The music of the classics. Versions of ancient poetry, from the Middle Ages to the late Renaissance

One of the merits of this study is that it may be at least for those who tend to perceive the world with the ear before his eyes with the most complex and exciting of all arising in the field of humanities : the relationships between language and music, this broad and undermined passage area that blends text and melody, prosody and articulation, verbal rhythm and musical, the meaning of words and sounds often in close cooperation, but also in eternal struggle to impose its own law (Alfred Einstein raised it categorically: "a history of the song, or vocal forms in general, could be just like the story of ceaseless conflict between the demands of the music and the text "). Focused on long fascination with European culture by the Greek and Roman music-and especially how very different musical versions of classic texts original-, this is not a study conducted in principle to musicologists, but rather propose work as a broader classical tradition and reception of antiquity in the field trial.

Jorge Bergua Cavero (Zaragoza, 1965) is a PhD from the Complutense University of Madrid and Professor of Greek Philology in Malaga. He was a fellow of the Residencia de Estudiantes between 1990 and 1993, and has been a guest researcher, among others, at the University of Michigan in Ann Arbor and the Spanish School of History and Archaeology in Rome (CSIC). Its activity focuses on the themes of classical tradition and survival of the ancient legacy, both in its literary, musical and thought and linguistic dimension; fruit of books like this are studies on the tradition of Plutarch in Spain, XIII-XVII centuries (Univ. Zaragoza, 1995), Los Hellenisms Spanish. History and system (Gredos, 2004) and Francisco de Enzinas. A humanist renovated in the Europe of Charles V (Trotta, 2006). It has also developed an extensive activity as a translator, both ancient Greek (Plutarch, Longus of Lesbos, Sextus Empiricus, Luciano de Samosata) and French (Stendhal, Claire Goll, both in Pre-texts) and German.