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 7
... style , it is highly unlikely that his tremolo signifies either pitch - fluctuation vibrato or intensity vibrato.19 The declamatory style of singing developed by singer - composers such as Peri and Caccini extended speech into song . It ...
... style , it is highly unlikely that his tremolo signifies either pitch - fluctuation vibrato or intensity vibrato.19 The declamatory style of singing developed by singer - composers such as Peri and Caccini extended speech into song . It ...
Page 30
... styles of singing in the Baroque era , the Italian style was the mainstream . There has been a more or less unbroken tradition of bel canto singing ever since Caccini wrote about it in his Nuove musiche ( 1601 ) . The classical bel canto ...
... styles of singing in the Baroque era , the Italian style was the mainstream . There has been a more or less unbroken tradition of bel canto singing ever since Caccini wrote about it in his Nuove musiche ( 1601 ) . The classical bel canto ...
Page 153
... Style David Douglass The seventeenth century was a period in which profound changes in style bridged the musical aesthetics of the Renaissance and the Baroque . As a result , seventeenth - century styles include elements of both periods ...
... Style David Douglass The seventeenth century was a period in which profound changes in style bridged the musical aesthetics of the Renaissance and the Baroque . As a result , seventeenth - century styles include elements of both periods ...
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