{"id":29748,"date":"2023-09-07T10:20:05","date_gmt":"2023-09-07T08:20:05","guid":{"rendered":"https:\/\/www.revuemusicale.ch\/?p=29748"},"modified":"2023-11-16T16:31:14","modified_gmt":"2023-11-16T15:31:14","slug":"geay-donglois","status":"publish","type":"post","link":"https:\/\/www.revuemusicale.ch\/it\/critiques\/livres-et-partitions\/2023\/09\/geay-donglois","title":{"rendered":"Risolvere come nel Medioevo, improvvisare come nel Rinascimento"},"content":{"rendered":"
\"\"
La mano guida in un manoscritto del 1274. Biblioteca Ambrosiana, Milano, Italia, MS D.75 inf, fol. 6r\/wikimedia<\/a><\/figcaption><\/figure>\n

Sarebbe possibile eseguire opere romantiche in concerto o su disco, per esempio, senza una padronanza della teoria musicale e una conoscenza di base di come interpretare lo stile? Pu\u00f2 sembrare improbabile, ma \u00e8 una realt\u00e0 per un numero non trascurabile di musicisti che suonano o cantano brani medievali utilizzando trascrizioni moderne, che purtroppo non sempre sono affidabili, o almeno spesso non consentono una riproduzione ottimale. Finora non esisteva un vero e proprio metodo per introdurre i principi fondamentali della solmisazione inventata da Guido d'Arezzo, n\u00e9 a livello teorico n\u00e9 a livello pratico. Nel suo libro, pubblicato da Sym\u00e9trie, G\u00e9rard Geay, che \u00e8 stato, tra l'altro, fondatore e direttore del dipartimento di musica antica del CNSM di Lione e decano del Centre de Musique Ancienne di Ginevra, colma questa lacuna, basando il suo approccio sui trattati del XIII secolo.e<\/sup> al 15e<\/sup> Il libro contiene anche una serie di utili esercizi per garantire che l'apprendimento non rimanga puramente astratto. Professionisti o dilettanti, gli esecutori di musica tardo-medievale e del primo Rinascimento troveranno in questo libro una solida base per affrontare un repertorio che, pur essendosi notevolmente evoluto nel tempo, ha mantenuto le stesse basi teoriche per tutto il periodo. Non solo esacordi e muances non avranno segreti per loro, ma saranno anche introdotti alle sottigliezze dell'uso delle alterazioni (musica ficta) che, non essendo tutte annotate, potrebbero generare anacronismi a causa della loro eventuale assenza. Se necessario, tutti gli esercizi possono essere ascoltati su internet, registrati dall'Ensemble Musica Nova de Lyon.\"\"
\nCon lo stesso editore, il cornettista William Dongois ha scritto un libro dedicato allo studio dell'improvvisazione nella musica rinascimentale. Avendo suonato in diversi eccellenti ensemble di musica antica, tra cui Le Concert Bris\u00e9, da lui fondato, e insegnato cornetta e ornamentazione all'HEM di Ginevra, dove ha diretto diversi progetti di ricerca sulle diminuzioni, l'autore ha una padronanza ideale dell'argomento: sotto forma di quaderno di lavoro, fornisce le indicazioni necessarie ed essenziali per imparare a improvvisare figure e formule, fino ad arrivare, una volta integrata questa pratica, a eseguire queste diminuzioni in modo naturale, senza bisogno di alcuna operazione mentale. Accompagnato da raccomandazioni pedagogiche disinibitorie, l'approccio proposto \u00e8 adatto sia a chi non ha mai coltivato l'improvvisazione in alcuno stile - una sorta di porta d'ingresso a quest'arte dell'istantaneo - sia a chi \u00e8 pi\u00f9 avanzato e desidera perfezionare le proprie capacit\u00e0 o migliorare la propria interpretazione e comprensione della musica antica. Questo approccio pu\u00f2 essere adattato alle esigenze e ai desideri individuali dei lettori ed \u00e8 destinato a tutti gli strumentisti e cantanti.\"\"<\/p>\n

G\u00e9rard Geay: Une m\u00e9thode de solf\u00e8ge m\u00e9di\u00e9val (XIIIe-XVe si\u00e8cles), 208 p., \u20ac 40,00, Editions Sym\u00e9trie, Lyon 2022, ISBN 978-2-36485-107-8<\/em><\/p>\n

William Dongois: Apprendre \u00e0 improviser avec la musique de la Renaissance, 65 p., \u20ac 25,00, Editions Sym\u00e9trie, Lyon 2022, ISBN 978-2-36485-101-6<\/em><\/p>","protected":false},"excerpt":{"rendered":"

Due metodi pubblicati da Sym\u00e9trie: uno riguarda la pratica della solmisazione, l'altro quella della diminuzione.<\/p>","protected":false},"author":1,"featured_media":29752,"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":[1762,1763,1764,1760,1761],"class_list":["post-29748","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-critiques","category-livres-et-partitions","tag-gerard-geay","tag-improvisation","tag-renaissance","tag-solfege-medieval","tag-william-dongois"],"acf":[],"yoast_head":"\nSolfier comme 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