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L’aria barocca made in Italy: interpretazione antropologica di un modello

Type of publication Peer-reviewed
Publikationsform Original article (peer-reviewed)
Author Garavaglia Andrea,
Project Air d’opéra (XVIIe-XVIIIe siècles) et structure temporelle de l’expérience émotionnelle
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Original article (peer-reviewed)

Journal Schweizer Jahrbuch für Musikwissenschaft / Annales Suisses de Musicologie / Annuario Svizzero di Mus
Volume (Issue) 32
Page(s) 195 - 218
Title of proceedings Schweizer Jahrbuch für Musikwissenschaft / Annales Suisses de Musicologie / Annuario Svizzero di Mus

Abstract

The opera aria, having to express the emotional and reflective feeling of a subject, is the result of factors which are not only related to the production system, but also to anthropological and cultural codes belonging to the people who employ it. Dramaturgical poetics, rhetorical formulas, and formal structure are the elements through which the aria em bodies these codes, becoming a symbolic projection of how a specific population conceives and represents the reaction of an individual in an existential instant and in a specific relational context. In order to consider the anthropological factors that may have affected the musical elaboration of the aria, it is useful to examine contemporary stereotypes about the temperaments of people in each nation, which were often used at that time to explain differences in the artistic productions of various countries. After a rereading of the querelle, straddling the 17th and 18th centuries, on the superiority of ltalian or French opera, I reflect on the relationship between emotional stereotypes attributed to Italians and the compositional aspects that characterize perception, especially the transalpine one, regarding the Italian aria, in contrast with the French one. More generally, my objective is to study in depth the interrelationship between formal strategies and the specificity of “national” anthropological cultures.
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