Description : This book examines a central group of music theory treatises that have formed the background to the study of Renaissance music. Taking theorists' music examples as a point of departure, it explores fundamental questions about how music was read, and by whom, situating the reading in specific cultural contexts. Numerous broader issues are addressed in the process: the relationship of theory and praxis; access to, and use of, printed musical sources; stated and unstated agendas of theorists; orality and literacy as it was represented via music print culture; the evaluation of anonymous repertories; and the analysis of repertories delineated by boundaries other than the usual ones of composer and genre. In particular this study illuminates the ways in which Renaissance theorists' choices have shaped later interpretation of earlier practice, and reflexively the ways in which modern theory has been mapped on to that practice.
Description : This volume of essays draws together recent work on historical music theory of the Renaissance. The collection spans the major themes addressed by Renaissance writers on music and highlights the differing approaches to this body of work by modern scholars, including: historical and theoretical perspectives; consideration of the broader cultural context for writing about music in the Renaissance; and the dissemination of such work. Selected from a variety of sources ranging from journals, monographs and specialist edited volumes, to critical editions, translations and facsimiles, these previously published articles reflect a broad chronological and geographical span, and consider Renaissance sources that range from the overtly pedagogical to the highly speculative. Taken together, this collection enables consideration of key essays side by side aided by the editors introductory essay which highlights ongoing debates and offers a general framework for interpreting past and future directions in the study of historical music theory from the Renaissance.
Author by : Professor of Music Harvard University Suzannah Clark
Languange : en
Publisher by : Boydell & Brewer Ltd
Format Available : PDF, ePub, Mobi
Total Read : 22
Total Download : 164
File Size : 48,8 Mb
Description : Essays - collected in honour of Margaret Bent - examining how medieval and Renaissance composers responded to the tradition in which they worked through a process of citation of and commentary on earlier authors.
Description : Most modern performers, trained on the performance practices of the Classical and Romantic periods, come to the music of the Renaissance with well-honed but anachronistic ideas. Fundamental differences between 16th-century repertoire and that of later epochs thus tend to be overlooked-yet it is just these differences which can make a performance truly stunning. The Performance of 16th-Century Music will enable the performer to better understand this music and advance their technical and expressive abilities. Early music specialist Anne Smith outlines several major areas of technical knowledge and skill needed to perform the music of this period. She takes readers through the significance of part-book notation; solmization; rhythmic flexibility; and elements of structure in relation to rhetoric of the time; while familiarizing them with contemporary criteria and standards of excellence for performance. Through The Performance of 16th-Century Music, today's musicians will gain fundamental insight into how 16th-century polyphony functions, and the tools necessary to perform this repertoire to its fullest, most glorious potential.
Description : The Swiss scholar Henricus Glareanus devoted much of his life to studying and teaching Livy's Roman History and devising chronological tables from it. He encouraged his students to copy his handwritten annotations to these tables into their own copies of the History. This volume provides access to a surviving copy from one of Glareanus’s students, now kept at Princeton University Library.
Description : How did Renaissance composers write their music? In this revolutionary look at a subject that has fascinated scholars for years, musicologist Jessie Ann Owens offers new and striking evidence that contrary to accepted theory, sixteenth-century composers did not use scores to compose--even to write complex vocal polyphony. Drawing on sources that include contemporary theoretical treatises, documents and letters, iconographical evidence, actual fragments of composing slates, and numerous sketches, drafts, and corrected autograph manuscripts, Owens carefully reconstructs the step-by-step process by which composers between 1450 and 1600 composed their music. The manuscript evidence--autographs of more than thirty composers--shows the stages of work on a wide variety of music--instrumental and vocal, sacred and secular--from across most of Renaissance Europe. Her research demonstrates that instead of working in full score, Renaissance composers fashioned the music in parts, often working with brief segments, according to a linear conception. The importance of this discovery on editorial interpretation and on performance cannot be overstated. The book opens with a broad picture of what has been known about Renaissance composition. From there, Owens examines the teaching of composition and the ways in which musicians and composers both read and wrote music. She also considers evidence for composition that occurred independent of writing, such as composing "in the mind" or composing with instruments. In chapters on the manuscript evidence, she establishes a typology both of the sources themselves and of their contents (sketches, drafts, fair copies). She concludes with case studies detailing the working methods of Francesco Corteccia, Henricus Isaac, Cipriano de Rore, and Giovanni Pierluigi da Palestrina. This book will change the way we analyze and understand early music. Clear, provocative, and painstakingly researched, Composers at Work: The Craft of Musical Composition 1450-1600 makes essential reading for scholars of Renaissance music as well as those working in related fields such as sketch studies and music theory.
Description : The Language of the Modes provides a study of modes in early music through eight essays, each dealing with a different aspects of modality. The volume codifies all known theoretical references to mode, all modally ordered musical sources, and all modally cyclic compositions. For many music students and listeners, the "language of the modes" is a deep mystery, accustomed as we are to centuries of modern harmony. Wiering demystifies the modal world, showing how composers and performers were able to use this structure to create compelling and beautiful works. This book will be an invaluable source to scholars of early music and music theory. in early music through eight essays, each dealing with a different aspects of modality. It codifies all known theoretical references to mode, all modally ordered musical sources, and all modally cyclic compositions. This book will be an invaluable source to scholars of early music.