From Villoteau to Saint-Saens. An Archaeology of Ancient Music in the 19th Century.
IFAO| N° d'inventaire | 31364 |
| Format | 16 x 23.8 |
| Détails | 412 p., paperback |
| Publication | Cairo, 2024 |
| Etat | Nine |
| ISBN | 9782724710175 |
The 19th century century is a crucial moment for the knowledge of ancient music: the discovery of fragments of Greek musical notation and the study of theoreticians' treatises provide an opportunity to revisit the music of the Ancients, while excavations in Pompeii and Egypt unearth the remains of instruments that are quickly commented on. It is now the time of the first syntheses on the history of music under the impetus of German, English, Belgian, French and Italian scholars. Artists and composers draw inspiration from the latest discoveries to try to recreate music "in the ancient style", whether in the visual arts, in the theater or in the opera.
The context is favorable: history and musicology are established as disciplines and reconstructions of lost musical instruments are multiplying, but the taste for orientalism and the romantic quest for origins are lastingly influencing the perception of contemporaries. This work seeks to track the sources used and to understand the methodologies implemented. The authors strive to scrutinize the conceptions of a founding period of "musical archaeology" on which current research sometimes still depends.
The 19th century century is a crucial moment for the knowledge of ancient music: the discovery of fragments of Greek musical notation and the study of theoreticians' treatises provide an opportunity to revisit the music of the Ancients, while excavations in Pompeii and Egypt unearth the remains of instruments that are quickly commented on. It is now the time of the first syntheses on the history of music under the impetus of German, English, Belgian, French and Italian scholars. Artists and composers draw inspiration from the latest discoveries to try to recreate music "in the ancient style", whether in the visual arts, in the theater or in the opera.
The context is favorable: history and musicology are established as disciplines and reconstructions of lost musical instruments are multiplying, but the taste for orientalism and the romantic quest for origins are lastingly influencing the perception of contemporaries. This work seeks to track the sources used and to understand the methodologies implemented. The authors strive to scrutinize the conceptions of a founding period of "musical archaeology" on which current research sometimes still depends.