샤르팡티에(Marc-Antoine Charpentier, 1643-1704)의 종교음악, 혹은 음악 적 근대의 잃어버린 고리: ≪마니피캇≫ (Magnificat) H73을 중심으로

초록

Charpentier’s Magnificat H73 is an interesting piece. This is because it reveals the political, cultural, social, and historical environment of the time in which Charpentier lived. Magnificat H73 displays the descending tetrachord ostinato that Charpentier may have learned in Italy, as well as vivid text-painting and rhetorical methods that may have been influenced by the Jesuits. In addition, it also contains features of the passacaglia that were popular in France at the time. Analyzing this work reveals the musical topography of seventeenth-century France, enabling us to understand the Franco-Italian musical controversy in the subsequent development of music history as a political and social issue, not merely a matter of music or taste, and to reconsider the historical development of musical modernity in which instrumental music gained autonomy.

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