@article{Thalhammer2017,
  author    = {Thalhammer, Johanna},
  title     = {L'art de bien chanter und Von der Kunst zierlich zu singen und zu spielen - Eine kontrastive Analyse von Texten der musikalischen Fachsprache im 18. Jahrhundert anhand von Ausz{\"u}gen aus Code de musique pratique, Rameau (1760) und Der vollkommene Capellmeister, Mattheson (1739)},
  series = {promptus - W{\"u}rzburger Beitr{\"a}ge zur Romanistik},
  volume    = {3},
  journal   = {promptus - W{\"u}rzburger Beitr{\"a}ge zur Romanistik},
  issn      = {2510-2613},
  url       = {http://nbn-resolving.de/urn:nbn:de:bvb:20-opus-172958},
  pages     = {203-224},
  year      = {2017},
  abstract  = {This article is an analysis and a comparison of German and French special language of music in the 18th century, more precisely about the terms used to describe the activity of singing. The analysis is based on two treatises about music theory. The first writing, Der Vollkommene Capellmeister, was written by Johann Mattheson in 1739 and the second, Code de musique pratique by Jean-Philippe Rameau was published in 1760. Both texts contain a chapter which gives explanations how to sing. The treatises include different types of technical words: specific terms easy identified as special language terms like names of ornaments in the music, special verbs standing for singing, and words and anaphors to describe tonality and dynamics. By having a look on the terms of music language, the influence of Italian and French words on German vocabulary of music becomes obvious. The vocabulary is often similar in both languages, but not always defined as a part of the special language of music.},
  language  = {de}
}