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Nata Per Morire” Music Memory and Memory of Music in Early Modern Europe

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Nata Per Morire” Music Memory and Memory of Music in Early Modern Europe STEFANO LORENZETTI “Nata per morire” Music memory and memory of music in Early Modern Europe OUTLINE OF THE PROJECT My project aims to appraise the ro e o! memory "ithin the m$sica %iscip& ine !rom a theoretica as "e as practica sta#%point in the Early Mo%ern E$rope' (e re ationship between m$sic a#% memory can be investi+ate% according to fo$r distinct, but a so strictly interre ate%, perspectives- ./ (e re ationship between ora ity a#% "riti#+ in a m$sica "orl% that "as essentia y governe% a#% ma%e inte igible by ora disco$rse' 0/ (e 1%ia o+$e2 bet"een m$sic a#% memory in the mnemotecnic trea& tises, in which aspects o! the m$sica discipline are o!ten discusse%' 3/ (e ro e a#% !$nction o! the art o! memory in the organization, *is$& a i4ation a#% transmission o! m$sica kno" e%+e, "ith particu ar re& +ar% to the E$ropean encyclope%ic perspective o! the sixteenth a#% seventeenth Centuries' 7/ (e ro e a#% f$nction o! the art o! memory in shaping compositiona techni8$e, "ith particu ar re+ard to ex-tempore impro*isationa prac& tices' In my paper in trie% to %eve op, in particu ar, some aspects re ate% to topics 1 a#% 4. (e concept o! ocus communis "il be %iscusse% accor%ing to a "ider perspective, mainly re ate% to topic 3, d$ri#+ the seminar. 1 Inverting musical development: from Literacy to Orality through Memory No Musical O !ects, no Musical Renaissance To try to re&examine, more than 9!ty years a!ter its !orm$ atio#, the theory by Nino Pirrota attesting to the existence o! a 1"ritte#2 a#% 1$#"rit& te#2 tra%ition, which interact in shaping the context o! m$sica experience, in Ita y, %$ri#+ the Fifteenth Century, might seem s$bstantia y $se ess, )$t the conceptua !rame"ork on "hich this theory "as ater co%i9e% a#% %eve ope% by !o o"ers a#% p$pils o! the +reat Ita ian m$sico o+ist has ha% an e#%$ring ife in shaping the historio+raphica debate o! contemporary m$sico o+y' From the perspective o! the re ationship bet"een m$sic a#% memory, I am particu arly intereste%, in %iscussing the basic concepts on "hich the theory "as %eve ope%, beca$se these basic concepts exte#% their i#:$ence, as an interpretative too , !ar beyo#% the context o! the Fifteenth Century Ita i& an m$sic. At the core o! the conceptua !rame"ork there is a %$a istic a#% anti& thetica approach- native Italian music vers$s foreign $ranco-$lemish music; %umanism vers$s &cholasticism; 'olyphony vers$s 'seudo-polyphony; a#% 9& na y, the most important antithesis- (ritten vers$s )nwritten. Tis antithet& ica series o! concepts pro%$ce two diferent tra%itions, "hich act in the same context. 2 First o! a "hat abo$t the +enera context? I, obvio$s y, abstain my& se ! !rom %iscussing the historio+raphica concept o! Renaissance: in this per& spective, it "il be s$>cient to reca , that the theory "as e aborate% to e6& p ain the apparent absence o! Ita ian "ritten m$sic %$ring the ?$attrocento, "hich "as consi%ere% the +o %en century o! the Ita ian Renaissance. In this +o %en century, in !act, "e 9#% p enty o! "o#%erf$ artistic objects: paint& i#+s, )$i %ings, scu pt$res, a#% iterary texts. A#% m$sic? U#!ortunate y Ita ian m$sic has no objects to a%% to this "o#%erf$ +a ery, beca$se, as re& cently state% by a %isting$ish Ita ian scho ar, a p$pil o! Pirrotta, Ita ian m$& sic @re+ressing to pure y performative activities not inte#%e% !or "ritte# transmissio#A B@re+re%isce a% attività puramente per!ormativa non %estinata a a trasmissione scrittaA/: so no objects, no Renaissance. U#!ortunate y, this inexplica) e 1re+ressio#2 momentarily breaks the te eo o+ica pro+ressio# !rom ora ity to "riting, a#% "e are !orce% to anticipate the be+inning o! the Ita ian m$sica Renaissance a cent$ry be!ore B+rs Nova/ or posticipate it a century later. Let’s try to %iscuss no" the frst antithesis- native Ita ian m$sic vers$s !oreign Franco&F emish m$sic. Deca$se Ita y, in this perio%, "as, at most, a +eo+raphica expression, the concept o! an Ita ian m$sic identity