A Performer's Guide to Seventeenth-Century Music by Stewart Carter, Jeffery Kite-Powell

By Stewart Carter, Jeffery Kite-Powell

Revised and elevated, A Performer’s consultant to 17th Century song is a accomplished reference advisor for college students musicians. The e-book includes important fabric on vocal and choral track and elegance; instrumentation; functionality perform; ornamentation, tuning, temperament; meter and pace; basso continuo; dance; theatrical creation; and masses extra. the quantity contains new chapters at the violin, the violoncello and violone, and the trombone—as good as up to date and improved reference fabrics, web assets, and different newly to be had fabric. This hugely obtainable instruction manual will turn out a welcome reference for any musician or singer attracted to traditionally expert performance.

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Von Ramm, “Singing Early Music”: 14. 4. “Das erste bestehet in rechter Aussprache der Worte, die er singend fürbringen soll, dannenhero ein Sänger nicht schnarren, lispeln, oder sonst ein böse Ausrede haben, sondern sich einer zierlichen und untadelhaften Aussprache befleissen soll. ], sondern Meissnisch oder der Red-Arth zum nächsten rede, und ein Italiener nicht Bolognessich, Venedisch, Lombardisch, sondern Florentinisch oder Römisch spreche. Soll er aber anders als in seiner Muttersprache singen, so muss er dieselbe Sprache zum aller wenigsten so fertig und richtig lesen, alss diejenigen, welchen solche Sprache angebohren ist.

48. Other sources include Jean Millet (1666), Jean Rousseau (1683), François Raguenet (1702), and Jean-Laurent Le Cerf de la Viéville (1704). 49. Anthony (French Baroque: 45) has discussed the musical conservatism of France in the seventeenth century. 50. ” 51. See Sanford, “Comparison”: para.. 5. 52. See also Ranum, Harmonic Orator. 53. For a discussion and examples of seventeenth-century French pronunciation, see Sanford, “Comparison”: pars. 4 and audio examples 5, 13, 16. See also Sanford, “Guide,” and Gérold, L’Art: 215ff.

Lanier’s Hero and Leander (ca. 1628) is a direct imitation of Claudio Monteverdi’s recitative-lament style, though it is hampered a bit by the greater profusion of consonants and the different accentual patterns of the English language. Charles Butler’s Principles of Musick (1636) is one of the earliest seventeenthcentury sources to discuss singing in detail. ”94 Butler further indicated that the punctuation of the text should provide the punctuation for the music. A singer’s observation of textual and musical punctuation is important in shaping the rhetorical and dramatic structure of any vocal piece.

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