A Performer's Guide to Seventeenth-century Music: Edited by Stewart CarterStewart Carter This is a comprehensive reference guide for students and professional musicians. The book contains useful material on vocal and choral music and style; instrumentation; performance practice; ornamentation, tuning, temperament; meter and tempo; basso continuo; dance; theatrical production; and much more. |
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Page 38
... Tosi its mastery is the mark of an outstanding performer . He does not allow for the slowing down of a section with a subsequent return to the original tempo ; the bass was generally expected to maintain a firm beat . Tosi rec- ommends ...
... Tosi its mastery is the mark of an outstanding performer . He does not allow for the slowing down of a section with a subsequent return to the original tempo ; the bass was generally expected to maintain a firm beat . Tosi rec- ommends ...
Page 41
... Tosi and Pistocchi by some two centuries , yet perhaps they offer us at least a shadow of the original bel canto ... Tosi - Opinioni , 31 ; Agricola / Baird - Introduction , 153 . 6. According to Agricola - Anleitung , 124 ; Agricola ...
... Tosi and Pistocchi by some two centuries , yet perhaps they offer us at least a shadow of the original bel canto ... Tosi - Opinioni , 31 ; Agricola / Baird - Introduction , 153 . 6. According to Agricola - Anleitung , 124 ; Agricola ...
Page 42
... Tosi - Opinioni , ch . 8. See also Neumann - Ornamentation , 345-46 . Neumann's interpre- tation of Tosi's description of this trill is part of his argument in favor of the main- note - dominated trill . 30. The extra notes that ...
... Tosi - Opinioni , ch . 8. See also Neumann - Ornamentation , 345-46 . Neumann's interpre- tation of Tosi's description of this trill is part of his argument in favor of the main- note - dominated trill . 30. The extra notes that ...
Contents
Bel canto Style | 30 |
ANNE HARRINGTON | 43 |
GARY TOWNE Vocal Ensembles | 54 |
Copyright | |
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accompaniment appears articulation Baroque bass beat beginning called castrato changes choir cited common composers consort continuo cornett court dance described developed discussion divisions double drums early edition effect England English ensemble equal example expressive figures flute four France French German gives half hand harpsichord historical important indicate instruments Italian Italy keyboard known late later less lower lute means mentioned ments Mersenne musicians nature notation notes octave opera organ original ornamentation particularly performance period pieces pitch players playing position practice Praetorius produce proportion published range recorder refers Renaissance repertory require says seems seventeenth century signs singers singing solo sometimes sonatas soprano sound sources standard steps strings style suggests tactus technique tempo term theorbo third timpani tion tone trill trumpet tuning types usually viol violin vocal voice writing written