Summary
The stemma theory is introduced from its musicological and practical motivation. Semiotically speaking, performance is a result of a diachronic process. This is traced on the structure of a genealogical tree, the stemma of a performance. The stemma formalizes the diachronic process of rehearsal and practising. We describe the structure of stemmata as “family trees of performance”, together with the corresponding genetic and environmental principles.
O matre pulchra filia pulchrior.
Horace (65-8 B.C.)
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© 2002 Springer Basel AG
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Mazzola, G. (2002). Stemma Theory. In: The Topos of Music. Birkhäuser, Basel. https://doi.org/10.1007/978-3-0348-8141-8_38
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DOI: https://doi.org/10.1007/978-3-0348-8141-8_38
Publisher Name: Birkhäuser, Basel
Print ISBN: 978-3-0348-9454-8
Online ISBN: 978-3-0348-8141-8
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