{"id":23141,"date":"2017-03-28T00:00:00","date_gmt":"2017-03-27T22:00:00","guid":{"rendered":"https:\/\/www.revuemusicale.ch\/blog\/2017\/03\/28\/traditions-musicales-religieuses\/"},"modified":"2024-08-16T11:50:44","modified_gmt":"2024-08-16T09:50:44","slug":"traditions-musicales-religieuses","status":"publish","type":"post","link":"https:\/\/www.revuemusicale.ch\/it\/critiques\/livres-et-partitions\/2017\/03\/traditions-musicales-religieuses","title":{"rendered":"Tradizioni musicali religiose"},"content":{"rendered":"<figure style=\"width: 554px\" class=\"wp-caption alignnone\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.revuemusicale.ch\/wp-content\/uploads\/2023\/01\/Ruth_flickr.jpg\" alt=\"\" width=\"554\" height=\"415\" \/><figcaption class=\"wp-caption-text\">Derviscio vorticoso. Foto: Ruth\/flickr.com<\/figcaption><\/figure>\n<div class=\"text-section\">\n<p>L'autore di questo libro, pensato per far conoscere al grande pubblico la musica sacra di diverse tradizioni religiose, \u00e8 prima di tutto un appassionato conoscitore della world music. \u00c8 evidente il suo entusiasmo nel raccontare e trasmettere la sua ammirazione e la sua conoscenza dell'argomento. Capitoli come quelli dedicati ai canti delle Chiese orientali, agli spirituals e ai gospel negri, alla musica sacra dell'Islam e dell'Ebraismo, e molti altri, invitano alla scoperta e forniscono un ottimo primo approccio a questa musica, che solo recentemente ha cominciato a essere apprezzata in Occidente. L'autore sembra invece meno a suo agio nei capitoli dedicati alla musica occidentale. Vi si ritrova certamente lo stesso fervore, ma alcuni dettagli non ingannano, a cominciare dall'uso di alcuni aggettivi vuoti (superbo, sublime, magnifico) che non sostituiscono una vera descrizione, o da alcune imprecisioni di linguaggio (\"parti polifoniche del plainsong\", p. 64). Alcuni sorprendenti errori ci fanno rimpiangere che l'autore non abbia controllato con pi\u00f9 attenzione le sue fonti (Telemann si candid\u00f2 per il posto di cantore a Lipsia e non di \"organista titolare\"), controllato la coerenza (la famosa decretale di Giovanni XXII che condanna l'Ars nova cambia nome e data a p. 81, mentre queste indicazioni sono quasi corrette a p. 38 e 94 - si noti che questo papa fu eletto nel 1316, e non nel 1314 come erroneamente indicato a p. 36) o controllato le partiture (il testo \u00e8 stato pubblicato a p. 36). 36) o consultato le partiture (Ouverture orchestrale <em>La Grande Pasqua russa<\/em> di Rimsky-Korsakov citato come opera liturgica, i clarinetti sono stati erroneamente aggiunti alla strumentazione dell'orchestra. <em>Messa in B <\/em>di Bach, mentre il corno da caccia \u00e8 dimenticato), per fare solo qualche esempio. Allo stesso modo, non ci si pu\u00f2 che stupire che non vengano citati i nomi di Schubert o Mendelssohn, le cui opere sacre sono molto pi\u00f9 essenziali di quelle di Bach. <em>Requiem per la pace<\/em> di Henri Tomasi, tutt'altro che imperdibile, a cui \u00e8 dedicata un'intera pagina. In conclusione, dovremmo cercare di dimenticare le imperfezioni del primo quarto del libro e goderci il resto, tanto pi\u00f9 che anche la sezione dedicata alla musica occidentale del XX secolo \u00e8 di livello superiore e pi\u00f9 accurata.<\/p>\n<p>Va notato che i monoteismi fanno la parte del leone - pi\u00f9 di due terzi del libro - e si potrebbe preferire che le ricche tradizioni della Cina e del Giappone siano commentate in pi\u00f9 di sei e quattro pagine rispettivamente. Il taoismo e il confucianesimo sono brevemente accennati, il mazdeismo e lo shint\u014d appena accennati e il giainismo e il sikhismo totalmente assenti. \u00c8 un peccato, ma l'autore si fa perdonare nelle sezioni dedicate alla musica sacra dell'induismo e delle liturgie buddiste, nonch\u00e9 a vari rituali e culti animisti e sciamanici (da Cuba, Haiti, Mali, Siberia, ecc.) e persino al jazz. Alla fine di ogni capitolo, con una sola eccezione, un interprete specializzato nel repertorio in questione risponde a una o pi\u00f9 domande, mentre un elenco di CD selezionati incoraggia l'approfondimento di quanto appreso attraverso la lettura.<\/p>\n<\/div>\n<div class=\"text-section\">\n<dl class=\"picture media photo\">\n<dt><img decoding=\"async\" class=\"media photo aligncenter\" src=\"https:\/\/www.revuemusicale.ch\/wp-content\/uploads\/2023\/01\/Religions.jpg\" alt=\"Image \" \/><\/dt>\n<\/dl>\n<\/div>\n<div class=\"text-section\">\n<p><em>G\u00e9rard Kurkdjian: Le Grand Livre des musiques sacr\u00e9es du monde, 432 p., \u20ac 23,90, Editions Albin Michel, Paris 2016, EAN13 9782226326294<\/em><\/p>\n<\/div>","protected":false},"excerpt":{"rendered":"<p><strong>Questo libro, di qualit\u00e0 non uniforme, \u00e8 un invito appassionato a scoprire la musica sacra del mondo.<\/strong><\/p>","protected":false},"author":1,"featured_media":23142,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_relevanssi_hide_post":"","_relevanssi_hide_content":"","_relevanssi_pin_for_all":"","_relevanssi_pin_keywords":"","_relevanssi_unpin_keywords":"","_relevanssi_related_keywords":"","_relevanssi_related_include_ids":"","_relevanssi_related_exclude_ids":"","_relevanssi_related_no_append":"","_relevanssi_related_not_related":"","_relevanssi_related_posts":"","_relevanssi_noindex_reason":"","pgc_sgb_lightbox_settings":"","footnotes":""},"categories":[1614,1616],"tags":[],"class_list":["post-23141","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-critiques","category-livres-et-partitions"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.2 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Traditions 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