Étude des désignations de tessiture vocale dans la musique baroque française et italienne: une approche terminographique

Abstract

The term “baroque” had a negative connotation for a long time from the 19th century onwards, leading to baroque music being forgotten and the corresponding terminology being abandoned. This particularly affected the lexicon of vocal tessituras, with terms like “haute-contre” and “basse-taille” whose precise meaning has now been lost following the renewal of vocal techniques. This article focuses on the vocal tessituras of the late seventeenth century, comparing French terminology with that of Italian. The aim is

to describe the specificity of French terminology, which was strongly influenced by the cultural and arti- stic context of the time. The comparison with Italian will show a dissymmetry in the designation of vocal tessituras, reflecting the distinct musical traditions of the two countries. This asymmetry can be explained by Louis xiv’s desire to assert a French musical identity independent of Italian influence. The study of vocal tessitura terminology in French and Italian baroque music is essential for a better understanding of the relationship between the two styles.