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The courante, corrente, coranto and corant are some of the names given to a family of triple metre dances from the late Renaissance and the Baroque era. In a Baroque dance suite an Italian or French courante is typically paired with a preceding allemande, making it the second movement of the suite or the third if there is a prelude. ==Types of courante== ''Courante'' literally means "running", and in the later Renaissance the courante was danced with fast running and jumping steps, as described by Thoinot Arbeau. But the courante commonly used in the baroque period was described by Johann Mattheson in ''Der vollkommene Capellmeister'' (Hamburg, 1739) as "chiefly characterized by the passion or mood of sweet expectation. For there is something heartfelt, something longing and also gratifying, in this melody: clearly music on which hopes are built."〔Quoted in Alfred Dürr, preface to Johann Sebastian Bach, ''Französische Suiten: die verzierte Fassung / The French Suites: Embellished Version: BWV 812–817'', new, revised edition, edited by Alfred Dürr. Bärenreiter Urtext (Kassel: Bärenreiter-Verlag, 1980).〕 Johann Gottfried Walther in the ''Musicalisches Lexicon'' (Leipzig, 1732), wrote that the rhythm of the courante is "absolutely the most serious one can find."〔 During the baroque era there were two types of courante; the French and the Italian. The French type is usually notated in 3/2 or 6/4, occasionally alternating between the two meters, and had the slowest tempo of all French court dances, described by Mattheson, Quantz and Rousseau as grave and majestic,〔Meredith Ellis Little and Suzanne G. Cusick, "Courante", ''The New Grove Dictionary of Music and Musicians'', second edition, edited by Stanley Sadie and John Tyrrell (London: Macmillan Publishers, 2001).〕 while the Italian type was a significantly faster dance. Sometimes French and Italian spellings are used to distinguish types of courante, but original spellings were inconsistent. Bach uses ''courante'' and ''corrente'' to differentiate the French and Italian styles respectively in his Partitas of the ''Clavierübung''〔Alfred Dürr, preface to Johann Sebastian Bach, ''Französische Suiten: die verzierte Fassung / The French Suites: Embellished Version: BWV 812–817'', new, revised edition, edited by Alfred Dürr. Bärenreiter Urtext (Kassel: Bärenreiter-Verlag, 1980).〕 and, in ''Dance and the Music of J. S. Bach'' by Meredith Little and Natalie Jenne, the courante and corrente are treated as distinct dances,〔Meredith Little and Natalie Jenne, ''Dance and the Music of J. S. Bach'', expanded edition. Music: Scholarship and Performance (Bloomington: Indiana University Press, 2001) ISBN 0-253-33936-7 (cloth); ISBN 0-253-21464-5 (pbk); pp. 114-142.〕 but editors have frequently ignored the distinction.〔 In Bach's unaccompanied Partita for Violin No. 2 the first movement (titled Allemanda) begins as if in 3/4 time in a manner one might initially perform and hear as a courante. The second movement is titled corrente and is rather lively. An indication of faster tempo that appears to exist in Baroque composer Georg Muffat's instructions on Lullian bowing is a confusion in translation.〔Meredith Little and Natalie Jenne, ''Dance and the Music of J. S. Bach'', expanded edition (Bloomington: Indiana University Press, 2001) p. 115. ISBN 0-253-33936-7 (cloth); ISBN 0-253-21464-5 (pbk).〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「courante」の詳細全文を読む スポンサード リンク
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