EL LEGADO CULTURAL LATINO-SEMÍTICO A LA LUZ DE LA TERMINOLOGÍA MUSICAL HISPÁNICA
Abstract
Th ere is no need to underline the historical value of documentary sources for the study of diachronical terminology, and, more precisely, the signifi cance and importance of literary sources as opposed to lexical annotations and lexicographical repertoires, systematically deprived both of situational context and sociocultural frame. Musical terms documented in Castilian lyric poetry from the low Middle Ages and the Early Renaissance are basically witness, in their etymological origin, to the Latin, Greek, Arabic and Hebrew inheritance, a legacy that sinks its roots in the Greco-roman civilisation and through which mechanisms of borrowing can be seen, v. gr. Gallicisms and Italianisms versus Arabisms and Hebraisms (cf. Fasla 1996, 1997, 1998). As for the semantic distribution of such terms, there is a clear correspondence with different musicological categories, all of them current in the present synchrony (cf. Fasla 1998). As far as words imported from Semitic languages are concerned (v. gr., albogue, aleluya, guitarra, laúd, tambor, zambra), the phenomenon of borrowing –which actually started in the peninsular Middle Ages– is remarkably subordinated to the geo-historical conditionings of a social reality characterized by a situation of hybridisation (ethnical, linguistic and cultural), that eventually derived in a progressive phenomenon of acculturation.Downloads
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