https://lodel.appli.univ-poitiers.fr:443/textus-et-musica/index.php?id=577 Index de music fr 0 https://lodel.appli.univ-poitiers.fr:443/textus-et-musica/index.php?id=565 Notre première erreur de lecture de la poésie du Siècle d’Or espagnol est de faire comme si elle avait été composée par écrit, pour être lue silencieusement alors que la documentation prouve qu’elle était composée pour et par la musique. C’est ainsi dans le De Musica libri septem de Francisco de Salinas que l’on trouve la description d’une erreur de métrique, la juxtaposition de deux accents toniques dans le vers, décrite comme une dissonance selon un paradigme (douceur / âpreté) qui est aussi celui de la rhétorique hermogénienne. Cependant, cette erreur est utilisée en poésie de même que la dissonance par les madrigalistes, à des fins expressives. Il en va de même pour l’enjambement. L’erreur devient ainsi procédé poétique. Our main error as we read Spanish Golden Age poetry is to assume it was composed on paper, in order to be read silently, whereas all the historical evidence proves that poetry was composed with and for music. Thus it is in Francisco de Salinas’ De musica libri septem that we can find the description of a metrical error – two consecutive stressed syllables – as a dissonance, according to the framework (harshness/sweetness) that is also the paradigm for hermogenian rhetorics. However, this error is used in poetry in the same way as dissonance by madrigal composers, for expressive purposes, and the same is true of enjambement. Thus error becomes a poetic device. jeu., 08 oct. 2020 14:56:46 +0200 jeu., 01 avril 2021 13:58:05 +0200 https://lodel.appli.univ-poitiers.fr:443/textus-et-musica/index.php?id=565 https://lodel.appli.univ-poitiers.fr:443/textus-et-musica/index.php?id=437 Nel saggio vengono esaminati gli errori che commettevano i compositori e chi produceva libri di musica in Italia tra Cinquecento e Seicento. Gli errori dei compositori venivano rilevati da altri compositori, con censure diffuse per iscritto, oppure in pubbliche disfide in presenza di giudici e testimoni. Gli errori legati al processo della stampa si presentavano invece sia a livello di paratesto (dimenticando o invertendo lettere e numeri nei frontespizi), sia a livello di testo (omettendo alterazioni, o sbagliando note e parole). Il saggio si conclude discutendo errore e fraintendimenti di esecutori e di ascoltatori, sia quelli testimoniati dalle fonti del tempo, sia quelli che si possono notare nelle odierne riprese della musica antica. Our paper examines the errors made by composers and book-makers in 16th- and 17th-century Italy. Errors made by composers were denounced by other composers, through the diffusion of written censures, or during public challenges in the presence of judges and witnesses. Errors made during the printing process can be found both in the paratext (forgotten or inverted letters and numbers in the title page) and in the text itself (omission of alterations or mistaken notes and words). Our paper ends with a discussion of errors and misunderstandings made by performers and listeners, including both those contemporary to the music, and others committed in modern performances of early music. ven., 04 sept. 2020 13:59:16 +0200 ven., 05 mars 2021 11:45:46 +0100 https://lodel.appli.univ-poitiers.fr:443/textus-et-musica/index.php?id=437