By Stewart Carter, Jeffery Kite-Powell
Revised and elevated, A Performer’s advisor to 17th Century tune is a entire reference consultant for college kids musicians. The publication comprises invaluable fabric on vocal and choral track and magnificence; instrumentation; functionality perform; ornamentation, tuning, temperament; meter and pace; basso continuo; dance; theatrical creation; and masses extra. the quantity comprises new chapters at the violin, the violoncello and violone, and the trombone—as good as up-to-date and elevated reference fabrics, net assets, and different newly to be had fabric. This hugely available guide will end up a welcome reference for any musician or singer attracted to traditionally knowledgeable performance.
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Extra info for A Performer's Guide to Seventeenth-Century Music
A blended register transition still did not mean that the Italians preferred a unified color to the voice; composers exploited the contrasts between the top and bottom. Like pop singers today, Italian Baroque singers were adept at switching between different registers, laying the foundation for the cantar di sbalzo techniques so essential for singers in the eighteenth century. 12 Vocal/Choral Issues The predominance of speech mode that characterized the stile rappresentativo began to reach its limitations with the need for more sound and the development of a more lyrical aria style; it continued, of course, as the technique for recitative.
93 National Singing Styles 21 Lanier introduced the Italian stylo recitativo to England ca. 1613 in Thomas Campion’s Squires’ Masque (1613). Lanier’s Hero and Leander (ca. 1628) is a direct imitation of Claudio Monteverdi’s recitative-lament style, though it is hampered a bit by the greater profusion of consonants and the different accentual patterns of the English language. Charles Butler’s Principles of Musick (1636) is one of the earliest seventeenthcentury sources to discuss singing in detail.
Bernhard goes on to say that it is also prudent to pronounce Latin in an Italian manner. 5. ” 6. The first writer to identify the locus of this technique was Maffei, Discorso: 30. ” 7. This is my empirical observation. Sherman/Brown did not address this issue. 8. Maugars, Response, trans. in MacClintock, Readings: 122. 9. See Sanford, “Comparison”: para. 2. Sherman/Brown, “Singing Passaggi”: 36n24, have observed: “Increasing the subglottal breath pressure has the following effects . . ” 10. Zacconi, Prattica di musica: 58: “Questi tali che hanno tanta prontezza, & possanza di pronuntiar a tempo tanta quantità di figure con quella velocità pronuntiate: hanno fatto, & fanno si vaghe le cantilene; che chi hora non le canta come loro a gli ascoltavanti da poca sodisfattione, & poco da cantori vien stimato.
A Performer's Guide to Seventeenth-Century Music by Stewart Carter, Jeffery Kite-Powell