of Music. recognition in that century of the evoluin the evolu By Gordon Epperson. Ames, Iowa:tionary process, particular Iowa State University Press, 1967;tional tendency of mankind toward greater awareness of his total experxviii + 323 pp.; $6.50. iential potential. Of particular inter Professor Epperson has explored a est to music educators will be his disparameterapplicable to musical com- cussion of the dangers of presenting position that is timely and of consider- music to students within limiting frameable utility in the discriminationof works (such as programmatic ascripof categories musicalthought.The distions), thereby discouraging a wider tinctions that he is able to draw, en- response to the varieties of experience compassingand separating the kinds available in music. To those interested of internalized musical logic, or its in musical performance and the social such compo- roles of performing musicians, his absence, that characterize sitions as Bach's Art of Fugue on the comments on the typical separation of one hand, and the worksin the school performers in our era from the total of John Cageon the other, lend verbal significance of music as an art-the tools that are increasinglyimportant selling of “cattle” to organized audiin discussions the rapid expansions ences-will have added meaning. of Professor Epperson's suggested catein musical styles. Yet it is true that the readermay well find himself trou- gories of musical thought are referred bled by the author's choice of ter- to as “levels of abstraction, ” progressminology;indeed, one principalthreading from a first level that characterizes of the book is Epperson'scontinuing music primarily demonstrating a ranconcern that the word “symbol, ”in- dom sequence of disorganized sound tendedby him to referto the ultimately materials (d la Cage) to a fourth level ineffable qusicalevent, easily may be of abstraction describing music wheremisconstrued suggesta referenceto in there is manipulation of pure musito cal ideas, the latter being quite separsomethingoutside of music. The bulk of the book is devoted to able from their external existence in a survey of classicalthrough contem- sonorous media. Intermediate levels poraryphilosophical writingsaboutthe include a balance of musical “idea” nature of musical thought, including and sonorous media, and the ascendsome statementsby recent composers. ency of “auditory color or extramusical Gurney's ”ideal motion, “ Bergson's idea” as a structural determinant. In “duree, ” Langer's “significantform, ” this manner the author suggests the as and so forth, are described adumbra- Well-tempered Clavier, the Art oftive of the author'stheory. Some in- Fuguie, and the late Beethoven quartets cidental passagesadditionallyare pro- as examples of the highest order of vocative. Epperson points out that abstraction, and lists the quartets of wide-spreaddiscussionof music with- Bart6k and Schoenberg as more recent out extramusical considerationsand exemplars of musical concentration verbal elements (so-called absolute and austerity. Examples given of the music) did not occur until the nine- third order include the orchestral teenth century, and suggeststhe signif- poems of Strauss and the symphonies 84 REVIEWS 85 of Dvofak, Tschaikowsky, and Rachmaninoff. Second order membership is given to the programmatic and virtuosic compositions of the nineteenth century. Since the first order describes compositions emphasizing sound textures in the absence of developed, conventional musical ideas, examples are suggested from Cage, Tudor, Harrison, and Stockhausen. Attribution of value in respect to these categories is not fully developed by the author. Greater and lesser success is postulated within each group, although the author makes it clear that he feels that music of his first order of abstraction is lacking in “virtuality, ” i.e., fails to achieve an independent and repeatable existence in the mind of the composer and listener, and he quotes Leonard Meyer's suggestion that random techniques may be viewed as producing a musical structure manifesting “undesirable uncertainty.” Certainly Epperson presents an insight into the relationship between musical objects and the presence, partial presence, or lack of internalized manipulation of conventional musical ideas on the part of those who create, recreate, or respond. His is, of course, only one of a myriad of parameters that could be postulated; one could easily build a case for a closer connection between his first and fourth orders (in the sense that they both avoid the particular sensitivity toward sound that is characteristic of romanticism in general); another possibility that comes to mind is to wholly delete his first order of abstraction from a parameter of musical thought that is related by the author as an “analogue to emotive life, ” (from Suzanne Langer) and suggest a second parameter, involving a graduated mixture of stochastic processes with sound materials. Much of Epperson's discussion of the independence of such concepts as “musical time, ” and of the limitations of verbal statements describing musical thought, parallels the writings of Charles Seeger. Both Seeger and Epperson, though aware of the difficulties inherent in verbal representations