The Problem of the Soneto in the Spanish Renaissance Vihuela Books
Scholars of both music and literature agree that the generic term soneto in the Spanish vihuela tablature books had no consistent meaning. However, systematic analysis shows that while the term often does not indicate the musical setting of a sonnet, it almost always indicates settings of hendecasyl...
| Main Author: | |
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| Format: | Electronic Article |
| Language: | English |
| Check availability: | HBZ Gateway |
| Journals Online & Print: | Drawer...
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| Fernleihe: | Fernleihe für die Fachinformationsdienste |
| Published: |
Sixteenth Century Journal Publishers, Inc.
1992
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| In: |
The sixteenth century journal
Year: 1992, Volume: 23, Issue: 4, Pages: 769-789 |
| Online Access: |
Volltext (lizenzpflichtig) Volltext (lizenzpflichtig) |
| Parallel Edition: | Non-electronic
Non-electronic |
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| 520 | |a Scholars of both music and literature agree that the generic term soneto in the Spanish vihuela tablature books had no consistent meaning. However, systematic analysis shows that while the term often does not indicate the musical setting of a sonnet, it almost always indicates settings of hendecasyllabic poems. Book-by-book analysis and consideration of the composers' social milieus also provide a documentary history of the naturalization of the sonnet form in Spain, viewed from the perspective of musicians with only a secondary interest in literature. The investigation confirms expectations such as the gradual ascendancy of Spanish over Italian texts, but also suggests unanticipated results. For example, musical analysis provides evidence for the use of arie per cantar, generic musical settings permitting the singing of any metrically similar poetic text, throughout the sixteenth century, a practice that contradicts contemporary emphasis on the prosaic nature of these poems. | ||
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