Terminologia tecnica e riappropriazione concettuale: le polifonie medievali come laboratorio compositivo
DOI:
https://doi.org/10.13130/2035-7362/805Abstract
Gli studi di Simha Arom sulla polifonia africana ha avuto un notevole impatto sulla cultura occidentale, in modo particolare con riferimento alla teoria ritmica della composizione. Scopo principale di questo studio è discutere la relazione fra la comparsa di termini antichi relativi alla teoria musicale e l’effettiva possibilità di descriverli in contesti musicali moderni.
In che modo si possono usare concetti come talea, color, organum nella descrizione di strutture ritmiche concepite al di fuori della teoria canonica occidentale? Gli scritti di Arom mostrano come oggi sia ancora possibile individuare un nesso tra modelli africani di scansione ritmica e il concetto occidentale di dissonanza temporale: ma qual è il ruolo della percezione all’interno di questa descrizione?
Simha Arom’s Studies in African Polyphony had a great impact in Western Culture, especially inside the Rhythmic Theory of Composition: the main aim of this work is a discussion about the relationships between the occurrences of ancient terms connected to music theory and the strength possibility of description in modern music contexts.
How can we use concepts like Talea, Color, Organum in the description of rhythmical structures conceived outside the western canonical theory? The Arom’s writings show us that today is still possible to establish a link between African models of Rhythmical periods and the Western Concept of temporal dissonance: but what is the role of perception inside this description?Downloads
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