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Renaissance Music 1st Edition by Kenneth Kreitner ISBN 0754629635 9780754629634

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Author(s): Kenneth Kreitner
ISBN(s): 9780754629634, 0754629635
Edition: 1
File Details: PDF, 12.21 MB
Year: 2011
Language: english
SKU: EB-6976824 Category: Tag:

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ISBN 10: 0754629635 
ISBN 13: 9780754629634
Author: Kenneth Kreitner

We know what, say, a Josquin mass looks like”but what did it sound like? This is a much more complex and difficult question than it may seem. Kenneth Kreitner has assembled twenty articles, published between 1946 and 2009, by scholars exploring the performance of music from the fifteenth and sixteenth centuries. The collection includes works by David Fallows, Howard Mayer Brown, Christopher Page, Margaret Bent, and others covering the voices-and-instruments debate of the 1980s, the performance of sixteenth-century sacred and secular music, the role of instrumental ensembles, and problems of pitch standards and musica ficta. Together the papers form not just a comprehensive introduction to the issues of renaissance performance practice, but a compendium of clear thinking and elegant writing about a perpetually intriguing period of music history.

Renaissance Music 1st Table of contents:

PART I METHOD
1 Lloyd Hibberd (1946), ‘On “Instrumental Style” in Early Melody’, Musical Quarterly, 32, pp. 107–30.
2 David Fallows (1983), ‘Specific Information on the Ensembles for Composed Polyphony, 1400–1474’, in Stanley Boorman (ed.), Studies in the Performance of Late Mediaeval Music, Cambridge: Cambridge University Press, pp. 109–59.
PART II SONGS
3 Christopher Page (1992), ‘Going Beyond the Limits: Experiments with Vocalization in the French Chanson, 1340–1440’, Early Music, 20, pp. 447–59.
4 William F. Prizer (1975), ‘Performance Practices in the Frottola’, Early Music, 3, pp. 227–35.
5 Tess Knighton (1992), ‘The a cappella Heresy in Spain: An Inquisition into the Performance of the cancionero Repertory’, Early Music, 20, pp. 561–81.
6 Stephen Keyl (1992), ‘Tenorlied, Discantlied, Polyphonic Lied: Voices and Instruments in German Secular Polyphony of the Renaissance’, Early Music, 20, pp. 434–45.
7 Rinaldo Alessandrini (1999), ‘Performance Practice in the seconda prattica Madrigal’, Early Music, 27, pp. 633–39.
PART III SACRED MUSIC
8 David Fallows (1985), ‘The Performing Ensembles in Josquin’s Sacred Music’, Tijdschrift van de Vereniging voor Nederlandse Muziekgeschiedenis, 35, pp. 32–64.
9 Richard Sherr (1987), ‘Performance Practice in the Papal Chapel during the 16th Century’, Early Music, 15, pp. 453–62.
10 Graham Dixon (1994), ‘The Performance of Palestrina: Some Questions, but Fewer Answers’, Early Music, 22, pp. 667–75.
11 Noel O’Regan (1996), ‘The Performance of Palestrina: Some Further Observations’, Early Music, 24, pp. 145–54.
12 Noel O’Regan (2009), ‘What Can the Organ Partitura to Tomás Luis de Victoria’s Missae, Magnificat, motecta, psalmi et alia quam plurima of 1600 Tell Us about Performance Practice?’, Performance Practice Review, 14, pp. 1–14.
13 Kenneth I Kreitner (1992), ‘Minstrels in Spanish Churches, 1400–1600’, Early Music, 20, pp. 533–46.
PART IV INSTRUMENTAL MUSIC
14 Keith Polk (1990), ‘Voices and Instruments: Soloists and Ensembles in the 15th Century’, Early Music, 18, pp. 179–98.
15 Howard Mayer Brown (1975), ‘A Cook’s Tour of Ferrara in 1529’, Rivista Italiana di Musicologia, 10, pp. 216–41.
16 Howard Mayer Brown (1986), ‘Notes (and Transposing Notes) on the Transverse Flute in the Early Sixteenth Century’, Journal of the American Musical Instrument Society, 12, pp. 5–39.
PART V NOTATION
17 Margaret Bent (1984), ‘Diatonic ficta’, Early Music History, 4, pp. 1–48.
18 Andrew Johnstone (2006), ‘“High” Clefs in Composition and Performance’, Early Music, 34, pp. 29–53.
PART VI PERSPECTIVE
19 Donald Greig (1995), ‘Sight-Readings: Notes on a cappella Performance Practice’, Early Music, 23, pp. 125–48.
20 Bonnie J. Blackburn (1997), ‘For Whom Do the Singers Sing?’, Early Music, 25, pp. 593–609.

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