Revised and elevated because it first seemed in 1991, the consultant beneficial properties new chapters on ornamentation and practice session recommendations, in addition to up to date reference fabrics, web assets, and different new fabric made on hand basically within the final decade. The consultant is constructed from concentrated chapters on functionality perform matters resembling vocal and choral track; numerous kinds of ensembles; profiles of particular tools; instrumentation; functionality perform matters; concept; dance; nearby profiles of Renaissance song; and directions for administrators. The structure addresses the widest attainable viewers for early track, together with beginner performers, musicologists, theorists, and educators.

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Additional resources for A Performer's Guide to Renaissance Music (Publications of the Early Music Institute)

Sample text

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. Analysis based on the principles of rhetoric that guided writers in the Renaissance can clarify meaning and syntax, explain symbolism, and reveal the beauty of language in new and subtle ways.

Quite aside from the difficulties posed for the performer when a “measure” begins with a blank space representative of that portion of a long note from the previous measure which crosses the Mensurstrich, and then ends with a note that is “too long” (because it crosses the next Mensurstrich), such editions must be difficult to proofread, to judge from their many typos. To say that speech and correct pronunciation are the guiding principles of Renaissance phrasing is to assert the primacy of speech rhythm over the apparent bar line stress.

Naturally, the ideal would be for the vocal ensemble to match the size and caliber of its pre-Baroque model, with one singer to a part on madrigals and chansons. Choral music generally does not sound as effective with only one singer to a part; moreover there is internal evidence in the form of divisi’s at cadence points that at least two singers were expected on each line in much of the repertory. But having more than four or five voices per line also has drawbacks, notably in the loss of flexibility that tends to come with the larger forces.

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