Download e-book for iPad: A Performer's Guide to Seventeenth-Century Music by Stewart Carter, Jeffery Kite-Powell

By Stewart Carter, Jeffery Kite-Powell

ISBN-10: 0253357063

ISBN-13: 9780253357069

Revised and extended, A Performer’s advisor to 17th Century song is a complete reference consultant for college students musicians. The booklet comprises helpful fabric on vocal and choral track and elegance; instrumentation; functionality perform; ornamentation, tuning, temperament; meter and pace; basso continuo; dance; theatrical creation; and lots more and plenty extra. the amount contains new chapters at the violin, the violoncello and violone, and the trombone—as good as up to date and accelerated reference fabrics, web assets, and different newly on hand fabric. This hugely obtainable instruction manual will turn out a welcome reference for any musician or singer drawn to traditionally expert performance.

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Extra resources for A Performer's Guide to Seventeenth-Century Music

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Sanders, “Vocal Ornaments”: 73. 31. “. . ” Trans. in Conrad/Dyer, “Singing”: 217. See also Jacobs, “Controversy”: 289. 32. MacClintock, Readings: 62. 33. Celletti, Bel Canto: 16. 34. MacClintock, Readings: 189. 35. See Rosand, Opera: esp. ch. 8. 36. Celletti, Bel Canto: 19. 37. Rosand, Opera: 24. 38. The Sistine Chapel had begun replacing falsettists with castratos in the late sixteenth century. See Kurtzman, Vespers: ch. 15. National Singing Styles 27 39. v. ” 40. Celletti, Bel Canto: 39. ” Quantz gives Farinelli’s range as from a to d''' in 1726, adding several notes a few years later.

26. For a discussion of the voce mezzana, see Jacobs, “Controversy”: 289. 27. See Gerbert, Scriptores: 3: 120. 18). 28. ” Coussemaker, Scriptorum: 1:93b. 29. Zacconi, Prattica: 77r. 30. Sanders, “Vocal Ornaments”: 73. 31. “. . ” Trans. in Conrad/Dyer, “Singing”: 217. See also Jacobs, “Controversy”: 289. 32. MacClintock, Readings: 62. 33. Celletti, Bel Canto: 16. 34. MacClintock, Readings: 189. 35. See Rosand, Opera: esp. ch. 8. 36. Celletti, Bel Canto: 19. 37. Rosand, Opera: 24. 38. The Sistine Chapel had begun replacing falsettists with castratos in the late sixteenth century.

One of the challenges in performing Spanish vocal music of this period lies in finding a balance between the accentuation of the text and the (often complex) musical rhythms. Sprezzatura does not seem to have been adopted by the Spanish. Although one might occasionally apply “corrective” word accentuation, the overriding rhythmic vitality of the music seems to take precedence as a general rule over accentual matters of the text. This creates a typically Spanish dynamism between the words and the music.

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