engleski

Definitions of Music in Late Baroque Music Dictionaries by Brossard, Walther and Grassineau – Parallels and Differences

Three dictionaries published in the first half of the 18th century, during the late Baroque period (S. de Brossard's Dictionaire de Musique, 1705 ; J. G. Walther's Musicalisches Lexicon, 1732, and J. Grassineau's A Musical Dictionary, 1740), represent both the state of musical mind and affairs in their respective national cultures (France, Germany, and England) and a possible object of investigation concerning the articulation of material, scope of interest, and general lexicographical, scholarly and ideological orientation of their compilers. In this, obvious parallels in all three dictionaries can be found in the parts concerning more than fifty 'specific' definitions of music, deriving from the fact that Walther's and Grassineau's dictionaries explicitly followed Brossard's dictionary as their model. To the contrary, 'general' definitions of music in these three dictionaries considerably differ in their articulation and scope, clearly revealing differences in the approaches and writing strategies of their authors, owing to both their personal motivations and respective national music backgrounds. Thus – beside using earlier Renaissance and Classical Antiquity sources – Brossard seems to have been more exposed to contemporary French general linguistic influences (e.g. L. Moreri, P. Bayle), Walther was more deeply rooted in the older quadrivium-style tradition and German 17th-century music theory (e.g. J. H. Buttstett, A. Werckmeister), while Grassineau was mostly influenced by English 17th- and early 18th-century musico-historical and theoretical thought (e.g. A. Malcolm, J. Wallis). The paper will also discuss aspects of 'musica practica', the 'Affektenlehre' and some other issues.

Baroque music definitions; musical dictionaries; S. de Brossard; J.G. Walther; J. Grassineau; 18th century; lexicography

nije evidentirano