A Performer's Guide to Renaissance Music, Second Edition

Description

A revised and expanded guide to performance practice issues in Renaissance music

Revised and expanded since it first appeared in 1991, the guide features two new chapters on ornamentation and rehearsal techniques, as well as updated reference materials, internet resources, and other new material made available only in the last decade.

The guide is comprised of focused chapters on performance practice issues such as vocal and choral music; various types of ensembles; profiles of specific instruments; instrumentation; performance practice issues; theory; dance; regional profiles of Renaissance music; and guidelines for directors. The format addresses the widest possible audience for early music, including amateur and professional performers, musicologists, theorists, and educators.

Contents
Preface to Second Edition
Preface to First Edition
Note on Transliteration
I. Vocal/Choral Issues
1. The Solo Voice Ellen Hargis
2. On Singing and the Vocal Ensemble I Alexander Blachly
3. On Singing and the Vocal Ensemble II Alejandro Planchart
4. Practical Matters of Vocal Performance Anthony Rooley
II. Wind, String, & Percussion Instruments
5. Recorder Herbert Myers
6. Flute Herbert Myers
7. Capped Double Reeds Jeffery Kite-Powell
8. Shawm / Curtal Ross Duffin
9. Racket Jeffery Kite-Powell
10. Bagpipe Adam Knight Gilbert
11. Cornett Douglas Kirk
12. Sackbut Stewart Carter
13. Bowed Strings Wendy Gillespie
14. Violin David Douglass
15. Plucked instruments Paul O'Dette
16. Harp Herbert Myers
17. Percussion Ben Harms
18. Keyboard Instruments Jack Ashworth
III. Practical Considerations/Instrumentation
19. Jack Ashworth and Paul O'Dette Proto-continuo
20. Mixed ensembles James Tyler
21. Large ensembles Jeffery Kite-Powell
22. Rehearsal Tips for Instrumental Ensembles Adam Knight Gilbert
23. Performance editions Frederick Gable
IV. Performance Practice
24. Tuning & Temperament Ross Duffin
25. Pitch & Transposition Herbert Myers
26. Ornamentation and Improvisation Bruce Dickey
27. Pronunciation guides Ross Duffin
V. Aspects of Theory
28. Eight Brief Rules for Composing a Si Placet part Adam Knight Gilbert
29. Sarah Mead Renaissance Theory
VI. Introduction to Renaissance Dance
30. Early Renaissance Dance, 1450-1520 Yvonne Kendall
VII. For the Early Music Director
31. Starting from scratch Jeffery Kite-Powell
Appendixes
Notes
Bibliography
Index

Sujets

• Musique
• Histoire de la musique
• Technique musicale
• Technique musicale
• MUSIC
• Reference
• Multiple signal classification
• Criticism
• General officer
• History of classical music traditions
• General
• History
• Performance

Informations

• Publié par: Indiana University Press
• Date de parution: 02 août 2007
• Nombre de lectures: 3
• EAN13: 9780253013774
• Langue: English

Extrait

A PERFORMER S GUIDE TO RENAISSANCE MUSIC
Publications of the Early Music Institute
Michael McCraw and Wendy Gillespie, editors
Published in Cooperation with Early Music America
A PERFORMER S GUIDE TO RENAISSANCE MUSIC
SECOND EDITION