of musical systems, present the case for the need for renewed contemporary discussion of the philosophy of music, which, together with other evidences of the lack of comprehensive musical theory that shares even a minimum of consensus of contemporary thought, well documents the value of Professor Epperson's quite literate, if more farranging than conclusive, study. WILLIAM HUTCHINSON University of California, Los Angeles Renaissance and Baroque Music: A Comprehensive By Survey. Friedrich Blume. Translated by M.D. Herter Norton. New York: W. W. Norton, 1967; 180 pp.; hard cover, $5.00; paperback, $1.95. Blume's comprehensive survey of Renaissance and Baroque music introduces the student and general reader to the music of these two periods in the context of the general spiritual activity of the times. The thirteen chapters are filled with information about nonmusical developments within, for example, the social structure and poetry or the visual arts. Chapter IV of the Baroque section, “The Synchronism of the Arts, ” deals with the problems of the analogies that may be drawn between Bach's Chromatic Fantasy and the sfumato of Watteau's landscapes; between Matthaus Poppelmann's pavillion in the Dresden Zwinger and the operas of Hasse. Chapters such as “The Introduction of the Word ‘Baroque’ into the Writing of Music History” and “The Meaning of the Word ‘Baroque’ in Music” not only examine the writings of music theorists, historians, composers, and philosophers, but also discuss the intellectual and artistic events that produced the alterations of meaning. The discussions REVIEWS 85 of Dvofak, Tschaikowsky, and Rachmaninoff. Second order membership is given to the programmatic and virtuosic compositions of the nineteenth century. Since the first order describes compositions emphasizing sound textures in the absence of developed, conventional musical ideas, examples are suggested from Cage, Tudor, Harrison, and Stockhausen. Attribution of value in respect to these categories is not fully developed by the author. Greater and lesser success is postulated within each group, although the author makes it clear that he feels that music of his first order of abstraction is lacking in “virtuality, ” i.e., fails to achieve an independent and repeatable existence in the mind of the composer and listener, and he quotes Leonard Meyer's suggestion that random techniques may be viewed as producing a musical structure manifesting “undesirable uncertainty.” Certainly Epperson presents an insight into the relationship between musical objects and the presence, partial presence, or lack of internalized manipulation of conventional musical ideas on the part of those who create, recreate, or respond. His is, of course, only one of a myriad of parameters that could be postulated; one could easily build a case for a closer connection between his first and fourth orders (in the sense that they both avoid the particular sensitivity toward sound that is characteristic of romanticism in general); another possibility that comes to mind is to wholly delete his first order of abstraction from a parameter of musical thought that is related by the author as an “analogue to emotive life, ” (from Suzanne Langer) and suggest a second parameter, involving a graduated mixture of stochastic processes with sound materials. Much of Epperson's discussion of the independence of such concepts as “musical time, ” and of the limitations of verbal statements describing musical thought, parallels the writings of Charles Seeger. Both Seeger and Epperson, though aware of the difficulties inherent in verbal representations of musical systems, present the case for the need for renewed contemporary discussion of the philosophy of music, which, together with other evidences of the lack of comprehensive musical theory that shares even a minimum of consensus of contemporary thought, well documents the value of Professor Epperson's quite literate, if more farranging than conclusive, study. WILLIAM HUTCHINSON University of California, Los Angeles Renaissance and Baroque Music: A Comprehensive By Survey. Friedrich Blume. Translated by M.D. Herter Norton. New York: W. W. Norton, 1967; 180 pp.; hard cover, $5.00; paperback, $1.95. Blume's comprehensive survey of Renaissance and Baroque music introduces the student and general reader to the music of these two periods in the context of the general spiritual activity of the times. The thirteen chapters are filled with information about nonmusical developments within, for example, the social structure and poetry or the visual arts. Chapter IV of the Baroque section, “The Synchronism of the Arts, ” deals with the problems of the analogies that may be drawn between Bach's Chromatic Fantasy and the sfumato of Watteau's landscapes; between Matthaus Poppelmann's pavillion in the Dresden Zwinger and the operas of Hasse. Chapters such as “The Introduction of the Word ‘Baroque’ into the Writing of Music History” and “The Meaning of the Word ‘Baroque’ in Music” not only examine the writings of music theorists, historians, composers, and philosophers, but also discuss the intellectual and artistic events that produced the alterations of meaning. The discussions 86 JOURNAL OF RESEARCHIN MUSIC EDUCATION about