La musique médiévale vue par un moderne : la poétique musicale de Charles-Albert Cingria
Charles-Albert Cingria (1883-1954) is not only one of the major French writers from twentieth-century Switzerland (Ramuz’s friend both in the literary and real-life sense) but also an essential contributor to the modern perception of the Middle Ages. One of the major revivalists of the troubadours,...
Shranjeno v:
| izdano v: | URI:https://journals.openedition.org/crmh, |
|---|---|
| Glavni avtor: | |
| Format: | Article ou chapitre numérique |
| Jezik: | Français |
| Izdano: |
Cahiers de recherches médiévales et humanistes
2022
|
| Online dostop: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
| Izvleček: | Charles-Albert Cingria (1883-1954) is not only one of the major French writers from twentieth-century Switzerland (Ramuz’s friend both in the literary and real-life sense) but also an essential contributor to the modern perception of the Middle Ages. One of the major revivalists of the troubadours, he took the presumed repetitiveness of their lyric art as its primary constituent and raison d’être. This notion belonged to his broader scholarly meditation on Gregorian chant which he refused to interpret in the usual ethereal way, as well as a related lionization of jazz and Stravinski – as he saw it, the only twentieth-century heirs to a fundamentally non-sentimental, medieval aesthetic of music. This ‘medieval’ perspective, according to Cingria, was the only ‘normal’ way to envision music. |
|---|