EDITED BY Jeffery Kite-Powell
INDIANA UNIVERSITY PRESS
Bloomington and Indianapolis
This book is a publication of
Indiana University Press
601 North Morton Street
Bloomington, IN 47404-3797 USA
http://iupress.indiana.edu
and is published in cooperation with Early Music America in the series: Performer s Guides to Early Music.
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2007 by Indiana University Press
All rights reserved
No part of this book may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying and recording, or by any information storage and retrieval system, without permission in writing from the publisher. The Association of American University Presses Resolution on Permissions constitutes the only exception to this prohibition.
The paper used in this publication meets the minimum requirements of American National Standard for Information Sciences-Permanence of Paper for Printed Library Materials, ANSI Z39.48-1984.
Manufactured in the United States of America
Library of Congress Cataloging-in-Publication Data
A performer s guide to Renaissance music / edited by Jeffery Kite-Powell.-2nd ed.
p. cm.-(Publications of the Early Music Institute)
Previous ed.: New York : Schirmer Books, 1994.
Includes bibliographical references (p.) and index.
ISBN 978-0-253-34866-1 (cloth : alk. paper) 1. Performance practice (Music)-History-To 1500. 2. Performance practice (Music)-History-16th century. I. Kite-Powell, Jeffery T.
ML457.P48 2007
781.4 309031-dc22
2006038977
1 2 3 4 5 12 11 10 09 08 07
CONTENTS
List of Illustrations
Preface to the Second Edition
Preface to the First Edition
Part I. Vocal/Choral Issues
1. The Solo Voice in the Renaissance ELLEN HARGIS
2. On Singing and the Vocal Ensemble I ALEXANDER BLACHLY
3. On Singing and the Vocal Ensemble II ALEJANDRO PLANCHART
4. Practical Matters of Vocal Performance ANTHONY ROOLEY
Part 2. Wind, String, and Percussion Instruments
5. Recorder HERBERT MYERS
6. Renaissance Flute HERBERT MYERS
7. Capped Double Reeds: Crumhorn-Kortholt-Schreierpfeif JEFFERY KITE-POWELL
8. Shawm and Curtal ROSS DUFFIN
9. Racket: Rackett, Rankett (Ger.), Cervelas (Fr.), Cervello (It.) JEFFERY KITE-POWELL
10. Bagpipe ADAM KNIGHT GILBERT
11. Cornett DOUGLAS KIRK
12. Sackbut STEWART CARTER
13. Bowed Instruments WENDY GILLESPIE
14. The Violin DAVID DOUGLASS
15. Plucked Instruments PAUL O DETTE
16. The Harp HERBERT MYERS
17. Early Percussion BENJAMIN HARMS
18. Keyboard Instruments JACK ASHWORTH
Part 3. Practical Considerations/Instrumentation
19. Proto-Continuo JACK ASHWORTH AND PAUL O DETTE
20. Mixed Ensembles JAMES TYLER
21. Large Ensembles JEFFERY KITE-POWELL
22. Rehearsal Tips for Directors ADAM KNIGHT GILBERT
23. Performance Editions FREDERICK GABLE
Part 4. Performance Practice
24. Tuning and Temperament ROSS DUFFIN
25. Pitch and Transposition HERBERT MYERS
26. Ornamentation in Sixteenth-Century Music BRUCE DICKEY
27. Pronunciation Guides ROSS DUFFIN
Part 5. Aspects of Theory
28. Eight Brief Rules for Composing a Si Placet Altus, ca. 1470-1510 ADAM KNIGHT GILBERT
29. Renaissance Theory SARAH MEAD
Part 6. Introduction to Renaissance Dance
30. Early Renaissance Dance, 1450-1520 YVONNE KENDALL
Part 7. For the Early Music Director
31. Starting from Scratch JEFFERY KITE-POWELL
Appendix A. A Performer s Guide to Medieval Music: Contents
Appendix B. A Performer s Guide to Seventeenth-Century Music: Contents
Bibliography
List of Contributors
Index
ILLUSTRATIONS
E XAMPLES
Example 10.1a-c Some graces
Example 10.2a-b
a. Giorgio Mainerio s, Putta nera and Ungaresca
b. Anon., Omnes nu laet ons gode loven
Example 10.3a-b
a. Tenor of Jamais, jamais, jamais
b. Anon., De winter is vergangen
Example 14.1 John come kiss me now
Example 14.2 Divisions on John come kiss me now
Example 14.3 Improvisation based on John come kiss me now
Example 14.4 Zannetti: Il Scolaro per Imparar
Example 14.5 Crequillon: Frisque et Galliard
Example 14.6 Holborne: Spero
Example 15.1a-d
a. Typical Renaissance six-course lute tuning
b. Typical English eight-course lute tuning
c. Tuning for bass lute in D
d. Tuning for Praetorius s French mandore
Example 15.2a-b
a. Five-course Baroque guitar tuning
b. Four-course Renaissance guitar tuning
Example 15.3a-c
a. English cittern tuning
b. French cittern tuning
c. Paolo Virchi s cittern tuning
Example 15.4 Seven-course bandora tuning
Example 15.5 Typical seventeenth-century theorbo tuning
Example 15.6 Typical fourteen-course archlute tuning
Example 17.1a-c Tambour ou tabourin rhythms
a. pavane
b. basse danse
c. galliarde/tordion
Example 17.2 Basic rhythmic patterns and their variations
Example 17.3a-b Suggested dynamic schemes
