Download PDF by Jeffery Kite-Powell: A Performer's Guide to Renaissance Music
By Jeffery Kite-Powell
Revised and multiplied because it first seemed in 1991, the advisor beneficial properties new chapters on ornamentation and practice session thoughts, in addition to up-to-date reference fabrics, net assets, and different new fabric made to be had purely within the final decade.
The advisor is constituted of targeted chapters on functionality perform matters corresponding to vocal and choral tune; quite a few kinds of ensembles; profiles of particular tools; instrumentation; functionality perform matters; concept; dance; nearby profiles of Renaissance track; and directions for administrators. The layout addresses the widest attainable viewers for early tune, together with beginner performers, musicologists, theorists, and educators.
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Additional resources for A Performer's Guide to Renaissance Music
Although on occasion a good idea for musica ﬁcta may arise spontaneously from within the ensemble, it is generally not only not useful, but On Singing and the Vocal Ensemble I 23 actually harmful to morale, to enter into discussions about these topics during rehearsal. Let the director’s decision stand, at least until the rehearsal is over. Most newer editions can be trusted to be more accurate than earlier ones, but performers should always read the introductory material to understand the underlying editorial premises.
Volume VI of the Polyphonic Music of the Fourteenth Century series may serve as a good example of the potential pitfalls. This anthology presents trecento repertory, some pieces of which had already appeared at the time of publication twice or even three times before in other modern editions. In order to make a “contribution,” and not merely to duplicate previous efforts, the editor decided occasionally to use sources that had been rejected by earlier editors (including himself ), the result being that some of the best-known pieces appear in inferior versions.
Learn something about that form: is it ﬁxed or ﬂexible? Is there a standard subject matter for the form, and does your poem conform to it? For instance, the Italian canzona nearly always has a light, pastoral content. Although the poetic form is not always related to the musical form, it is good to have as much information as is available in order to make a musical interpretation. All too often we eliminate text to shorten a piece if the language being sung is foreign to the audience. However, if length is a salient feature of the poetic and musical forms, that should temper our inclination to edit.
A Performer's Guide to Renaissance Music by Jeffery Kite-Powell