Download e-book for iPad: A Performer's Guide to Renaissance Music by Jeffery Kite-Powell
By Jeffery Kite-Powell
Revised and extended because it first seemed in 1991, the consultant positive aspects new chapters on ornamentation and practice session options, in addition to up to date reference fabrics, net assets, and different new fabric made to be had in simple terms within the final decade.
The consultant is constituted of targeted chapters on functionality perform matters equivalent to vocal and choral song; numerous kinds of ensembles; profiles of particular tools; instrumentation; functionality perform concerns; idea; dance; nearby profiles of Renaissance track; and instructions for administrators. The layout addresses the widest attainable viewers for early song, together with beginner performers, musicologists, theorists, and educators.
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Revised and improved because it first seemed in 1991, the consultant beneficial properties new chapters on ornamentation and practice session innovations, in addition to up-to-date reference fabrics, net assets, and different new fabric made to be had merely within the final decade. The advisor is made from centred chapters on functionality perform concerns resembling vocal and choral song; quite a few forms of ensembles; profiles of particular tools; instrumentation; functionality perform concerns; thought; dance; neighborhood profiles of Renaissance song; and directions for administrators.
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Extra resources for A Performer's Guide to Renaissance Music
First, the issue of long-range phrasing is primarily an aural problem rather than a visual one. Second, to write two breves’ worth of tempus perfectum in a single measure is to confuse the correct stress—it makes no more sense than placing a bar line in an eighteenthcentury minuet every six quarter notes. Third, the singers I have worked with ﬁnd it difﬁcult to read editions which attempt to show the long-range rhythm. Thus, these efforts seem self-defeating. What can be learned from singing from partbooks?
Mary Springfels, Artist-in-Residence at the Newberry Library in Chicago, is working in this ﬁeld, integrating the study of rhetorical devices into musical and poetical analysis; seek out her articles on the subject. She recommends several primary and secondary sources for reading; see the bibliography for these titles. ” 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.
English and Scottish broadsides and other ballads are another example, as are French airs de cours, Italian devotional laude, and English consort songs. This includes Burgundian chansons, German Lieder, Italian madrigals, English car- 12 Vocal/Choral Issues ols, Spanish villancicos, and French chansons. Usually the melody is in the cantus, but is sometimes (as in the case of German Lieder) in the tenor. Because of the narrow range of much Renaissance music, the early-music director is not restricted to sopranos as soloists but can assign these pieces to any singer who can accommodate the piece.
A Performer's Guide to Renaissance Music by Jeffery Kite-Powell