CUATRO ACOTACIONES SOBRE TEORÍA DE LA MÚSICA Y RESEÑA DE LA MESA VII

Renaissance art was a fascinating mosaic of symbols, in which the secular and the sacred were often intermingled with and influenced each other. Knowledge of these symbols in the two areas, while advanced in the visual arts, is still at an embryonic stage in the musical arts. One of the richest sour...

Full description

Saved in:
Bibliographic Details
Published in:Revista de musicología 2010, Vol.33 (1/2), p.11-26
Main Author: Medina
Format: Article
Language:eng ; spa
Subjects:
Dissonance
Gregorian Chant
Mary, Blessed Virgin, Saint
Masses (Music)
Motives
Music Theory
Musical Analysis
Religious Influences
Renaissance Music
Symbolism
Women
Online Access:Get full text
Tags: Add Tag
No Tags, Be the first to tag this record!
Description
Summary:Renaissance art was a fascinating mosaic of symbols, in which the secular and the sacred were often intermingled with and influenced each other. Knowledge of these symbols in the two areas, while advanced in the visual arts, is still at an embryonic stage in the musical arts. One of the richest sources of inspiration in Renaissance music was founded in the duality of beloved woman/Virgin Mary, which originated in the symbolism surrounding the dichotomy between the seven joys and sorrows of Mary. This article addresses the localization of certain melodic and harmonic motifs that constitute the common denominator of works about Mary and the woman, love and pain. A melodic theme from the Gregorian "Kyrie" of the "Missa de Beata Virgine" appears in secular and religious works such as "Susanne un jour" or "Con qué la lavaré"; between the harmonic twists, Medina Álvarez studies the use of a special kind of dissonance in the clauses. All this forms a specific language around the woman and the Virgin Mary, the lost and unrequited love, beauty and virtue, or misery and pain.
ISSN:0210-1459
DOI:10.2307/41959302