By Jeffery Kite-Powell
Revised and elevated because it first seemed in 1991, the advisor gains new chapters on ornamentation and practice session recommendations, in addition to up to date reference fabrics, web assets, and different new fabric made to be had basically within the final decade.
The consultant is created from concentrated chapters on functionality perform matters akin to vocal and choral tune; a number of forms of ensembles; profiles of particular tools; instrumentation; functionality perform matters; idea; dance; local profiles of Renaissance tune; and directions for administrators. The layout addresses the widest attainable viewers for early track, together with beginner performers, musicologists, theorists, and educators.
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Additional info for A Performer's Guide to Renaissance Music
Circa 1500, Nancy Hadden, director. CRD 3447, 1989. Peasant, Dance, and Street Songs in Germany circa 1490–1540. Telefunken, SAWT 9486A, 1967. The Solo Voice in the Renaissance 13 Songs for Tenor and Lute ( John Dowland). Virgin Classics:VC 790726-2, 1989. [Editor’s additions] A Candle in the Dark—Elizabethan Songs & Consort Music. The Newberry Consort, Mary Springfels, director; Ellen Hargis, soprano; Drew Minter, countertenor. Harmonia Mundi No. HMU907140. Royal Delight—17th-century English Ballads and Dances.
Michelangelo’s art was admired for its inspiring strength, as was Josquin’s music. Ockeghem’s vocal lines are often of such length that it takes unusual vocal prowess to navigate them properly. The bright colors in DuFay’s music and Jan van Eyck’s paintings should provide some clue to the bright, strong (vocal) colors appropriate to the period. People of means found singers in the Renaissance exciting to listen to and worth paying a great deal of money to acquire for their private chapels. The highly competitive arena in which Renaissance singers were traded, bought, and sold should convince us that music-making in this period must have been on a par with musical composition itself and with the creations of painters, sculptors, and architects; that is, consummately polished and intended to be impressive in every way.
What can be learned from singing from partbooks? I have found that singers experience a tremendous thrill when they ﬁrst ﬁnd they are able to make music reading mensural notation with ligatures. Moreover, singing from partbooks frees the ear from the tyranny of the eye and allows the sound of the music—as it is happening—to serve as the guide to pulse and tempo. Also, a photocopy of a facsimile of a Renaissance partbook is usually not sufﬁcient for performance. Often the photocopy needs so much editing, primarily in the form of adding missing words, that one is in effect working from a modern edition.
A Performer's Guide to Renaissance Music by Jeffery Kite-Powell