| Titre : |
Guillaume-Gabriel Nivers and the rhetoric of French-Catholic reform |
| Type de document : |
TEXTES |
| Auteurs : |
Alexis VANZALEN |
| Importance : |
271p. |
| Note générale : |
PhD : University of Rochester : 2020 |
| Langues : |
Français (fre) |
| Catégories : |
Personnes concernées
NIVERS, Guillaume-Gabriel
|
| Résumé : |
Organists and scholars have traditionally explained the stylistic characteristics and standard genres of French Baroque organ music as consequences of the timbral and technical capabilities of the organs for which it was written. In 2011, David Ponsford began an important reappraisal of this interpretation by highlighting musical--not physical--influences on each genre. I extend Ponsford's work by encouraging an even broader understanding of the repertoire beyond genre. First, I critique the term frequently used to label this repertoire, "French classical." I do so because its genre system often appears to justify the atypical use of this term instead of "Baroque," more commonly used to label music of the period. The genre system also forms the most "classical" quality of the repertoire according to proponents of the term. Instead, I argue that Norbert Dufourcq's defense of "French classicism" in the 1950s through 1980s emerged from his adherence to an old ideological approach to aesthetics-popular in France earlier in the twentieth century-that viewed classicism as a quality intrinsic to the French nation. I further demonstrate how Dufourcq's defense of "French classicism" fits into a career-long trend of the scholar using musicological work to promote his nation's cultural heritage with a German-dominated field. Next, I place mid-seventeenth century French Baroque organ music within the context of post-Tridentine French liturgical reform. More specifically, I demonstrate the similarities between the organ compositions and chant reform efforts of Guillaume-Gabriel Nivers (c. 1632-1714). For example, Nivers incorporates text painting into his hymn settings for organ and uses ornaments to highlight important words. He employs a variety of registrations, tempos, and characters to create a range of affects and emotions that reflect the associated texts in his versets for the Mass. In his suites, he likewise harnesses all the timbral possibilities of French Baroque organs for their affective potential. Thus I ultimately argue that Nivers first developed much of what became the standardized genre system of French Baroque organ music as part of a broader effort to make liturgical chant and organ music more expressive and rhetorically affective. |
| En ligne : |
http://hdl.handle.net/1802/36212 |
| Permalink : |
https://bibliotheque.cmbv.fr/index.php?lvl=notice_display&id=17590 |
Guillaume-Gabriel Nivers and the rhetoric of French-Catholic reform [TEXTES] / Alexis VANZALEN . - [s.d.] . - 271p. PhD : University of Rochester : 2020 Langues : Français ( fre)
| Catégories : |
Personnes concernées
NIVERS, Guillaume-Gabriel
|
| Résumé : |
Organists and scholars have traditionally explained the stylistic characteristics and standard genres of French Baroque organ music as consequences of the timbral and technical capabilities of the organs for which it was written. In 2011, David Ponsford began an important reappraisal of this interpretation by highlighting musical--not physical--influences on each genre. I extend Ponsford's work by encouraging an even broader understanding of the repertoire beyond genre. First, I critique the term frequently used to label this repertoire, "French classical." I do so because its genre system often appears to justify the atypical use of this term instead of "Baroque," more commonly used to label music of the period. The genre system also forms the most "classical" quality of the repertoire according to proponents of the term. Instead, I argue that Norbert Dufourcq's defense of "French classicism" in the 1950s through 1980s emerged from his adherence to an old ideological approach to aesthetics-popular in France earlier in the twentieth century-that viewed classicism as a quality intrinsic to the French nation. I further demonstrate how Dufourcq's defense of "French classicism" fits into a career-long trend of the scholar using musicological work to promote his nation's cultural heritage with a German-dominated field. Next, I place mid-seventeenth century French Baroque organ music within the context of post-Tridentine French liturgical reform. More specifically, I demonstrate the similarities between the organ compositions and chant reform efforts of Guillaume-Gabriel Nivers (c. 1632-1714). For example, Nivers incorporates text painting into his hymn settings for organ and uses ornaments to highlight important words. He employs a variety of registrations, tempos, and characters to create a range of affects and emotions that reflect the associated texts in his versets for the Mass. In his suites, he likewise harnesses all the timbral possibilities of French Baroque organs for their affective potential. Thus I ultimately argue that Nivers first developed much of what became the standardized genre system of French Baroque organ music as part of a broader effort to make liturgical chant and organ music more expressive and rhetorically affective. |
| En ligne : |
http://hdl.handle.net/1802/36212 |
| Permalink : |
https://bibliotheque.cmbv.fr/index.php?lvl=notice_display&id=17590 |
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