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ISBN-10: 0253348668

ISBN-13: 9780253348661

Revised and improved because it first seemed in 1991, the consultant gains new chapters on ornamentation and practice session recommendations, in addition to up-to-date reference fabrics, web assets, and different new fabric made to be had basically within the final decade. The consultant is made from targeted chapters on functionality perform matters akin to vocal and choral tune; numerous forms of ensembles; profiles of particular tools; instrumentation; functionality perform concerns; idea; dance; nearby profiles of Renaissance track; 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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Extra resources for A Performer's Guide to Renaissance Music (Publications of the Early Music Institute)

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Singers should always look at the text of a piece as written down separately from the music. First, if the piece is not in the singer’s native language, a translation must be obtained. It is best to ask first for a strictly literal translation, and perhaps make it more poetic for the program. Translators can be found through most college and university modern language departments, or at language schools. Most Renaissance languages are not difficult for a modern linguist to translate, although some dialects may require a specialist.

Gaffurins, Practica: 148. ” Suggested Listening Amarilli mia bella. Max van Egmond. Etcetera KTC 1056. Antoine Busnoys: In hydraulis and Other Works. Pomerium,Alexander Blachly, director. Dorian DOR-90184. Airs de Cours. Ensemble Organum, Marcel Pérès, director. Harmonia Mundi France HMC 901252. John Taverner: Missa Gloria Tibi Trinitas, Leroy Kyrie, Dum transisset sabbatum. The Tallis Scholars, Peter Phillips, director. Gimell CDGIM–004. Josquin Desprez: Missa Hercules dux Ferrarie, Motets & Chansons.

Also, a photocopy of a facsimile of a Renaissance partbook is usually not sufficient for performance. Often the photocopy needs so much editing, primarily in the form of adding missing words, that one is in effect working from a modern edition. If one has the luxury to indulge in the 22 Vocal/Choral Issues practice, singing from partbooks can be a great boon to phrasing, for the ear, following the sound of the other voices, instructs the mind to imitate more effectively than does the eye—a highly desirable thing, in as much as imitation forms the underlying basis for almost all late-fifteenth- and sixteenth-century composition.

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