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 57
... court . " At the former , the episcopal court support- ed over forty singers and thirty to forty musicians , who performed con- certed music with as many as ten different spatially separated groups or as many as thirty - two separate ...
... court . " At the former , the episcopal court support- ed over forty singers and thirty to forty musicians , who performed con- certed music with as many as ten different spatially separated groups or as many as thirty - two separate ...
Page 354
... court , the courante was apparently danced following the branles . " From the mid- seventeenth century the courante became a part of the suite , falling between the allemand and the saraband . Country dance , contredanse . The English ...
... court , the courante was apparently danced following the branles . " From the mid- seventeenth century the courante became a part of the suite , falling between the allemand and the saraband . Country dance , contredanse . The English ...
Page 357
... Court manuscripts , where ( in three of these sources ) the term is applied to all the dances ( including those called alman and pavan ) described therein . These are relatively short couple dances with simple steps ; most of them ...
... Court manuscripts , where ( in three of these sources ) the term is applied to all the dances ( including those called alman and pavan ) described therein . These are relatively short couple dances with simple steps ; most of them ...
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