is, on the one ha#%, +eneric a#%, on the other ha#%, abstract. More important: is Ita i& an m$sic simp y the m$sic compose% by Ita ian composers, or a so the m$sic that the Ita ians performe% a#% heard, the m$sic that Ita ians contribute% %ecisive y to pro%$ce, creating the socia consens$s necessary to promote %if& !erent kinds o! m$sica per!ormance= Seco#% antithesis: H$manism vers$s Scho asticism' Apart !rom the !act that a rigi% opposition o! these two concepts is high y 8$estiona) e, I "il s$mmarize in a !e" "ords Pirrotta2s thesis: the +o %en a+e o! Ita ia# +rs nova "as an exceptiona experience inke% to ecclesiastic circles im)$e% "ith scho astic philosophy. Eith the rise o! a h$manistic movement contrary to the practice o! po yphony, the socia co#%itions that have promote% Ita ia# po yphonic practice cease, a#% re+ression to ora ity starts. The assertio# that the h$manistic movement as a "ho e "as hosti e to po yphony is high y 8$estiona) e a#% base% o# partia a#% ins$>cient evidence, )$t even more 3 8$estiona) e is the censoria po"er attri)$te% to the h$manists' A po"er so pervasive as to inhibit, at east !or sixty years, the compositio# o! po yphonic "orks by Ita ian composers' F$rther, i! the cu t$ra context "as so hosti e to po yphony, "hy %oes Ita y "e come the most important Franco&F emish composers in the most prestigio$s co$rts a#% ch$rches= (e cu tura context cha#+es se ective y on an ethnica basis= Ehat is %isco$ra+e% !or Ita ians is promote% for foreigners= (ird antithesis- Po yphony vers$s Pse$%o&po yphony. Ehen the text is acking, m$sic can be o# y simple, ight: the improvisatory or 8$asi- improvisatory sty e o! Me%iterranean taste is oppose% to the heavy textua ity o! northern po yphony, complex a#% %eeply e aborate%. (e presence F a)& sence o! "ritten so$rces is the materia object that physica y separates these t"o "orl%s: the re+ressive ora ity a#% the pro+ressive "riting, as these "ords by Pirrotta testi9es- G$ri#+ the 9ftee#th ce#t$ry i#stea%, i# co#trast "ith "hat hap& pe#e% i# other artistic acti*ities, Ita y, rather tha# sho"i#+ a sty istic %epe#de#ce o# the m$sica a#+$a+e o! i#ter#atio#a po ypho#y, ap& pears 8$ite $#pro%$cti*e' For ma#y %ecades, $#til a most the e#% o! the ce#t$ry, it is impossi) e to me#tio# #ames of Ita ia# composers, #or to 9#% 8$a ity m$sic !or "hich o#e ca# hypothesi4e that they "ere compose% by Ita ia#s' G$ra#te i ?$attroce#to i#*ece, i# co#trasto co# 8$a#to a**e#i*a #e campo di a tre atti*itC artistiche, ’Ita ia, piH a#cora che mostrare $#a dipe#de#4a sti istica da i#+$a++io m$sica e de a po ifo#ia i#ter& #a4io#a e, appare addiritt$ra impro%$tti*a' Per mo ti dece##i, 9#o 8$asi a a 9#e de seco o, #o# I possibi e citare #omi di compositori ita ia#i, #J i#dicare m$siche di 8$a itC de e 8$a i si possa ipoti44are che fossero composte da ita ia#i BMusica e )manesimo, .KLM/' (e presence F absence o! the co$ple composer F "ork is high y em& barrassi#+ !or the historian o! m$sic, a#% the so $tion is high y ideo o+ica - no written m$sic si+nifes simply no m$sic at a , or a most no q$a ity m$sic, 4 beca$se it is impossi) e even to specu ate that a m$sicia# co$ % compose i# the mind +oo% e aborate% po yphonic m$sic. (is ideo o+ica a#% antithetic& a !rame"ork "as encaps$ ate% in two %iferent tra%itions, "ritten a#% $#& "ritten: the 9rst represents the mainstream o! historica %eve opment, the seco#% a momentary aberration 8$ickly remove%: !ortunate y at the e#% o! the century Ita ian "ritten so$rces start to reappear: the hono$r o! Ita ia# m$sic, as we as the dignity itse ! o! Eestern m$sic, is sa!eN (is pict$re is revea ing o! the conceptua depe#%ence o! m$sica text on iterary text. (is inferiority complex to"ar%s the no) er sister Literature, "hich has characterize% the birth a#% s$bse8$ent :o"ering o! historica m$& sico o+y, ha% been 9na y e6orcise% by the triumphant re&eva $ation o! m$& sica te6tua ity, )$t the exorcism ha% hid%en a rea ity that has emerge% "ith +reat difcu ty in m$sica historio+raphy' (is exorcism has pro%$ce%, indee%, the remova , instea% o! the !ruitf$ inte+ration into conscio$sness, as any +oo% psychoana yst might "ish !or his patient.
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