This is an excellent reference volume including essays on all aspects of medieval music performance. With forty essays written by experts in the field on everything from repertoire, voices and instruments to basic theory, all aspects of recreation are treated. This guide has already proven indispensable to performers and scholars of medieval music. Chapters on vocal and choral music; various types of ensembles; profiles of specific instruments; instrumentation; performance practice issues; theory; dance; regional profiles of Renaissance music, and guidelines for directors are all treated. It…mehr
This is an excellent reference volume including essays on all aspects of medieval music performance. With forty essays written by experts in the field on everything from repertoire, voices and instruments to basic theory, all aspects of recreation are treated. This guide has already proven indispensable to performers and scholars of medieval music. Chapters on vocal and choral music; various types of ensembles; profiles of specific instruments; instrumentation; performance practice issues; theory; dance; regional profiles of Renaissance music, and guidelines for directors are all treated. It is a comprehensive and authoritative reference by leading performers in the field for a variety of enthusiasts.
Ross W. Duffin is Fynette H. Kulas Professor of Music at Case Western Reserve University. An international lecturer, he is widely known as the lively, informative host of National Public Radio's "Micrologus: Exploring the World of Early Music."
Inhaltsangabe
Part 1: Repertoire I. Sacred 1. Chant 2. Organum 3. Motet & Cantilena 4. Polyphonic Mass Ordinary II. Non-Liturgical Monophony 5. Introduction 6. Latin 7. Occitan 8. French 9. Iberian 10. Sephardic 11. Italian 12. German 13. English III. Lyric Forms post 1300 14. French Ars Nova 15. Italian Ars Nova 16. Ars Subtilior 17. Early Du Fay IV. Drama 18. Litugical 19. Vernacular Part 2: Voices & Instruments V. The Voice in the Middle Ages 20. Poetics as Technique VI. Bowed Strings 21a. Vielle before 1300 21b. Vielle after 1300 22. Rebec 23. Symphonia VII. Plucked Strings 24a. Harp 24b. Imagining the Early Medieval Harp 24c. Playing the Late Medieval Harp 25. Lute, Gittern, & Citole VIII.Winds 26. Flutes 27. Reeds & Brass 28. Bagpipe IX. Keyboard & Related Types 29. Organ 30. String Keyboards 31. Psaltery & Dulcimer X. Percussion 32. Percussion XI. Instrumental Usage 33. Untexted Repertoire 34. Improvisation & Accompaniment before 1300 35. Ornamentation & Improvisation after 1300 Part 3: Theory & Practice XII. Essential Theory for Performers 36. The Gamut, Solmization & Modes 37. Musica ficta 38. Proportion 39. Notation & Editions 40. Tuning Select Discography Select Bibliography Index
Part 1: Repertoire I. Sacred 1. Chant 2. Organum 3. Motet & Cantilena 4. Polyphonic Mass Ordinary II. Non-Liturgical Monophony 5. Introduction 6. Latin 7. Occitan 8. French 9. Iberian 10. Sephardic 11. Italian 12. German 13. English III. Lyric Forms post 1300 14. French Ars Nova 15. Italian Ars Nova 16. Ars Subtilior 17. Early Du Fay IV. Drama 18. Litugical 19. Vernacular Part 2: Voices & Instruments V. The Voice in the Middle Ages 20. Poetics as Technique VI. Bowed Strings 21a. Vielle before 1300 21b. Vielle after 1300 22. Rebec 23. Symphonia VII. Plucked Strings 24a. Harp 24b. Imagining the Early Medieval Harp 24c. Playing the Late Medieval Harp 25. Lute, Gittern, & Citole VIII.Winds 26. Flutes 27. Reeds & Brass 28. Bagpipe IX. Keyboard & Related Types 29. Organ 30. String Keyboards 31. Psaltery & Dulcimer X. Percussion 32. Percussion XI. Instrumental Usage 33. Untexted Repertoire 34. Improvisation & Accompaniment before 1300 35. Ornamentation & Improvisation after 1300 Part 3: Theory & Practice XII. Essential Theory for Performers 36. The Gamut, Solmization & Modes 37. Musica ficta 38. Proportion 39. Notation & Editions 40. Tuning Select Discography Select Bibliography Index
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