Example 17.4a Concluding a piece (a)
Example 17.4b Concluding a piece (b)
Example 22.1a-d Tuning exercises
a. I-V-I progression
b. I-IV-I-V progression
c. linked circle of fifths
d. circle of fifths
Example 22.2a-d Tuning exercises involving minor triads
Example 22.3 Arcadelt s Donna, quando pietosa
Example 22.4a-c
a. Engelmann, Paduana (mm. 25-31)
b. Engelmann, Paduana (simplified)
c. sequential pattern derived from Engelmann s Paduana
Example 22.5 Common Rhythmic Pitfall: the Cursus tardus
Example 26.1 Bassano s divisions on the ascending second
Example 26.2 Removal of the 4-3 suspension in the standard cadence
Example 26.3 Examples from Ganassi s repeated-note style applied to the ascending second
Example 26.4 Excerpt from Riccardo Rognoni s divisions on Palestrina s Domine quando veneris
Example 26.5 An elaborate Riccardo Rognoni cadential division
Example 26.6 Cadential ornaments from Riccardo Rognoni s Passaggi . . .
Example 26.7 The tremolo in due modi from Francesco Rognoni (1620)
Example 26.8 Example of tremoletti from Diruta (1593)
Example 26.9 Tremolini used for making esclamationi (from Francesco Rognoni)
Example 26.10 Conforto s groppo di sopra and groppo di sotto
Example 26.11 Conforto s trilli with groppo termination
Example 26.12 Dalla Casa s tremolo groppizato
Example 26.13a-b Accenti from Zacconi (a) and Diruta (b)
Example 26.14 Bovicelli s elaborated accenti
Example 26.15 Excerpts from Bovicelli s divisions on Io son ferito
Example 26.16 Ornaments sung by Vittoria Archilei in the Florentine Intermedi of 1589
Example 26.17 Excerpt from the Luzzaschi madrigal Ch io non t ami cor mio,
Example 28.1a-d Rule 1: standard altus cadential function
Example 28.1e-h Rule 1:phrygian cadences
Example 28.1i Corollary to Rule 1: Hayne van Ghizeghem, De tous biens plaine
Example 28.1j Corollary to Rule 1: Robert Morton, Vive madame par amours
Example 28.1k Corollary to Rule 1: Mureau-Busnois(?), Je ne fays plus and Comp re, Royne du ciel
Example 28.2 Rule 2: Pierre de la Rue, Pour ung jamais
Example 28.3 Rule 3: Hayne van Ghizeghem, De tous biens plaine
Example 28.4a Rule 4: Anon., Nos espantes
Example 28.4b Rule 4: Robert Morton, Vive madame par amours
Example 28.5 Rule 5: Alexander Agricola, J ay bien et haver
Example 28.6a Rule 6: Hayne van Ghizeghem, De tous biens plaine
Example 28.6b Rule 6: Robert Morton, Vive madame par amours
Example 28.6c Rule 6: Coda in parallel tenths
Example 28.7a Rule 7: Anon., Vostre rigueur
Example 28.7b Rule 7:Anon., De tous biens plaine
Example 28.8 Rule 8: Mureau, Je ne fays plus
Example 29.1 The hymn Ut queant laxis
Example 29.2 The complete hexachord system
Example 29.3 The natural hexachord (plus three notes)
Example 29.4 Morley s La Caccia solmized
Example 29.5 Modes, Species, Repercussions
Example 29.6a-b Intervals
a. dissonant
b. consonant
Example 29.7 The resolution of imperfect consonances
Example 29.8a-c Interval motion
a. expanding imperfect intervals;
b. contracting imperfect intervals;
c. cadential motion in the phrygian mode
Example 29.9a-c Cadences with three voices
a. octave leap
b. double leading tone
c. under third
Example 29.10a-d Four-voice cadences (a-d)
Example 29.11 Morley s cadence (suspension)
Example 29.12a-c 2-, 3-, and 4-part cadences with suspensions
Example 29.13 Josquin s Bergerette Savoyenne (altus) transcription (with bar lines)
Example 30.1 Jupiter s dance (from Domenico da Piacenza)
Example 30.2 Music for the gagliarda
F IGURES
Figure 6.1 Complete set of flutes
Figure 7.1 Crumhorns
Figure 8.1 Shawms
Figure 8.2 Curtals and Rackets
Figure 10.1 H mmelchen bagpipe
Figure 11.1 Cornett ranges
Figure 11.2 The Concert. Italian (Emilian)
Figure 11.3 Fingering chart for Cornett in G
Figure 12.1 Aurelio Virgiliano, Il Dolcimelo (ca. 1600)
Figure 12.2 Sackbuts
Figure 12.3 Hans Burgkmair, The Triumph of Maximilian I
Figure 13.1 Title page from Ganassi s Regola Rubertina
Figure 13.2 Violas da gamba
Figure 14.1 Violinist from Arbeau s Orch sography
Figure 14.2 Violin family
Figure 15.1 Plucked Instruments
Figure 16.1 Glarean s diagram of a diatonic harp from Dodecachordon, 1547
Figure 17.1 Percussion Instruments
Figure 18.1 Short octave and split accidentals
Figure 18.2 Positive and regal organs
Figure 26.1 Facsimile of Conforto s divisions on the ascending second
Figure 26.2 Facsimile of Conforto s cadences
Figure 26.3 Facsimile of Ganassi s divisions on the ascending fifth
Figure 29.1 The Guidonian Hand
Figure 29.2 Renaissance note shapes and names
Figure 29.3 Note shapes related to their rests
Figure 29.4 Mensuration signs with their modern equivalents
Figure 29.5 Josquin s Bergerette Savoyenn