Sémiotique et rhétorique musicales : la Fantaisie en ré mineur de Mozart
Identifieur interne : 000104 ( PascalFrancis/Curation ); précédent : 000103; suivant : 000105Sémiotique et rhétorique musicales : la Fantaisie en ré mineur de Mozart
Auteurs : Nicolas Meeùs ; Jean-Pierre BartoliSource :
- Protée [ 1708-2307 ] ; 2010.
Abstract
The Fantasy KV 397 is examined from two distinct but complementary points of view. The first approach is analytic, inspired by the work of Heinrich Schenker (1868-1935) who, as early as 1930, had anticipated in the realm of music analysis some concepts of generative grammar, describing the musical work as the unfolding of a deep structure that he called Ursatz, original structure . Despite the diversity inherent in the writing of a Fantasy, this work evidences a deep unity arising from the fact that each of its parts derives from the same original structure. The second approach considers the same work from the point of view of a general rhetoric inspired by the Groupe μ, but also by theories of Leonard Meyer (1918-2007). The work is confronted here to processes of the creation of expectations, of the breaking of isotopies, of the realization of the implications, of proversive and retroversive reevaluations, as well as to the implementation of known stylistic categories (cantabile, orchestral tutti, antecedent/consequent). Both analyses, each in its own way, describe a purely musical plot that could not effectively be treated by a narratological study: technical characteristics of Mozart's writing indicate why the work remained unfinished.
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<record><TEI><teiHeader><fileDesc><titleStmt><title xml:lang="fr" level="a">Sémiotique et rhétorique musicales : la Fantaisie en ré mineur de Mozart</title><author><name sortKey="Meeus, Nicolas" sort="Meeus, Nicolas" uniqKey="Meeus N" first="Nicolas" last="Meeùs">Nicolas Meeùs</name><affiliation><wicri:noCountry>no AF</wicri:noCountry></affiliation></author><author><name sortKey="Bartoli, Jean Pierre" sort="Bartoli, Jean Pierre" uniqKey="Bartoli J" first="Jean-Pierre" last="Bartoli">Jean-Pierre Bartoli</name><affiliation><wicri:noCountry>no AF</wicri:noCountry></affiliation></author></titleStmt><publicationStmt><idno type="wicri:source">INIST</idno><idno type="inist">13-0087253</idno><date when="2010">2010</date><idno type="stanalyst">PASCAL 13-0087253 INIST</idno><idno type="RBID">Pascal:13-0087253</idno><idno type="wicri:Area/PascalFrancis/Corpus">000028</idno><idno type="stanalyst">FRANCIS 13-0087253 INIST</idno><idno type="wicri:Area/PascalFrancis/Corpus">000035</idno><idno type="wicri:Area/PascalFrancis/Curation">000104</idno></publicationStmt><sourceDesc><biblStruct><analytic><title xml:lang="fr" level="a">Sémiotique et rhétorique musicales : la Fantaisie en ré mineur de Mozart</title><author><name sortKey="Meeus, Nicolas" sort="Meeus, Nicolas" uniqKey="Meeus N" first="Nicolas" last="Meeùs">Nicolas Meeùs</name><affiliation><wicri:noCountry>no AF</wicri:noCountry></affiliation></author><author><name sortKey="Bartoli, Jean Pierre" sort="Bartoli, Jean Pierre" uniqKey="Bartoli J" first="Jean-Pierre" last="Bartoli">Jean-Pierre Bartoli</name><affiliation><wicri:noCountry>no AF</wicri:noCountry></affiliation></author></analytic><series><title level="j" type="main">Protée</title><idno type="ISSN">1708-2307</idno><imprint><date when="2010">2010</date></imprint></series></biblStruct></sourceDesc><seriesStmt><title level="j" type="main">Protée</title><idno type="ISSN">1708-2307</idno></seriesStmt></fileDesc><profileDesc><textClass></textClass></profileDesc></teiHeader><front><div type="abstract" xml:lang="en">The Fantasy KV 397 is examined from two distinct but complementary points of view. The first approach is analytic, inspired by the work of Heinrich Schenker (1868-1935) who, as early as 1930, had anticipated in the realm of music analysis some concepts of generative grammar, describing the musical work as the unfolding of a deep structure that he called Ursatz, original structure . Despite the diversity inherent in the writing of a Fantasy, this work evidences a deep unity arising from the fact that each of its parts derives from the same original structure. The second approach considers the same work from the point of view of a general rhetoric inspired by the Groupe μ, but also by theories of Leonard Meyer (1918-2007). The work is confronted here to processes of the creation of expectations, of the breaking of isotopies, of the realization of the implications, of proversive and retroversive reevaluations, as well as to the implementation of known stylistic categories (cantabile, orchestral tutti, antecedent/consequent). Both analyses, each in its own way, describe a purely musical plot that could not effectively be treated by a narratological study: technical characteristics of Mozart's writing indicate why the work remained unfinished.