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A silhouette (in white) of Founder's Tower, on a background illustrating a musical theme. Royal Holloway, University of London
The Quarrel of Ancients and Moderns in 17th-century musical thought.
Synthesis and perspectives

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Rome, Villa Medici, 23 February 2007

This research seminar questions the dynamic relationship between the Ancients and the Moderns in 17th-century musical thought. The discourse on music will be examined from the viewpoint of its deviation from its theoretical heritage: strategies of appropriation that apply to this heritage and to its transformations,  both in the field of the theory and in its interrelationship with contemporary musical practice.

While the opposition between Ancients and Moderns  underlies the unfolding / framework of normative discourse, , this topic took a particular turn in the 17th century, for it was connected to the reorganization of the mathesis universalis, to the restructuring of musical theory, and to the emergence of new practices (such as the seconda prattica). The status of the Ancients, which had previously been an irrefutable guarantee and a syllogistic challenge,  now underwent various manupulations, as several Moderns  began to resist the authoritative weight.

Musicologists, philosophers and historians of sciences will re-examine primary sources, issues and problematics related to the comparative approach in the domain of musical thought.

Dalla Porta d’Oriente

The opening concert draws an original baroque path: music of the Ottoman court. During the 17th century, ambassadors, travelers and scientists returned from the East with musical samples, instruments, manuscripts and miniatures describing musical life in the Ottoman empire and then took part in the fashion of  “Turkish scenes”. Not  quite  an ethnological approach, philosophers and theorists of music will be questioning these discoveries  to seek traces of this “paradise lost” of Greek music and its unique expressive virtues. From their standpoint, the Ottoman sultans, sensitive to the artistic tastes and fashions at European courts, welcomed European musicians in order to import the style of the Moderns.

· programme :


· information and documents : http://anciens-modernes-musique.blogspot.com/

— Programme —

9h30 · Les enjeux d’une tension / France-Allemangne-Angleterre-Italie

Modérateur : Nicolas Meeùs

Philippe Vendrix (Centre d’études supérieures de la Renaissance - CNRS)

Du progrès ou du paradis perdu ? Conséquences de la mise en crise théorique du modèle antique dans le discours sur la musique (Vicentino, Danckerts)

Guido Mambella (Università di Bologna ; université de Strasbourg)

La musica perfetta: Zarlino alle origini della Querelle

Peter Hauge (Det Kongelige Bibliotek, Danemark)

Updating music theory in 17th-century England: discussions between musicians and natural philosophers of the Royal Society

Rudolf Rasch (Universiteit Utrecht)

Redéfinition du théoricien : l’exemple d’Andreas Werckmeister, traditionnel-spéculatif et moderne-pratique

Nicolas Meeùs (Université de Paris IV-Sorbonne)

Les théoriciens de la tonalité étaient-ils des Modernes ?

André Charrak (Université de Paris I)

Entre philosophie de la musique et théorie musicale : fortune et déplacements de la Querelle au XVIIIe siècle

15h · La Querelle et la recomposition des modèles

Modérateur : Philippe Vendrix

Anne Piéjus (Institut de recherche sur le patrimoine musical en France - CNRS)

Tradition et rupture vues de Rome : quels enjeux pour quelle « modernité » ?

Théodora Psychoyou (Académie de France à Rome)

La Querelle dans les mutations de ses termes (théoriciens versus praticiens, Français versus Italiens…)

Jean Duron (Centre de musique baroque de Versailles)

La création de l’opéra : le genre lyrique face à ses modèles

Raphaëlle Legrand (Université de Paris IV-Sorbonne)

L’opéra après Lully : un modèle en question (Lecerf, Dubos)

Conclusions et discussion

Jacqueline Lichtenstein (Université de Paris IV-Sorbonne)

Le comparatisme Anciens-Modernes dans ses différentes manifestations (musique, lettres, peinture) : enjeux communs et spécificités


Contrasti barocchi

            · Concerto

            · Seminario di studi

            · 22-23 febbraio 2007

            · a cura di Théodora Psychoyou

Comité scientifique

Marc Bayard – Académie de France à Rome

Jean Duron – Centre de musique baroque de Versailles

Raphaëlle Legrand – Université Paris IV

Théodora Psychoyou – Académie de France à Rome

Last updated Fri, 11-Jan-2008 15:01 GMT / PH-S
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