Fiche du document
2014
- 20.500.13089/63iz
Ce document est lié à :
https://hdl.handle.net/20.500.13089/5zau
Ce document est lié à :
https://doi.org/10.4000/books.pup
Ce document est lié à :
info:eu-repo/semantics/altIdentifier/isbn/979-10-365-5060-7
Ce document est lié à :
info:eu-repo/semantics/altIdentifier/isbn/978-2-85399-940-3
info:eu-repo/semantics/openAccess , https://www.openedition.org/12554
Sujets proches
Conation Volition Cetanā Hours (Time) Serious music Musical compositions Art music Musical works Classical music Western music (Western countries) Art music, Western Western art musicCiter ce document
Pierre Iselin, « Chapter 4. The Apology of Music in England (1579-1605) », Presses universitaires de Provence
Partage / Export
Résumé
This chapter examines the social and literary history of a topos, the encomium musicae, at a time of extraordinary creative wealth when two conflicting conceptions of the role of art in social and religious life were in competition, but also at a time of crisis when the transmission of a well-received set of ideas on music and harmony may operate as a transgressive rhetorical Trojan horse, a covert support of the old faith.Shakespeare’s shorthand version of the topos in the Lorenzo speech will thus be contextualized, and related to other discursive practices, as the discourse of praise in early modern England was not only used in a polemical context as ‘defence’ or ‘apology, ’ but contributed to its own reduplication, first through repetition and massive quotation, and second through a specular mode of imitation, praisers being in turn praised by those previously praised (e.g. William Byrd’s “gratification unto Master John Case”). Eventually, particular attention will be paid to the lack of clear divide in the arguments used in either school of thought, to the notion of abuse and to the diversity of responses—textual, cultural and artistic—to the initial attack by Gosson, all showing the social nervousness about such issues.
