"Italianità" als musikalisches Phänomen im barocken Europa : zu Opern und Kantaten in Frankreich und Deutschland

Title: "Italianità" als musikalisches Phänomen im barocken Europa : zu Opern und Kantaten in Frankreich und Deutschland
Variant title:
  • "Italianità" as a musical phenomenon in the baroque Europe : on opera and cantata in France and Germany
Author: Jung, Hermann
Source document: Musicologica Brunensia. 2018, vol. 53, iss. Supplementum, pp. 317-323
Extent
317-323
  • ISSN
    1212-0391 (print)
    2336-436X (online)
Type: Article
Language
German
License: Not specified license
 

Notice: These citations are automatically created and might not follow citation rules properly.

Abstract(s)
While the term "Italianità" is originated in the 19th century, it can also be applied to phenomena of Italian music in Europe during the baroque period. When the genres of opera and cantata began to be established in Italy, a remarkable export to other European countries started, especially to France and Germany. Some examples will be shown (L. Rossi, L. N. Clérambault, J. Ph. Rameau, G. Ph. Telemann) in order to discuss the application of subjects, forms and musical styles, and furthermore the development and redefinition. The Orpheus myth and its conversions in libretto and musical adaption will be spotlighted in particular.
Keywords:
eng

References
[1] DE LA MOTTE-HABER, Helga (Hrsg.). Nationaler Stil und europäische Dimension in der Musik der Jahrhundertwende. Darmstadt: Wissenschaftliche Buchgesellschaft, 1991.

[2] JUNG, Hermann. Orpheus und die Musik. Metamorphosen eines antiken Mythos in der europäischen Kulturgeschichte. Berlin: Peter Lang Verlag, 2018.

[3] OESCH, Hans – ARLT, Wulf – HAAS, Max (Hrsg.). Forum musicologicum (= Basler Beiträge zur Musikgeschichte, Bd. 4). Winterthur/Schweiz: Amadeus Verlag, 1984.