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 181
... instru- mental ensembles at the beginning of the century . Viols are cited in instrumental ensemble music ( sonatas and canzonas ) at least through the 1670s , primarily in publications by Italian composers associated with Austrian or ...
... instru- mental ensembles at the beginning of the century . Viols are cited in instrumental ensemble music ( sonatas and canzonas ) at least through the 1670s , primarily in publications by Italian composers associated with Austrian or ...
Page 234
... instru- ment in the dance music of the time , often combined with castanets in performances of sarabands and chaconnes . Guitars came in a wide vari- ety of sizes with four or five courses , the latter being standard for most solo ...
... instru- ment in the dance music of the time , often combined with castanets in performances of sarabands and chaconnes . Guitars came in a wide vari- ety of sizes with four or five courses , the latter being standard for most solo ...
Page 331
... instru- ments , at least some woodwinds were built to lower pitches , apparently for the convenience of voices - or , rather , for the convenience of the instrumentalists accompanying them , who would then not have to trans- pose ...
... instru- ments , at least some woodwinds were built to lower pitches , apparently for the convenience of voices - or , rather , for the convenience of the instrumentalists accompanying them , who would then not have to trans- pose ...
Contents
Bel canto Style | 30 |
ANNE HARRINGTON | 43 |
GARY TOWNE Vocal Ensembles | 54 |
Copyright | |
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Common terms and phrases
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