Abstract
The variability of character of the dance movements in Italian sonatas of the late Baroque is conventionally ascribed to their “stylization” or “idealization”, but the coexistence of very similar movements both with and without dance titles within this repertory, exemplified by sonatas of Albinoni and Vivaldi, suggests that these titles also serve as “paratexts” as defined by the literary theorist Gerard Genette: verbal supplements that guide the reader towards better appreciation of the artwork.
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
