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. |
From inside the book
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Page 56
... polyphony , too , often with per- formance practices that astonish us . Practically any sacred polyphony was judged accessible to choirs of either gender . In male establishments , the presence of falsettists and occasionally boys and ...
... polyphony , too , often with per- formance practices that astonish us . Practically any sacred polyphony was judged accessible to choirs of either gender . In male establishments , the presence of falsettists and occasionally boys and ...
Page 164
... polyphonic piece for performance by violin band can be determined is by the ranges of the parts . The most common ... polyphony . Furthermore , violins and violas were made in a variety of sizes so that parts in many ranges could be ...
... polyphonic piece for performance by violin band can be determined is by the ranges of the parts . The most common ... polyphony . Furthermore , violins and violas were made in a variety of sizes so that parts in many ranges could be ...
Page 293
... Polyphony Schütz NORTH GERMANY , 1600-1635 organ / SS or lute no ? Religious Polychoral Praetorius , Schütz Sacred Concerto Scheidt , Schütz one organ or lute per choir organ , theorbo yes String Consort Schein , Brade lute , spinet ...
... Polyphony Schütz NORTH GERMANY , 1600-1635 organ / SS or lute no ? Religious Polychoral Praetorius , Schütz Sacred Concerto Scheidt , Schütz one organ or lute per choir organ , theorbo yes String Consort Schein , Brade lute , spinet ...
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