Produção Nacional
Os louvores musicais no Renascimento Italiano: comentários e tradução do exórdio ao “prudente leitor” do tratado Il Transilvano – Diálogo sobre a maneira correta de tocar órgão e instrumentos de teclado – de Girolamo Diruta
2014; UNIVERSIDADE FEDERAL DE SANTA MARIA; Issue: 15 Linguagem: Inglês
10.5007/1980-4237.2014n15p391
ISSN1980-4237
AutoresGirolamo Diruta, Delphim Rezende Porto,
Tópico(s)Linguistic Studies and Language Acquisition
ResumoThe translation of humanistic writings about music is a complex task. A deep knowledge of the subject, of the languages involved, and of the works’ historical contexts are just the beginning for one to efficiently recognize the topics that the authors of those works dealt with in their literary writings, and to do “perfect” translations of them. In the Renaissance, the typical thought at the courts associated with the diffusion of the works of Classical Antiquity – seen as formal models and topoi for various productions during the time, especially in the 16th century – articulate a collection of historical, rhetorical and philosophical knowledge – besides musical –, that aimed always at the delight, persuasion and instruction of the “prudent” readers. Girolamo Diruta’s (1554?-1610?) treatise Il Transilvano is a reference in keyboard studies – organ and harpsichord – and an example and model of musical treatises that incorporate to it subjects such as art and rhetoric. This paper aims at introducing the paratext (the exordium) as well as the devices the author used in its writing, and at offering a translation of the exordium into Brazilian Portuguese.
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