By Jeffery Kite-Powell
Revised and increased because it first seemed in 1991, the advisor gains new chapters on ornamentation and practice session thoughts, in addition to up-to-date reference fabrics, net assets, and different new fabric made to be had simply within the final decade.
The advisor is made out of concentrated chapters on functionality perform matters equivalent to vocal and choral track; numerous kinds of ensembles; profiles of particular tools; instrumentation; functionality perform matters; thought; dance; local profiles of Renaissance song; and directions for administrators. The layout addresses the widest attainable viewers for early song, together with novice performers, musicologists, theorists, and educators.
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Revised and multiplied because it first seemed in 1991, the advisor gains new chapters on ornamentation and practice session recommendations, in addition to up to date reference fabrics, web assets, and different new fabric made to be had merely within the final decade. The consultant is constituted of centred chapters on functionality perform concerns corresponding to vocal and choral tune; a number of sorts of ensembles; profiles of particular tools; instrumentation; functionality perform matters; thought; dance; nearby profiles of Renaissance track; and guidance for administrators.
Extra resources for A Performer's Guide to Renaissance Music
When the singers focus on the words, which they will do under the tutelage of a language specialist, their ensemble will improve, the phrasing will become more purposeful, and the intonation will immediately begin to ring more true. ] Phrasing and Editions In music before Willaert, phrasing often tends to be a subjective decision on the part of the director. My own experience has been that for ﬁfteenthcentury music, especially, ﬁve self-discovered rules of thumb go a long way in helping a vocal ensemble know how to make sense of the many passages where there are few syllables to go with many notes.
There is also the option of transposition, as discussed earlier. To determine whether a polyphonic piece is suitable for performance as a solo song, look ﬁrst at the text. Make sure that the whole of the text is present in the line to be sung. Often, grammatical phrases are split between voices, and one line completes the sentence begun (but not ﬁnished) in another. Even if the text is intact, a piece with a lot of “question and answer” phrasing can sound odd and incomplete. Next, check to see whether the musical phrases match the poetic caesurae of the text in the part to be sung, so that there is a sense of syntactic completeness in the musical pacing.
The rewards of such efforts are immense for both the performer and the audience. I encourage singers to work with coaches in addition to using pronunciation guides. There are some aspects of a language (such as pitch modulation and phrasing) that are difﬁcult to notate, but that affect our singing of the language as much as the individual sounds do. We must remember that most of these carefully pronounced words form poems, carefully crafted (some more, some less) and intended for life outside of a musical setting as well.