</div></front></TEI><inist><standard h6="B"><pA><fA01 i1="01" i2="2"><s0>1708-2307</s0></fA01><fA05><s2>38</s2></fA05><fA06><s2>1</s2></fA06><fA08 i1="01" i2="1" l="FRE"><s1>Sémiotique et rhétorique musicales : la Fantaisie en ré mineur de Mozart</s1></fA08><fA09 i1="01" i2="1" l="FRE"><s1>Le Groupe μ entre rhétorique et sémiotique</s1></fA09><fA11 i1="01" i2="1"><s1>Meeùs (Nicolas)</s1></fA11><fA11 i1="02" i2="1"><s1>Bartoli (Jean-Pierre)</s1></fA11><fA12 i1="01" i2="1"><s1>BADIR (Sémir)</s1><s9>ed.</s9></fA12><fA12 i1="02" i2="1"><s1>DONDERO (Maria Giulia)</s1><s9>ed.</s9></fA12><fA20><s1>55-64</s1></fA20><fA21><s1>2010</s1></fA21><fA23 i1="01"><s0>FRE</s0></fA23><fA24 i1="01"><s0>eng</s0></fA24><fA43 i1="01"><s1>EN_LIGNE</s1><s5>354000606147740007</s5></fA43><fA44><s0>0000</s0><s1>© 2013 INIST-CNRS. All rights reserved. Tous droits réservés © Département des arts et lettres - Université du Québec à Chicoutimi, 2010</s1></fA44><fA45><s0>15</s0></fA45><fA47 i1="01" i2="1"><s0>13-0087253</s0></fA47><fA60><s1>P</s1></fA60><fA61><s0>A</s0></fA61><fA64 i1="01" i2="2"><s0>Protée</s0></fA64><fA65><s0>07</s0></fA65><fA66 i1="01"><s0>CAN</s0></fA66><fA99><s0>$$URL.http://id.erudit.org/iderudit/039702ar</s0></fA99><fC01 i1="01" l="ENG"><s0>The Fantasy KV 397 is examined from two distinct but complementary points of view. The first approach is analytic, inspired by the work of Heinrich Schenker (1868-1935) who, as early as 1930, had anticipated in the realm of music analysis some concepts of generative grammar, describing the musical work as the unfolding of a deep structure that he called Ursatz, original structure . Despite the diversity inherent in the writing of a Fantasy, this work evidences a deep unity arising from the fact that each of its parts derives from the same original structure. The second approach considers the same work from the point of view of a general rhetoric inspired by the Groupe μ, but also by theories of Leonard Meyer (1918-2007). The work is confronted here to processes of the creation of expectations, of the breaking of isotopies, of the realization of the implications, of proversive and retroversive reevaluations, as well as to the implementation of known stylistic categories (cantabile, orchestral tutti, antecedent/consequent). Both analyses, each in its own way, describe a purely musical plot that could not effectively be treated by a narratological study: technical characteristics of Mozart's writing indicate why the work remained unfinished.</s0></fC01><fC01 i1="02" l="FRE"><s0>La Fantaisie KV 397 est examinée ici de deux points de vue différents mais complémentaires.La première approche est d'ordre analytique, inspirée par les travaux d'Heinrich Schenker (1868-1935) qui, dès 1930, avait anticipé dans le domaine de l'analyse musicale les concepts de la grammaire générative, décrivant l'oeuvre musicale comme le déploiement d'une structure profonde qu'il appelait Ursatz, « structure originelle ». Malgré la variété inhérente à l'écriture d'une Fantaisie, cette oeuvre manifeste une unité profonde dans le fait que chacune des parties dérive de la même structure originelle. La deuxième approche envisage la même oeuvre du point de vue d'une rhétorique générale inspirée du Groupe μ, mais aussi des théories de Leonard Meyer (1918-2007). L'oeuvre est examinée ici en fonction de processus de création d'attentes, de ruptures d'isotopie, puis de résolution des attentes, de réévaluations proversives et rétroversives, ainsi que de la mise en oeuvre de catégories stylistiques établies (cantabile, tutti orchestral, antécédent/conséquent). Les deux analyses décrivent, chacune à sa manière, une intrigue proprement musicale, qui ne pourrait être traitée efficacement par une étude de type narratologique : les caractéristiques techniques de l'écriture mozartienne indiquent pourquoi l'oeuvre est demeurée inachevée.</s0></fC01><fC02 i1="01" i2="X"><s0>001A01I</s0></fC02><fN21><s1>056</s1></fN21></pA></standard></inist></record>Pour manipuler ce document sous Unix (Dilib)
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