the boundaries between the Middle Ages, the Renaissance, and the Baroque are of great educational value. Interesting information concerning the contrast between the Middle Ages and the Renaissance can be found in the first and last chapters of the Renaissance section. The extensive chapter on “Style, Form and Expressive Means in Baroque Music” deals with the Renaissance-Baroque contrast under subheadings such as the heteronomy of Baroque music, its rhetoric; academicism, meter and chromaticism; retardistic elements, the classicistic undercurrent; “meaningful” music counterpoint; from tactus to measure, tempo and rhythm; and forms and feeling for form. The first chapter, “Renaissance versus Baroque Music, ” in Manfred K. Bukofzer's Music in the Baroque Era may serve as a helpful introduction to this important chapter in Blume's book. Blume's essays on the Renaissance and Baroque were first written for the music encyclopedia, Die Musik in Geschichte und Gegenwart, of which he is the editor. The essays were translated into English by M.D. Herter Norton. The quality of the translation is usually superb. However, a few questionable choices of wording may occur even in the best translations. For example, the German word “beseelte” (MGG I, p. 1283) is translated as “endowed with soul” (p. 91) when “soulful” would have been a better choice. The word “Grenzen” (MGG I, p. 1317) is translated as “delimitation” (p. 141), although the better word “boundaries” is used by Blume in the preface (p. viii). The English edition shows improvement over the German in that the names of persons are written out rather than initialed. Sometimes when no initials were given, first names have been added (Richard Strauss and Max Reger on p. 129), but sometimes nothing was added at all (Haas, p. 93). Inconsistency of spelling is disturbingly present when one reads “prima practica” in the index and “prima pratica” or “prima-pratica” in the body of the text. Not all of the occurrencesof the term “prima pratica” are recorded in the index. Its appearances on pp. 143, 151, and 162 are missing. The entry for Rore on p. 62 is also missing in the index. Certain topics frequently mentioned in the body of the text, such as Singspiel, opera-comique, comedie-vaudeville, trageddielyrique, concert spirituel, cantor, and musicus do not appear in the index at all. Shortcuts of this sort will be of little help to the student. This is especially regrettable because Blume's essays are far better than the average material available on the music of the Renaissance and Baroque eras. The bibliography consists of 83 publications, 64 in English, 14 of which are available in paperback editions. The teaching of music appreciation and music literature courses in high school remains one of the most lamentable follies in our music educational system. Often it is a training in superficiality in which our children are required to wade through second-, third-, and even fourth-hand presentations of music history and literature. The cliches of the life and works of composers are half-learned in order to be, as they deserve, wholly forgotten once the unit test is over. In recent times there have been many attempts to effect a change in these uncreative habits. The Juilliard and Yale projects, recommending improvement in the situation by bringing the student and teacher face to face with the music literature itself, have recently been effectively followed up by the statements of the Tanglewood Symposium. Dr. Choate's introduction to the Symposium (Music Educators Journal, 54, November 1967) can be related to some of the statements in the Blume essays. The statements of the need for a “reappraisal” noted by the Tanglewood representa- REVIEWS 87 tives are paralleled in Blumes philosophy of historical music investigation, in his being in favor of an “unautonomous appraisal of music” (p. viii). The “role of the arts in society” as stated by the Tanglewood Symposium can be compared with the role of the artists in the Renaissance era as described by Blume, “not as imitators but as creators” (p. 11). The characteristics of an “emerging” age in our own time are analogous to Blume's descriptions of the “Emergence” of the human spirit over fate in the Renaissance era (p. 12). The evaluation of our own period as recommended by the Tanglewood Symposium can be compared with Blume's evaluation of the Renaissance period (chapter V of the Renaissance section) wherein the author discusses the role of music in a given culture (p. 69), the widely diffused tasks of musicians (p. 70), the variety of musical centers (p. 71), and the image of European art music. Friedrich Blume has written two of the richest and most rational essays available on the Renaissance and Baroque eras. They should be read by everyone who is seriously interested in the many application of statements given by representatives of the Tanglewood Symposium. proved in his earlier writings that he is a worthy descendant of this tradition and is, therefore, eminently qualified to define the state of music in the World Perspectives, a series concerned with the interpretation of the creative forces that shape modern man's consciousness. The title of Mr. Mellers' volume reflects both the author's literary interest