“Le concert des voix et des instruments dans le roman pastoral et les nouvelles sentimentales de l'Espagne du siècle d'or”. Le concert des voix et des instruments dans la musique de la Renaissance: actes du XXXIVe Colloque international d'études humanistes: Tours, Centre d'Études Supérieures de la Renaissance 1-11 juillet 1991. Ed. J-M. Vaccaro. Paris: Centre Nationale de Recherche Scientifique, 1995. 619-630.
Previous Next| Publication type | Year | ISBN/ISSN | Bibliog code |
|---|---|---|---|
| Article: book | 1995 | becker1995 |
In both the «Los siete libros de la Diana», authored by the poet and musician Jorge de Montemayor, and the suite of «Los cinco libros de la Diana enamorada», composed around 1565 by Gaspar Gil Polo, poetry and song are linked around a theme of passionate love. After the appearance of the «romancero nuevo» at the beginning of the reign of Felipe IV and Isabel de Borbón, between 1620 and 1635, lutes, viols, harps, and violins were the dominant instruments. Noble instruments were reserved for fanfares at equestrian games and naumachiae (naval war games), or for the entries of inventions that abound in these works. «Saraos» or balls were given over to the viols. Court entertainment went through a decisive evolution towards mythological theater and a quasi-opera that is linked to the «intermedes» and ballets, and towards the accompanied solo air in which the vihuela de mano is replaced not only by guitar ensembles but also by the harp. (RILM/ Duplessy, Françoise)
Composer
Instrument VIHUELA, LUTE, GUITAR, HARP
Century 16CENT
Region SPAIN
Medium
Music genre
Research field MUSIC, SOURCE STUDIES, REPERTORY & STYLE, PERFORMANCE PRACTICE