Download A Performer's Guide to Renaissance Music (Publications of PDF

ISBN-10: 0253348668

ISBN-13: 9780253348661

Revised and improved because it first seemed in 1991, the consultant beneficial properties new chapters on ornamentation and practice session strategies, in addition to up to date reference fabrics, web assets, and different new fabric made to be had merely within the final decade. The consultant is made from centred chapters on functionality perform matters equivalent to vocal and choral song; quite a few different types of ensembles; profiles of particular tools; instrumentation; functionality perform concerns; idea; dance; local profiles of Renaissance tune; and instructions for administrators. The structure addresses the widest attainable viewers for early tune, together with novice performers, musicologists, theorists, and educators.

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Extra resources for A Performer's Guide to Renaissance Music (Publications of the Early Music Institute)

Example text

Interpreting them as if they were slur marks, with the second note softer than the first, helps give the line a convincing contour. In music of the generation of Willaert and later, many problems of phrasing in vocal music are solved merely by correctly pronouncing the words, and this for the simple reason that after about 1550 most vocal music is written predominantly with one note per syllable. As anyone who is capable of appreciating such things will attest, a vocal melody by Lassus correctly pronounced is a wondrous musical phenomenon.

Although this is certainly a sound historical practice, some basic guidelines should be followed to maintain the stylistic aesthetic the composer may have had in mind. Singers trained in the modern operatic style tend to prefer music that lies in the mid- to upper ranges of the voice, where they have the most power and brilliance. However, most Renaissance music does not need a lot of power and brilliance to put across the text, overcome a dense instrumental accompaniment, or fill an enormous concert hall.

A better choice for a tenor would be one of the songs with the melody and the text in the tenor line, such as In feuers hitz. However, if you wanted your recorder consort to play this piece, with a tenor singing the melody, you would have inversions again, because the bass recorder sounds an octave higher. This practice, as logical as it seems, has yet to be established as historical, but is certainly useful (and not unthinkable, given Praetorius’s comments on transposition). Tuning Most of us grew up knowing about two kinds of tuning: in-tune and outof-tune.

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A Performer's Guide to Renaissance Music (Publications of the Early Music Institute)


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