By Stewart Carter, Jeffery Kite-Powell
Revised and elevated, A Performer’s consultant to 17th Century track is a accomplished reference advisor for college students musicians. The booklet includes precious fabric on vocal and choral song and elegance; instrumentation; functionality perform; ornamentation, tuning, temperament; meter and pace; basso continuo; dance; theatrical construction; and masses extra. the amount contains new chapters at the violin, the violoncello and violone, and the trombone—as good as up to date and increased reference fabrics, net assets, and different newly to be had fabric. This hugely obtainable guide will turn out a welcome reference for any musician or singer drawn to traditionally educated performance.
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Additional info for A Performer's Guide to Seventeenth-Century Music
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. See Kurtzman, Vespers: ch. 15. National Singing Styles 27 39. v. ” 40. Celletti, Bel Canto: 39.
66. Printz provided a very detailed description of the lightness and rapidity of throat articulation, which was the principal technique for executing ornaments. ”86 In the second half of the century, the Germans seem to have followed an evolution similar to the Italian school, though a bit later, in mixing the falsetto with the natural voice. With the greater cultivation of different voice registers, the Germans also followed the Italians in applying the “pyramid” shape of the voice. ”87 The pyramid concept provides the dynamics that are not notated in the score.
21. ” See also Sanders, “Vocal Ornaments”: 70–71. 22. ” Strunk, Source Readings, Baroque: 31–32. Praetorius also reiterated Caccini’s point of view. See below. 23. ” 24. See Kurtzman, Vespers: ch. 15. 25. ”) Trans. in Strunk, Source Readings, Baroque: 62. 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.