and his essentially optimistic outlook. His thesis is that the seemingly disruptive and disintegrative musical forces of our century that threatened to destroy the edifice of post-Renaissance music, are actually the promise conditions of this renewal are man's return to nature, his abnegation of the will, and the loosening of his control over instinctual forces-the latter symbolozed by Prospero's slave, Caliban, in Shakespeare's Tempest. In more specific musical terms, post Renaissance music is seen as incarnation, based on the duality of harmony and propelled by a strongly accentuated beat. Its purpose was communication and expression in contrast to pre-Renaissance music, recognized by the author as magic in character, and revelatory in essence. This earlier music is characterized by essentially JOHANNESRIEDEL monodic, incantatory molodies and by University of Minnesota subtle and complex rhythms that usually counteract the beat and periodicity. Caliban Reborn: Renewal in Oriental and African music, according to the author, are based in general on Twentieth-Century Music. By Wil- the qualities of pre-Renaissance music, frid Mellers. New York: Harper & which are recognized as the forces of Row, 1967; xviii + 195 pp. Vol. 36 to regeneration. These were in the series “World Perspectives, ” the fore for the first time brought in Europe Ed. by Ruth Nanda Anshen. in recent times by Debussy, recognized British essayistson music from Bur- by the author as a key figure in the ney through Shaw and Tovey always new music. Debussy's acceptance of excelled in illuminating music through the sensory moment as an end in itself literary allusions and analogies, exhib- is considered as a highly significant iting at the same time a keen aware- step toward a new concept of time, and ness of the complex historical and concomitantly, of music. Additional social forces that influence the course sources of spiritual renewal are seen of music history. Wilfrid Mellers has in Stravinsky's and Orff's rediscoveries of a spring-likerenewal. The broader </meta-value></custom-meta></custom-meta-wrap></article-meta></front></article></istex:document></istex:metadataXml><mods version="3.6"><titleInfo lang="en"><title>Renaissance and Baroque Music: A Comprehensive Survey</title></titleInfo><titleInfo type="alternative" lang="en" contentType="CDATA"><title>Renaissance and Baroque Music: A Comprehensive Survey</title></titleInfo><name type="personal"><namePart type="given">Johannes</namePart><namePart type="family">Riedel</namePart><affiliation>University of Minnesota</affiliation></name><typeOfResource>text</typeOfResource><genre type="review-article" displayLabel="review-article" authority="ISTEX" authorityURI="https://content-type.data.istex.fr" valueURI="https://content-type.data.istex.fr/ark:/67375/XTP-L5L7X3NF-P">review-article</genre><originInfo><publisher>SAGE Publications</publisher><place><placeTerm type="text">Sage CA: Los Angeles, CA</placeTerm></place><dateIssued encoding="w3cdtf">1970-04</dateIssued><copyrightDate encoding="w3cdtf">1970</copyrightDate></originInfo><language><languageTerm type="code" authority="iso639-2b">eng</languageTerm><languageTerm type="code" authority="rfc3066">en</languageTerm></language><relatedItem type="host"><titleInfo><title>Journal of research in music education</title></titleInfo><genre type="journal" authority="ISTEX" authorityURI="https://publication-type.data.istex.fr" valueURI="https://publication-type.data.istex.fr/ark:/67375/JMC-0GLKJH51-B">journal</genre><identifier type="ISSN">0022-4294</identifier><identifier type="eISSN"></identifier><identifier type="PublisherID">JRM</identifier><identifier type="PublisherID-hwp">spjrm</identifier><part><date>1970</date><detail type="volume"><caption>vol.</caption><number>18</number></detail><detail type="issue"><caption>no.</caption><number>1</number></detail><extent unit="pages"><start>85</start><end>87</end></extent></part></relatedItem><identifier type="istex">CBECAE8793AE0A3752B670EA8FAB5D5050E821B8</identifier><identifier type="ark">ark:/67375/M70-C1LHG3ZT-P</identifier><identifier type="DOI">10.2307/3344363</identifier><identifier type="ArticleID">10.2307_3344363</identifier><recordInfo><recordContentSource authority="ISTEX" authorityURI="https://loaded-corpus.data.istex.fr" valueURI="https://loaded-corpus.data.istex.fr/ark:/67375/XBH-0J1N7DQT-B">sage</recordContentSource></recordInfo></mods><json:item><extension>json</extension><original>false</original><mimetype>application/json</mimetype><uri>https://api.istex.fr/document/CBECAE8793AE0A3752B670EA8FAB5D5050E821B8/metadata/json</uri></json:item></metadata><serie></serie></istex></record>Pour manipuler ce document sous Unix (Dilib)
EXPLOR_STEP=$WICRI_ROOT/Wicri/Musique/explor/DebussyV1/Data/Istex/Corpus
HfdSelect -h $EXPLOR_STEP/biblio.hfd -nk 002092 | SxmlIndent | more
Ou
HfdSelect -h $EXPLOR_AREA/Data/Istex/Corpus/biblio.hfd -nk 002092 | SxmlIndent | more
Pour mettre un lien sur cette page dans le réseau Wicri
{{Explor lien
|wiki= Wicri/Musique
|area= DebussyV1
|flux= Istex
|étape= Corpus
|type= RBID
|clé= ISTEX:CBECAE8793AE0A3752B670EA8FAB5D5050E821B8
|texte= Renaissance and Baroque Music: A Comprehensive Survey
}}
| This area was generated with Dilib version V0.6.33. |  |