title: Sinfonia and Ouverture in the Baroque Era: Terminological Aspect
metadata.name: dc.contributor.author
metadata.value: Bocharov, Yury S.
metadata.lang: -
metadata.name: dc.date.accessioned
metadata.value: 2021-10-12T11:23:57Z
metadata.lang: -
metadata.name: dc.date.available
metadata.value: 2021-10-12T11:23:57Z
metadata.lang: -
metadata.name: dc.date.issued
metadata.value: 2021-09
metadata.lang: -
metadata.name: dc.identifier.citation
metadata.value: Bocharov, Yury. “Sinfonia and Ouverture in the Baroque Era: Terminological Aspect”. Vestnik of Saint Petersburg University. Arts 11, no. 3 (2021): 354–380.
metadata.lang: en_GB
metadata.name: dc.identifier.other
metadata.value: https://doi.org/10.21638/spbu15.2021.301
metadata.lang: -
metadata.name: dc.identifier.uri
metadata.value: http://hdl.handle.net/11701/33277
metadata.lang: -
metadata.name: dc.description.abstract
metadata.value: This article focuses on the use of sinfonia and ouverture as terms in the Baroque era. Its relevance
  is due to the fact that an objective picture of the Baroque musical culture is impossible without
  studying authentic terminology, including terms used as names of musical works or their sections.
  Since there have been no special musicological publications on this topic, information obtained
  as a result of the study can expand the traditional ideas about what the terms sinfonia and
  ouverture meant in the 17th and the first half of the 18th century. Sheet music and manuscripts
  as well as articles from the largest European dictionaries of that time indicate that the terms had
  different meanings. They were used not only in orchestral, but also in solo and ensemble music
  and even vocal compositions could be regarded as symphonies. Moreover, musical compositions
  or their sections, called sinfonias and overtures were intended not only for theatrical and concert
  practice, but also for performance at court and in even at church. According to the author, the
  terms sinfonia and ouverture in the Baroque era, in contrast to modern practice, were used as
  genre names only in regard to so-called Neapolitan opera symphonies and French overtures.
  Thus, these terms were generally used much more diversely than it follows from those traditional
  perceptions on which the modern theory of musical genres is largely based.
metadata.lang: en_GB
metadata.name: dc.description.sponsorship
metadata.value: The reported study was funded by Russian Foundation for Basic Research, project number 20-012-
  00152 (“Genres and forms of early instrumental music from the perspective of an authentic approach to
  historical musicology”).
metadata.lang: en_GB
metadata.name: dc.language.iso
metadata.value: ru
metadata.lang: en_GB
metadata.name: dc.publisher
metadata.value: St Petersburg State University
metadata.lang: en_GB
metadata.name: dc.relation.ispartofseries
metadata.value: Vestnik of St Petersburg University. Arts;Volume 11; Issue 3
metadata.lang: -
metadata.name: dc.subject
metadata.value: baroque era
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: symphony
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: overture
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: suite
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: instrumental music
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: opera
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: musical genre
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: musical source
metadata.lang: en_GB
metadata.name: dc.title
metadata.value: Sinfonia and Ouverture in the Baroque Era: Terminological Aspect
metadata.lang: en_GB
metadata.name: dc.type
metadata.value: Article
metadata.lang: en_GB
resources.filename: 354-380.pdf
resources.url: https://dspace.spbu.ru/bitstream/11701/33277/1/354-380.pdf
resources.format: Adobe PDF
resources.size: 3,11 MB